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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 Jericho, I'm Daniel Henderson,

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Speaker 1: and hey, guys, how's it going?

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Speaker 2: How's it going?

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Speaker 3: Indeed, how are you? I'm doing all right? I am.

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Speaker 3: I'm engaging in a new kind of fight about my house.

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Speaker 2: With a man.

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Speaker 1: Uh oh, another.

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Speaker 2: Fight, another fight, another day.

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Speaker 3: This time I'm fighting with the oil company because I

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Speaker 3: won't leave my house unlocked and they won't tell me

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Speaker 3: what time they're coming to deliver oil.

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Speaker 1: What do you mean, oil company? Like, what do you

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Speaker 1: mean oil delivery?

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Speaker 2: So my heat in hot water runs on oil?

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Speaker 1: What? Wait? What?

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Speaker 2: Yeah? I have an oil tank in my garage.

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Speaker 1: Wait a minute, is that a thing?

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Speaker 2: Yeah?

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Speaker 1: Is it a thing up there?

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Speaker 2: Yeah?

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Speaker 1: Okay, I have Am I stupid? I've never heard of

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Speaker 1: this before.

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Speaker 3: No, it's a thing in a lot of places. And

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Speaker 3: usually there is a way for them to have like

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Speaker 3: a plug or some kind of pipe that goes outside

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Speaker 3: of your house, so they can just kind of like

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Speaker 3: connect and pump oil into your tank that way. But

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Speaker 3: I don't have that, and I don't know how to

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Speaker 3: get that, and so I just have this huge oil

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Speaker 3: tank in my garage and I have to leave my

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Speaker 3: garage open or they have to be able to access

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Speaker 3: it through the garage. And I've missed the last two

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Speaker 3: deliveries because I'm not home.

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Speaker 2: And it's I'm not leaving my house unlocked.

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Speaker 3: And so the guy called me today and he was like, hey,

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Speaker 3: so we've missed the last couple of deliveries.

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Speaker 2: I said, yeah, I know, I'm getting pretty low. It's

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Speaker 2: going to call you today actually, and.

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Speaker 3: He's like, well, you know we've been servicing that house

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Speaker 3: for like forty years, and you know that the garage

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Speaker 3: is always unlocked. And then I had to enter something

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Speaker 3: I like to call I mean, I guess you would

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Speaker 3: call it bitch mode, but I refuse to call it

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Speaker 3: that because I don't think it's me being a bitch.

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Speaker 3: I think it's me just being adamant and asserting myself.

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Speaker 1: Yes, advocating for your self mode.

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Speaker 2: Completely advocating for myself.

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Speaker 3: And so I said, well him, my name's Danielle and

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Speaker 3: I'm the new homeowner, and I will not be leaving

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Speaker 3: my garage unlocked for you.

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Speaker 2: So you can.

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Speaker 3: Set an appointment with me like a normal person, or

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Speaker 3: give me a range of hours and a date that

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Speaker 3: I should be available, and I will do that, but

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Speaker 3: I'm not leaving my house unlocked apparently like the last

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Speaker 3: owner did for forty fucking years.

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Speaker 1: Wow, that is shocking how long that went on without incident.

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Speaker 3: Yeah yeah, and like truly was basically like, okay to

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Speaker 3: leave me without heat and hot water, because I don't

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Speaker 3: want to leave my house unlocked, Like I don't think

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Speaker 3: it's insane for me to want to lock my doors.

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Speaker 3: And he acted like I told him, Well, the only

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Speaker 3: way to access this house is through an invisible tunnel

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Speaker 3: in the neighbor's yard that you have to army crawl

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Speaker 3: through and use your wits to survive. Like it is

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Speaker 3: not a big ask to say, can you call me

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Speaker 3: when you arrive or can you plan a day? Like

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Speaker 3: plan it? Just tell me we're gonna be there on

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Speaker 3: Wednesday between eight and five pm.

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Speaker 1: Okay, here's kind of what I'm putting. I'm putting two

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Speaker 1: and two together right now about this area of the

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Speaker 1: world that you're living in right now. A lot of

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Speaker 1: people think that they can just be real fast and

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Speaker 1: loose with some shit up there. Yeah, and this is

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Speaker 1: based on several things that you've told us as listeners.

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Speaker 1: But also me as your friend, off off Mike, what's

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Speaker 1: up with those people up there?

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Speaker 3: And that's the thing I'm like, am I supposed to

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Speaker 3: be acclimating to like, well, this is just the way

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Speaker 3: it's done, Or am I trying to flip the script

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Speaker 3: and be like I'm a new breed of motherfucker?

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Speaker 1: Yeah, they don't know your pure survival mode. They just

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Speaker 1: really don't. Thank I mean, bitch mode aside. You're pure

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Speaker 1: survival mode of where you have a very strong sense

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Speaker 1: of self preservation and will take out anyone that is

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Speaker 1: coming for you, no matter what the circumstance.

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Speaker 3: I mean, if I hear my door, any door in

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Speaker 3: my house opening without my knowledge of that event happening

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Speaker 3: without my preordained knowledge of that, I'm grabbing my bow

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Speaker 3: and I'm shooting someone with an arrow. Don't think you

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Speaker 3: can just come up in my house? Like why is

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Speaker 3: that the norm? When I bought the house, the woman

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Speaker 3: who sold it to me was like, oh yeah, And

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Speaker 3: she gave me one key for the front door and

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Speaker 3: was like oh yeah, Like I haven't locked a door

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Speaker 3: here in twenty five years. And I'm like, well, congratulations

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Speaker 3: for you, But I'm not that motherfucker. I lock my

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Speaker 3: doors if I'm taking my garbage out.

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Speaker 1: One hundred percent, and that should be okay. By the way, Yeah,

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Speaker 1: I know that they're saying to you, but come on,

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Speaker 1: it's just we're all friendly neighbors. Nobody would ever do

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Speaker 1: anything blah blah blah. That is like the last thing

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Speaker 1: you hear before some serial killer comes into the house

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Speaker 1: and murders everybody, you know, the last sentence you say

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Speaker 1: before that shit is But you know, I just left

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Speaker 1: my door unlocked for the oil company because thank you.

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Speaker 1: I just love everybody in this town and give them

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Speaker 1: full range access to all my shit. Twenty four to seven.

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Speaker 3: Also, it's like, please recognize that my trust issues were

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Speaker 3: born hereh Like, this is the place where my trust

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Speaker 3: issues were birthed.

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Speaker 1: You did this, You made me.

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Speaker 2: I grew up with a woman who was like, don't

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Speaker 2: go in the woods.

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Speaker 3: There's murderers everywhere, and then we lived in the woods,

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Speaker 3: so like, get over it. That's how I am. I

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Speaker 3: know why I'm like this, but I'm not changing it.

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Speaker 3: I'm not changing it, and I don't appreciate this man

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Speaker 3: being like, well, your comfort level is an impediment to

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Speaker 3: my desire to quickly do what you're to do this job.

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Speaker 1: Look, first of all, this is the first time I've

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Speaker 1: ever heard about somebody having oil delivered to their house

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Speaker 1: regularly to heat it. I've always had like electric or gas.

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Speaker 1: I've never had an oil tanker all willy nilly in

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Speaker 1: my house. Okay, but now, thanks to the movie that

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Speaker 1: you picked for this week, I'm thinking all kinds of

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Speaker 1: shit about shit like this, Like, right, what if some

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Speaker 1: rogue oil company person decided to place like a detonated

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Speaker 1: device on the tanker because of some international conspiracy And

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Speaker 1: I'm just saying that, like, in order for that to happen,

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Speaker 1: you would have had to leave your garage unlocked, and

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Speaker 1: you ain't doing that in twenty twenty two the end.

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Speaker 2: Thank you.

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Speaker 3: Also, let's not forget that I've already had a pest.

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Speaker 2: Control man try to move into my barn.

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Speaker 3: The chances of me coming home and finding someone in

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Speaker 3: my garage are.

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Speaker 2: Not impossible, unlikely, but not possible.

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Speaker 1: Look, that past control guy needs to go into town

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Speaker 1: and spread the word about you, right that you are

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Speaker 1: not having any of this malarkey. Okay, none of this

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Speaker 1: Like easy breezy, come on in, just chill out, Bring

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Speaker 1: all your family members, bring your girlfriend, bring your fucking dad,

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Speaker 1: bring your family, Bring no detonating device attached to.

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Speaker 2: A bomb, build a fake wall, and move in.

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Speaker 1: Bring the fucking animals that you said that you would

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Speaker 1: get out of here, that you didn't get out of here.

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Speaker 2: This is the other thing. It's like, I can't leave

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Speaker 2: my garage unlock.

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Speaker 3: This place is crawling with animals that are like sharpening

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Speaker 3: their knives ready to move back in. Like I have

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Speaker 3: kicked out every animal possible, and they are just waiting

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Speaker 3: for a cracked door or an open garage door.

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Speaker 2: To start setting up shop again.

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Speaker 1: Like, dude, look, when you were earlier like talking about

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Speaker 1: the scenario of digging a tunnel to get the oil,

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Speaker 1: It's like, too bad. There's probably already a tuddle down

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Speaker 1: there because of Chauncey and fam. Thanks, they probably did

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Speaker 1: that tuttle already.

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Speaker 2: Thanks.

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Speaker 1: So y'all can come through here if you want. It's fine.

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Speaker 3: Yeah, just find a hole in my yard and start

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Speaker 3: spraying oil in because apparently it'll just go right under

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Speaker 3: my house.

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Speaker 2: I'll have a reserve of oil hanging out. Yeah.

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Speaker 3: It really it really made me angry that I'm like, wait,

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Speaker 3: how am I the one made to feel like I'm

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Speaker 3: doing the weird thing by locking my door. Also, they

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Speaker 3: make no attempt to contact me. I'm here, man, Like,

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Speaker 3: all you have to do is call. He's like, well,

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Speaker 3: we came in.

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Speaker 2: We came on Saturday, and I'm like, well, then that's

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Speaker 2: your own fault.

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Speaker 3: Like Monday through Friday, I'm available Saturday and Sunday.

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Speaker 2: Take your chances.

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Speaker 3: I have to go out and get coffee in sustenance

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Speaker 3: and see my grandma.

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Speaker 2: Like, take your chances. Man.

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Speaker 1: Look, I think this is a totally reasonable ask. That

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Speaker 1: you are not unfriendly or unnighborly. You are a black

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Speaker 1: woman living alone in the woods.

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Speaker 2: Thank you.

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Speaker 1: Of course you want to lock your fucking doors, and

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Speaker 1: they should respect that shit, thank you and work with

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Speaker 1: you like as a normal thing. I mean, the normal

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Speaker 1: standard operating procedure for people come into the house is

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Speaker 1: to set an appointment. Now I'm not saying that they

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Speaker 1: hit the time. Yeah, exactly every time, but they least

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Speaker 1: give you like a four hour window where you can

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Speaker 1: just be there, you know, and they will show up

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Speaker 1: for the most part.

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Speaker 3: Look, I've been so beaten down by this home that

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Speaker 3: if you give me a window that's like, we will

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Speaker 3: be there between six am and midnight.

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Speaker 2: I'll be like, cool, I'll make it work.

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Speaker 3: I'll stay home for eight eight hours, no problem.

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Speaker 2: It's like I will do that. I'm very accommodating.

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Speaker 3: Yes, but you can't just surprise be like we bought

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Speaker 3: this handker truck and you weren't here, Like that's just

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Speaker 3: not who I am.

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Speaker 2: I think it really just is.

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Speaker 3: It's always astonishing to me when someone tries to invoke

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Speaker 3: the well the last homeowner, because I'm like, oh, well,

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Speaker 3: let me introduce you to this motherfucker, the current homeowner.

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Speaker 2: Have you met this bitch?

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Speaker 3: Because she is a whole new Burry and she talks

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Speaker 3: about herself in the third person, and she locks her

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Speaker 3: fucking doors and she has a security system, so you

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Speaker 3: can't just come pulling doors and windows open at her

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Speaker 3: goddamn house anytime you want.

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Speaker 1: I mean, listen, the more you talk about the previous homeowner,

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Speaker 1: the more I'm like, who the hell like? Was she

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Speaker 1: running like a hostel for general contractors in your town?

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Speaker 1: Like what the fuck like people just coming in stay

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Speaker 1: in a while, having a drum circle outside near the barn,

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Speaker 1: right coming and going? Come on? Why?

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Speaker 2: I think all these animals were living up in here.

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Speaker 1: Maybe the woman that owned the house before you was

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Speaker 1: snow fucking white. I don't know.

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Speaker 2: Yeah, it's entirely possible.

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Speaker 3: We only met for a very short time, but it's

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Speaker 3: entirely possible. Even with my contractors, who are in my

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Speaker 3: house for multiple hours a day every day, I wake

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Speaker 3: up every morning before they get here and unlock the door.

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Speaker 3: And there are days when they have to text or

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Speaker 3: call me and be like, hey, we're outside.

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Speaker 2: Because I'm not just gonna leave.

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Speaker 3: My doors open all night so that I don't have

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Speaker 3: to wake up at six o'clock in the morning. I'd

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Speaker 3: rather wake up at six o'clock in the morning and

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Speaker 3: let them in.

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Speaker 1: Yeah, exactly. Look, these people need to get their acts together.

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Speaker 1: They need to start acting profession thank you, start making

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Speaker 1: appointments with people. Don't act all weirdly like I get

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Speaker 1: twenty four hour access to your space. Whatever the fuck

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Speaker 1: I want to to do, whatever the fuck I want to.

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Speaker 2: I don't like it. You know what I'm gonna do.

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Speaker 2: I just thought of this. Here's the solution.

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Speaker 3: I will leave my garage door unlocked and I'm gonna

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Speaker 3: park my grandma out there in her fucking wheelchair and

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Speaker 3: when they open that door, she's gonna be like, what

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Speaker 3: the fuck do you think's going on?

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Speaker 2: What the hell do you things happen?

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Speaker 3: She's gonna have some of her zombie tools by her side,

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Speaker 3: She's gonna fucking pull a knife out of her chair,

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Speaker 3: and they're gonna be like.

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Speaker 2: Oh shit, we should have called because she's.

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Speaker 3: Got a fucking ninety year old black lady in the garage.

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Speaker 1: Hell yeah, your house is gonna be like the fucking

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Speaker 1: house from Edward Scissorhands at the top of the hill,

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Speaker 1: ah where all the neighborhood kids are like, yo, I

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Speaker 1: heard there's this old lady that sits in the garage

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Speaker 1: with zombie equipment.

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Speaker 2: I can't wait.

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Speaker 3: It's all I've ever wanted in life was to be

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Speaker 3: the scary old lady in the neighborhood.

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Speaker 2: Let's get that ship rolling now.

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Speaker 1: It comes for you, whether you want it or not.

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Speaker 3: You might as well plan because it's coming for all

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Speaker 3: of us. What about you, How are you doing this week?

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Speaker 1: I'll tell you. I'm happy to tell you I got

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Speaker 1: some work off my plate. Yes, finding a little bit

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Speaker 1: more free time, so you know what that means. I'm

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Speaker 1: back on my shits, all my shits, all my shitty,

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Speaker 1: shitty shitty shows. Oh yeah, my fucking reality TV shows.

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Speaker 1: I'm so excited to be not doing anything smart. I

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Speaker 1: am like, wow, I like to turn this brain off

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Speaker 1: all the way. Look, I was one of those people

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Speaker 1: for a very long time that thought I was too

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Speaker 1: intellectual for reality TV.

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Speaker 2: Okay, I'm laughing.

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Speaker 3: I am laughing because yes, you are smart, but knowing

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Speaker 3: how much reality TV you watch right now, I cannot

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Speaker 3: believe you would ever make that promise to yourself.

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Speaker 1: No, I'm saying for like a solid decade, I was like,

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Speaker 1: I'm too artistic and intellectual to be a fan of

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Speaker 1: reality TV. It's all trash. I only watch Nova and

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Speaker 1: other high minded programs.

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Speaker 2: Thank god you came down to our level.

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Speaker 1: But here's the secret thing about people who are snobs

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Speaker 1: about watching reality TV is that the busier and more

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Speaker 1: high minded work you do, the more you want.

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Speaker 2: To watch that shit. Thank you. That's my I agree.

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Speaker 1: And look, I'm not saying that only like secretly smart, awesome,

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Speaker 1: intelligent people watch reality TV because there are idiots. I

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Speaker 1: watch reality TV as well. I think we know this, but.

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Speaker 2: They're idiots that make reality TV.

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Speaker 1: I don't. And I also I am not trying to

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Speaker 1: call myself some like upper echelon, like elite. Okay, I'm

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Speaker 1: just saying that most of the time I spend in

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Speaker 1: the world has to do with classic film, and I

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Speaker 1: don't want to be in that space at all.

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Speaker 2: Yeah.

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Speaker 1: Like every night, when I'm like clocking out of work

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Speaker 1: at both you know, my regular job and this podcast,

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Speaker 1: I'm like excited to just turn off like the rational brain.

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Speaker 1: Like I'm just like, I am so fucking ready to

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Speaker 1: like binge watch all the vanderpub Rules episodes. I haven't

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Speaker 1: seen all the ninety Day Fiance universe that I haven't

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Speaker 1: caught up with. It just gives me such joy to

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Speaker 1: like sit in my own filth. You know what I mean.

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Speaker 2: I completely agree with you.

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Speaker 3: I remember a couple of months ago and I was like, man,

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Speaker 3: I need some suggestions, because when I rewatch shows of

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Speaker 3: my own volition, I watch shows that terrify me or

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Speaker 3: scare me or make me very very sad and reality

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Speaker 3: TV Say what you will about it, it has never

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Speaker 3: made me depressed, It has never made me think about mortality.

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Speaker 3: It has never brought me to the brink of any

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Speaker 3: kind of negative reaction. It is pure joy for the

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Speaker 3: hour that I'm watching it.

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Speaker 1: It's so true, And Okay, correct me if I'm wrong,

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Speaker 1: because we I don't know if we've actually talked about

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Speaker 1: this yet. But when you started writing, you were writing

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Speaker 1: recaps for Real Housewives.

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Speaker 2: Right, Yeah.

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Speaker 3: I did recaps for Vulture for the Real Housewives of Atlanta,

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Speaker 3: and believe it or not, I had to talk them

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Speaker 3: into it because they it was one of the only

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Speaker 3: franchises that they were not recapping.

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Speaker 1: Huh.

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Speaker 3: And I'm like, it is the best of the franchise.

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Speaker 3: You should be somebody should be recapping this show. And

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Speaker 3: they're like, you should do it. I was like, all right,

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Speaker 3: I'll do it. But I yeah, I recapped Real Housewives,

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Speaker 3: and I was a long time watch on cable the

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Speaker 3: night it premiered. Real Housewives fan and I watched all

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Speaker 3: of the franchises. And then I hit a wall when

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Speaker 3: I stopped writing about it and when I started writing

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Speaker 3: TV and I just didn't watch it, and I caught

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Speaker 3: up on a lot of those franchises that I loved

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Speaker 3: a few years ago and realized that because there was

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Speaker 3: a point where I was like, man, I'm watching so

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Speaker 3: many hours of TV every week of people just screaming

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Speaker 3: at each other, and that was bumming me out. But

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Speaker 3: then they would like change the cast or change the storyline,

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Speaker 3: and I was back in. So I had to kind

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Speaker 3: of like get out of my own head a little

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Speaker 3: bit in order to just enjoy it and not see

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Speaker 3: it as a job. But I went back in and

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Speaker 3: then you got me on ninety Day Fiance. I've always

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Speaker 3: been on the vander Pump train, and that's we bonded

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Speaker 3: over Vanderpump Hardcore. But you got me on ninety Day Fiance,

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Speaker 3: and it is like it's doing something special.

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Speaker 2: I don't know what that show is doing entirely, but

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Speaker 2: it's really it really makes me. It brings me joy. Yeah,

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Speaker 2: I'll say that.

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Speaker 1: Yeah. So yes, the two reality shows that I am

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Speaker 1: kind of all in on, meaning I will follow it

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Speaker 1: to the ends of the earth, no matter how bad

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Speaker 1: it gets or no matter how many dumb spinoffs have happened,

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Speaker 1: Like with ninety Day. I mean, I feel like we

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Speaker 1: talked about this in a very early bonus episode I

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Speaker 1: think was probably our first bonus episode where I kind

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Speaker 1: of gave the overview of like the cinematic universe of

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Speaker 1: ninety Day fiance, which is far reaching at this point.

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Speaker 1: There's been so many offshoots and so many like and

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Speaker 1: it's all kind of spun off this premise, which is

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Speaker 1: two people are effectively meeting for a romantic thing like

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Speaker 1: a marriage or a relationship or something, and one lives

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Speaker 1: in America and the other person lives in a foreign country.

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Speaker 1: The entire crux of the show and then the entire

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Speaker 1: universe has spun off of different variations on that theme, right,

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Speaker 1: So the more I think that they can't possibly come

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Speaker 1: up with another variation, they somehow do. And when I

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Speaker 1: talk it out in my head, I'm like, this is

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Speaker 1: fucking stupid. Why am I committing so much my precious

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Speaker 1: free time to this weird offshoot of an offshoot of

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Speaker 1: an offshoot of a fucking reality show. But I just

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Speaker 1: have to admit to myself finally that I don't care,

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Speaker 1: Like I am completely indoctrinated into this universe and I

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Speaker 1: will watch any person involved in this show pretty much

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Speaker 1: do anything. Yeah, at this point, and.

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Speaker 3: You kind of have to, like, there are shows where

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Speaker 3: you're like, this family cannot get more bonkers, and then

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Speaker 3: they're like, guess what, we're doing a show with only

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Speaker 3: this and you're like, well, I'm watching that shit, because yes,

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Speaker 3: I have to.

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Speaker 2: You get into it.

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Speaker 3: It's just like when I rewatched all the Marvel movies

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Speaker 3: a few months ago, and I watched them in order,

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Speaker 3: because you can't just watch I don't roll for me anyway.

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Speaker 3: It's like, you know, you're watching Captain America, you're watching

385
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Speaker 3: ant Man.

386
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Speaker 2: And I watched ant Man and.

387
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Speaker 3: The Wasp finally because I just didn't understand what happened

388
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Speaker 3: in the last Avengers movie and I'm like, well, where'd

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Speaker 3: this shit come from?

390
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Speaker 2: Why's Evangeline Lilly here? I had to go back and

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Speaker 2: watch it to understand.

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Speaker 3: And ninety Day there was one point, I think where

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Speaker 3: we were texting about ninety Day and I was like, wait,

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Speaker 3: what are you talking about? And you're like, oh, it's

395
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Speaker 3: ninety Day the other Way and I was like what,

396
00:19:38,160 --> 00:19:39,760
Speaker 3: And you're like, man, you better get off this shit.

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Speaker 3: You hatt to keep up. You gotta watch ninety Day the.

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Speaker 1: Other Way, which I think is actually better. Oh, completely

399
00:19:46,080 --> 00:19:49,760
Speaker 1: the original recipe, and like the four other spinoffs that

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Speaker 1: came from the original recipe.

401
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Speaker 3: Girl, I watched some episode with some man. He was

402
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Speaker 3: the meekest, mildest looking man from somewhere in the South.

403
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Speaker 3: And I know if you watch the show at home,

404
00:20:00,000 --> 00:20:02,040
Speaker 3: I know you're screaming the names of these people right

405
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Speaker 3: now I don't remember, but this man looked.

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Speaker 2: Like he was gonna puke. He was in the like

407
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Speaker 2: the wilds of Brazil or something like that.

408
00:20:11,040 --> 00:20:11,960
Speaker 1: Oh, that's all of them.

409
00:20:12,040 --> 00:20:13,560
Speaker 2: Yeah, And he confessed to this woman.

410
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Speaker 3: He's like, look, I've got a record and it's involved abuse,

411
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Speaker 3: and I burned down my girlfriend's house and then he

412
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Speaker 3: ran off into the jungle and she got mugged by

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Speaker 3: a man with a machete.

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Speaker 2: You cannot make this shit up.

415
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Speaker 1: And that could easily be like four or five different

416
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Speaker 1: dudes like I d like in my mind, I'm going, oh,

417
00:20:34,560 --> 00:20:38,400
Speaker 1: that can be cheese steak. That could be the other

418
00:20:38,400 --> 00:20:41,920
Speaker 1: guy from North Carolina with those big Joberman's. It could

419
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Speaker 1: be literally anybody. That's how crazy the show has gotten.

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Speaker 1: And here's the thing. Like again, if I repeated this

421
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Speaker 1: at any point in a bonus episode, apologies, But right

422
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Speaker 1: now my biggest thing is watching this thing called pillow Talk,

423
00:20:58,960 --> 00:21:03,320
Speaker 1: which they have Oh yeah, yeah, the former subjects of

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00:21:03,480 --> 00:21:08,160
Speaker 1: other ninety Day Fiance shows watching the current show that's

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Speaker 1: on right now, and of course there's seven or eight

426
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Speaker 1: at any given moment, and they're giving like their opinions

427
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Speaker 1: on it, and I've called it my version of Sports

428
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Speaker 1: Center for the ninety Day Fiance. It's like, just give

429
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Speaker 1: me the highlights. Just give me the fucking highlights, because

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Speaker 1: I don't want to sit down and commit to like

431
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Speaker 1: ninety minutes of a regular episode. Now. I just want, like,

432
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Speaker 1: you know, the news, I just want like the up.

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Speaker 1: Just tell me what the perfent information is and give

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Speaker 1: me Tim and Veronica because they're my favorite former the

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Speaker 1: haven the show subjects that are now talking about other

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Speaker 1: subjects and that's that's all I need in life. And

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Speaker 1: I'm telling you, dude, it's crazy how truly obsessed I've become.

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Speaker 1: The only the only one I haven't seen is the

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Speaker 1: one where they have former subjects reading their own social media.

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Speaker 2: Oh damn.

441
00:22:02,760 --> 00:22:05,040
Speaker 1: It's like what if we did an entire show where

442
00:22:05,040 --> 00:22:08,960
Speaker 1: we just read like bad reviews of the show and

443
00:22:09,000 --> 00:22:10,800
Speaker 1: then they have to come up with them, some like

444
00:22:10,920 --> 00:22:14,280
Speaker 1: sassy comeback like uh uh girl, Alisa, I'm not this

445
00:22:14,359 --> 00:22:16,280
Speaker 1: and that, and then I'm like, I don't know. That

446
00:22:16,440 --> 00:22:19,320
Speaker 1: just was too depressing, too fucking depressing for me.

447
00:22:19,600 --> 00:22:22,080
Speaker 3: That is Twitter the TV show and we don't need it,

448
00:22:22,119 --> 00:22:22,919
Speaker 3: and we don't want it.

449
00:22:23,000 --> 00:22:25,760
Speaker 1: We don't need it. And then, you know, taking a

450
00:22:25,960 --> 00:22:29,919
Speaker 1: sharp turn is vander Pump, which you and I have

451
00:22:30,000 --> 00:22:33,000
Speaker 1: bonded on vander Pump vander Pump Rules if you haven't

452
00:22:33,000 --> 00:22:37,439
Speaker 1: seen it, Yes, it is an offshoot of a Real Housewives.

453
00:22:37,119 --> 00:22:41,040
Speaker 2: Show yep, Beverly Hills, Beverly Hills.

454
00:22:41,080 --> 00:22:46,240
Speaker 1: And there was a shakeup last year because essentially four

455
00:22:46,640 --> 00:22:48,120
Speaker 1: people got fired.

456
00:22:47,800 --> 00:22:50,359
Speaker 2: From the show for being racist, which was a long

457
00:22:50,400 --> 00:22:51,040
Speaker 2: time coming.

458
00:22:51,480 --> 00:22:54,680
Speaker 1: It was a long time coming, and I thought that

459
00:22:54,960 --> 00:22:58,600
Speaker 1: would be the end. I thought I was done. Like

460
00:22:58,640 --> 00:23:01,879
Speaker 1: I'm like, well, everybody's racist, so show has to end,

461
00:23:02,000 --> 00:23:04,000
Speaker 1: right right, There's no possible way this can go on.

462
00:23:04,200 --> 00:23:05,240
Speaker 1: Oh it's going on.

463
00:23:05,320 --> 00:23:06,760
Speaker 2: And then you woke up and you're like, wait, I'm

464
00:23:06,800 --> 00:23:07,360
Speaker 2: in America.

465
00:23:07,400 --> 00:23:10,520
Speaker 1: Anything's possible, Anything is possible.

466
00:23:10,560 --> 00:23:14,159
Speaker 3: Baby vander Pump especially is a weird one because Lisa

467
00:23:14,240 --> 00:23:18,440
Speaker 3: vander Pump herself is not enough to hold my attention. Yeah,

468
00:23:18,640 --> 00:23:20,960
Speaker 3: and she tried some stuff in that last season or

469
00:23:21,000 --> 00:23:23,239
Speaker 3: maybe it was two seasons ago, where she was like

470
00:23:23,440 --> 00:23:27,040
Speaker 3: ziplining over Las Vegas and going to the employee that

471
00:23:27,119 --> 00:23:29,240
Speaker 3: she hates the most going to their wedding.

472
00:23:29,000 --> 00:23:31,280
Speaker 2: And I'm like, she's trying too hard to be part

473
00:23:31,280 --> 00:23:33,080
Speaker 2: of the show. She doesn't need to do that.

474
00:23:33,160 --> 00:23:35,760
Speaker 3: She can just have the restaurants and float in sometimes.

475
00:23:36,000 --> 00:23:37,920
Speaker 3: But they tried to make her too much of a character.

476
00:23:38,640 --> 00:23:40,879
Speaker 1: Absolutely you know who. She kind of reminds me of

477
00:23:40,920 --> 00:23:43,800
Speaker 1: I hate to say it. Remember the episode with Scotti Landis,

478
00:23:43,800 --> 00:23:47,080
Speaker 1: so we talked about the real life inspiration for the

479
00:23:47,160 --> 00:23:51,080
Speaker 1: movie that he wrote, which is called Ma. Yes, that

480
00:23:51,359 --> 00:23:53,960
Speaker 1: woman who comes to the party and is like trying

481
00:23:54,000 --> 00:23:56,400
Speaker 1: to fix drinks for the high school kids, that's Lisa

482
00:23:56,480 --> 00:23:57,159
Speaker 1: Vanderpump to me.

483
00:23:57,240 --> 00:24:00,159
Speaker 2: Unfortunately, Lisa vander Pump is MA.

484
00:24:01,320 --> 00:24:06,040
Speaker 1: Now, if Lisa vander Palm decided to start murdering people,

485
00:24:07,440 --> 00:24:11,760
Speaker 1: I would be so so into the show. Like, in

486
00:24:11,800 --> 00:24:16,720
Speaker 1: a way that is not possible. Look, you're in the

487
00:24:16,720 --> 00:24:21,600
Speaker 1: Hollywood business. Let me just spitball with you. This idea. Okay,

488
00:24:22,280 --> 00:24:27,159
Speaker 1: what if we did a reality show where Lisa vander

489
00:24:27,240 --> 00:24:35,719
Speaker 1: Palm trained rescue dogs to kill beautiful, attractive servers that

490
00:24:35,840 --> 00:24:39,640
Speaker 1: worked at her restaurants for trying to have sex with

491
00:24:39,880 --> 00:24:40,520
Speaker 1: the toms.

492
00:24:40,840 --> 00:24:41,760
Speaker 2: Look, here's what we call it.

493
00:24:41,800 --> 00:24:44,240
Speaker 3: The name of the show is you get one, as in,

494
00:24:44,280 --> 00:24:47,920
Speaker 3: you get one kill per week, and the.

495
00:24:47,840 --> 00:24:49,960
Speaker 2: Code word for murder for the dogs.

496
00:24:50,000 --> 00:24:55,680
Speaker 3: As soon as the dogs hear the word tom Tom,

497
00:24:55,920 --> 00:24:56,280
Speaker 3: they go.

498
00:24:56,280 --> 00:24:56,919
Speaker 2: For the jug.

499
00:24:58,000 --> 00:25:01,280
Speaker 1: It's like that kill bill music starts playing the dog's

500
00:25:01,320 --> 00:25:07,720
Speaker 1: head and that dog goes clucking bonkers on like a

501
00:25:07,760 --> 00:25:11,240
Speaker 1: twenty two year old West Hollywood resident one.

502
00:25:10,960 --> 00:25:13,440
Speaker 2: Hundred percent watching that show every week.

503
00:25:13,880 --> 00:25:17,840
Speaker 1: Your grandma could be executive producer. Naturally, I see it.

504
00:25:17,960 --> 00:25:19,720
Speaker 1: I see all of this in front of me.

505
00:25:20,320 --> 00:25:23,480
Speaker 3: My grandma and your mom will have to executive produce,

506
00:25:24,920 --> 00:25:28,000
Speaker 3: and it's going to be a hit. And as soon

507
00:25:28,040 --> 00:25:30,800
Speaker 3: as those dogs here Tom Tom, the sirens start going off.

508
00:25:30,840 --> 00:25:35,040
Speaker 3: Their eyes turn into like those spinning saucers, and they

509
00:25:35,119 --> 00:25:35,480
Speaker 3: just go.

510
00:25:35,440 --> 00:25:36,040
Speaker 2: For the jug.

511
00:25:36,640 --> 00:25:39,120
Speaker 3: Well, we should do this show while we're on the mic,

512
00:25:39,200 --> 00:25:42,760
Speaker 3: like while we're still here, before we start spitballing reality

513
00:25:42,840 --> 00:25:44,240
Speaker 3: TV shows.

514
00:25:45,160 --> 00:25:47,439
Speaker 2: We do have a great episode lined up.

515
00:25:47,600 --> 00:25:51,440
Speaker 1: We certainly do. It's actually our third week of our

516
00:25:51,880 --> 00:25:56,040
Speaker 1: Black History Month celebration here on the Pod, and we

517
00:25:56,119 --> 00:26:01,560
Speaker 1: have an absolutely incredible episode. In my opinion, I can't

518
00:26:01,560 --> 00:26:03,560
Speaker 1: wait to tell you what the same is.

519
00:26:10,200 --> 00:26:11,040
Speaker 2: Do you want to tell them?

520
00:26:11,119 --> 00:26:11,320
Speaker 1: Oh?

521
00:26:11,320 --> 00:26:12,040
Speaker 2: Hell yeah?

522
00:26:12,080 --> 00:26:16,359
Speaker 1: So this week's theme is King Kong ain't god shit

523
00:26:16,440 --> 00:26:16,880
Speaker 1: on him?

524
00:26:19,200 --> 00:26:23,120
Speaker 3: Ah, We are doing a week that is a Denzel

525
00:26:23,240 --> 00:26:26,520
Speaker 3: Washington double feature, and what other theme would we have?

526
00:26:26,920 --> 00:26:30,680
Speaker 1: Yes, thank you once again to people who were doing

527
00:26:30,720 --> 00:26:35,840
Speaker 1: some high minded shit. We appreciate that. We salute you.

528
00:26:35,880 --> 00:26:38,480
Speaker 1: But you know what, King Kong ain't got shit on him.

529
00:26:38,880 --> 00:26:40,960
Speaker 1: We are doing a week of Denzel Washington movies.

530
00:26:41,040 --> 00:26:44,320
Speaker 3: Yes, we certainly are. We appreciate the altruism as always.

531
00:26:44,400 --> 00:26:47,040
Speaker 3: We know that right now you are crumpling paper and

532
00:26:47,080 --> 00:26:50,080
Speaker 3: throwing it across the room because you have spitballed several

533
00:26:50,119 --> 00:26:52,800
Speaker 3: good ideas on social media, and it.

534
00:26:52,760 --> 00:26:53,480
Speaker 2: Is not the case.

535
00:26:53,600 --> 00:26:55,239
Speaker 3: It's like when we do an episode and we're like,

536
00:26:55,680 --> 00:26:57,840
Speaker 3: guess the theme, and you're like, it is the theme

537
00:26:58,040 --> 00:27:02,679
Speaker 3: about the intrinsic value of human life in how you

538
00:27:02,760 --> 00:27:07,160
Speaker 3: measure the beating of a human heart in terms of love,

539
00:27:07,440 --> 00:27:09,520
Speaker 3: and we're like, no, it's just about who we're horny for.

540
00:27:09,800 --> 00:27:12,200
Speaker 2: Yes, this is one of those weeks we hate to disappoint.

541
00:27:12,240 --> 00:27:16,520
Speaker 2: He hate to disappointment. Here we are kin on him well.

542
00:27:16,600 --> 00:27:20,720
Speaker 1: And we take that phrase from one of Denzel's famous films.

543
00:27:20,720 --> 00:27:23,440
Speaker 1: I would say one of his most famous films, Training Day,

544
00:27:23,760 --> 00:27:26,800
Speaker 1: which we're not featuring this week, but I wanted to

545
00:27:26,840 --> 00:27:29,240
Speaker 1: ask you just to kick things off, because of course,

546
00:27:29,440 --> 00:27:33,439
Speaker 1: like we're doing Black History Month, we are trying to

547
00:27:33,640 --> 00:27:38,760
Speaker 1: show this sort of diversity amongst black artists, black performers.

548
00:27:38,880 --> 00:27:41,600
Speaker 1: And you know, we started the first episode off with

549
00:27:41,640 --> 00:27:45,920
Speaker 1: somebody who we felt was very underserved needed more attention,

550
00:27:46,280 --> 00:27:50,440
Speaker 1: kind of a very like niche director men alike Shabaz,

551
00:27:50,560 --> 00:27:53,320
Speaker 1: who more people should know about. But then we decided

552
00:27:53,359 --> 00:27:57,960
Speaker 1: to move to Denzel this week, who is arguably one

553
00:27:58,000 --> 00:28:02,560
Speaker 1: of the most famous Black actors, directors, performers of all time.

554
00:28:02,960 --> 00:28:06,680
Speaker 1: And I wanted to ask you, like, so, growing up,

555
00:28:06,800 --> 00:28:09,600
Speaker 1: did you know Denzel? Were you watching his films? What

556
00:28:09,680 --> 00:28:11,840
Speaker 1: was his What was the opinion of him in your house?

557
00:28:12,040 --> 00:28:14,440
Speaker 2: Oh? Completely? Let me let me put it this way.

558
00:28:14,560 --> 00:28:18,760
Speaker 3: I thought for years that the man's name was pronounced

559
00:28:19,040 --> 00:28:24,520
Speaker 3: Denzil because there wasn't anytime he appeared.

560
00:28:24,080 --> 00:28:29,320
Speaker 2: On a screen. That is what everyone in my home shouted. Ah, Denzil.

561
00:28:31,240 --> 00:28:35,440
Speaker 3: Like revered in my home, revered in most black homes.

562
00:28:35,960 --> 00:28:38,320
Speaker 3: He is one of those actors that no matter what

563
00:28:38,560 --> 00:28:40,720
Speaker 3: he is doing, you know you are going to see

564
00:28:40,720 --> 00:28:43,920
Speaker 3: something great. And his greatness is just compounded with time.

565
00:28:44,400 --> 00:28:47,840
Speaker 3: So he started out as a TV actor. You know,

566
00:28:47,840 --> 00:28:49,800
Speaker 3: he was on Saint Elsewhere, and he also did a

567
00:28:49,840 --> 00:28:52,280
Speaker 3: lot of Broadway and off Broadway. Like he's a trained

568
00:28:52,440 --> 00:28:57,360
Speaker 3: actor in many different disciplines, but he is one of

569
00:28:57,400 --> 00:29:03,120
Speaker 3: the foremost and most for minible actors in Hollywood period.

570
00:29:03,280 --> 00:29:06,560
Speaker 3: He's sixty six years old, which is wild because he's

571
00:29:06,600 --> 00:29:10,360
Speaker 3: been acting for about one hundred and fifty years. Like,

572
00:29:10,440 --> 00:29:12,640
Speaker 3: I feel like he has been part of our lives

573
00:29:12,760 --> 00:29:16,040
Speaker 3: for all of our lives. And he picks these roles

574
00:29:16,040 --> 00:29:19,960
Speaker 3: and he can fluctuate between doing something that's like you know,

575
00:29:20,240 --> 00:29:22,480
Speaker 3: he'll do Glory, which is a civil war drama, and

576
00:29:22,520 --> 00:29:25,400
Speaker 3: then he'll kind of do Shakespeare like he did Kenneth

577
00:29:25,400 --> 00:29:27,640
Speaker 3: Brono as much Ado about Nothing. You know, he can

578
00:29:27,680 --> 00:29:30,560
Speaker 3: do Philadelphia, which he did with Tom Hanks, and he'll

579
00:29:30,560 --> 00:29:32,120
Speaker 3: do The Pelican Brief, which is kind of like a

580
00:29:32,200 --> 00:29:36,120
Speaker 3: crime novel. He plays real life characters like Malcolm X.

581
00:29:36,240 --> 00:29:39,640
Speaker 3: He plays roles to the point where he inhabits them

582
00:29:39,720 --> 00:29:43,120
Speaker 3: so fully that he doesn't need prosthetics. He doesn't need

583
00:29:43,200 --> 00:29:47,400
Speaker 3: anything other than his own countenance to fully inhabit a

584
00:29:47,480 --> 00:29:50,360
Speaker 3: character and make you believe this is the who the

585
00:29:50,440 --> 00:29:53,440
Speaker 3: character is. He is an unbelievable actor in my opinion,

586
00:29:53,520 --> 00:29:56,960
Speaker 3: in many people's opinions, he's very well rewarded and awarded.

587
00:29:57,440 --> 00:30:00,360
Speaker 3: He's won Academy Awards, he's won his Screen Actor Skills

588
00:30:00,400 --> 00:30:05,120
Speaker 3: of Hoards, Golden Globes. He's an astonishing presence and if

589
00:30:05,160 --> 00:30:09,440
Speaker 3: you have some time, there are many videos on YouTube

590
00:30:10,000 --> 00:30:12,920
Speaker 3: of him just walking, which doesn't seem like it would

591
00:30:12,920 --> 00:30:16,920
Speaker 3: be a big deal. He has the world's coolest walk,

592
00:30:17,360 --> 00:30:19,920
Speaker 3: and there's even a video that explains how he got

593
00:30:20,000 --> 00:30:20,520
Speaker 3: the walk.

594
00:30:21,040 --> 00:30:24,760
Speaker 2: But he just has such a presence to him and

595
00:30:24,800 --> 00:30:27,800
Speaker 2: he does these movies like Man on Fire or I mean,

596
00:30:27,920 --> 00:30:30,920
Speaker 2: the list goes on and on. But he can change

597
00:30:31,040 --> 00:30:33,720
Speaker 2: the way that you see a character just simply by

598
00:30:33,800 --> 00:30:36,880
Speaker 2: whatever approach it is that he has taken to the character,

599
00:30:37,280 --> 00:30:39,760
Speaker 2: and that to me is true skill. Yeah, and I

600
00:30:39,760 --> 00:30:40,720
Speaker 2: think that he is.

601
00:30:40,960 --> 00:30:43,520
Speaker 3: Revered in exactly the right kind of way because he

602
00:30:43,640 --> 00:30:47,960
Speaker 3: seems like he's also kind of a cool guy. He's

603
00:30:48,000 --> 00:30:51,560
Speaker 3: been the spokesman for the Boys and Girls Club since

604
00:30:51,680 --> 00:30:54,800
Speaker 3: nineteen ninety three because it had a huge impact on

605
00:30:54,960 --> 00:30:58,000
Speaker 3: his life when he was a kid, and he never

606
00:30:58,040 --> 00:31:00,440
Speaker 3: forgot that and so he just always suppor sports the

607
00:31:00,440 --> 00:31:03,240
Speaker 3: things that are important to him. He is very religious

608
00:31:03,480 --> 00:31:05,760
Speaker 3: and he at one point I read some interview where

609
00:31:05,800 --> 00:31:07,120
Speaker 3: he was like, at one point he thought he was

610
00:31:07,160 --> 00:31:09,960
Speaker 3: going to be a preacher, which kind of explains also

611
00:31:10,120 --> 00:31:12,120
Speaker 3: some of his delivery in some of his roles.

612
00:31:12,240 --> 00:31:15,200
Speaker 2: Yes, because the way that he talks and the way

613
00:31:15,280 --> 00:31:20,560
Speaker 2: that he delivers lines is it's very powerful, and it's

614
00:31:20,560 --> 00:31:23,480
Speaker 2: incredibly charismatic, and it kind of has you know, a

615
00:31:23,480 --> 00:31:26,760
Speaker 2: lot of preachers do have that element of theatricality to.

616
00:31:26,680 --> 00:31:29,640
Speaker 3: Them, and it makes perfect to me. It's a perfect

617
00:31:29,720 --> 00:31:33,400
Speaker 3: makes perfect sense. It's a direct correlation between his desire

618
00:31:33,480 --> 00:31:35,720
Speaker 3: to possibly have been a preacher one day or could

619
00:31:35,760 --> 00:31:38,920
Speaker 3: be still one day, and his delivery as an actor.

620
00:31:39,240 --> 00:31:41,040
Speaker 2: And he's also he's been married to his.

621
00:31:40,920 --> 00:31:46,600
Speaker 3: Wife, Pauletta for almost forty years, and their relationship is

622
00:31:46,640 --> 00:31:48,680
Speaker 3: so strong. There's not a single award the man has

623
00:31:48,720 --> 00:31:51,760
Speaker 3: ever received or he hasn't thanked her profusely. They have

624
00:31:51,800 --> 00:31:55,480
Speaker 3: four kids, and his son, John David Washington, is also

625
00:31:55,520 --> 00:31:59,720
Speaker 3: an actor, and he was in Black Clansman and Tenant

626
00:32:00,160 --> 00:32:02,520
Speaker 3: and I was reading about Black Clansmen and I didn't

627
00:32:02,560 --> 00:32:05,720
Speaker 3: know that he was Denzel Washington's son until after I

628
00:32:05,720 --> 00:32:08,280
Speaker 3: saw the film Wow, and he was so captivating in

629
00:32:08,320 --> 00:32:09,960
Speaker 3: that role that I'm like, who is this kid?

630
00:32:09,960 --> 00:32:10,880
Speaker 2: Where did he come from?

631
00:32:11,160 --> 00:32:13,440
Speaker 3: And I was reading this interview with him, and the

632
00:32:13,520 --> 00:32:15,840
Speaker 3: interviewer kept saying, you know, well, your father, your father,

633
00:32:15,960 --> 00:32:20,040
Speaker 3: your father, and John David Washington stopped him and said, actually,

634
00:32:20,120 --> 00:32:23,280
Speaker 3: also my mother, like she also raised me to be

635
00:32:23,360 --> 00:32:25,800
Speaker 3: this person. And the fact that they both love her

636
00:32:26,000 --> 00:32:30,000
Speaker 3: so much just speaks I don't know, it does something

637
00:32:30,040 --> 00:32:32,200
Speaker 3: to me, just speaks to me about just what he

638
00:32:32,240 --> 00:32:34,600
Speaker 3: places value on as an actor and what he places

639
00:32:34,680 --> 00:32:37,480
Speaker 3: value on in his real life. Seems to have translated

640
00:32:37,520 --> 00:32:40,720
Speaker 3: well to them raising these incredible kids, and you know,

641
00:32:40,920 --> 00:32:43,280
Speaker 3: him loving his wife as much as he does seems

642
00:32:43,280 --> 00:32:47,000
Speaker 3: to have translated to him having a good foundation for

643
00:32:47,120 --> 00:32:50,200
Speaker 3: making these big career moves and having the support that

644
00:32:50,240 --> 00:32:53,280
Speaker 3: he needed to be the actor that we see today.

645
00:32:53,360 --> 00:32:55,440
Speaker 3: There's so much information about him out there. He has

646
00:32:55,440 --> 00:33:00,520
Speaker 3: so many honorary doctorates. He loves to donate to acting

647
00:33:00,960 --> 00:33:04,160
Speaker 3: programs in English departments, like he really walks it, like

648
00:33:04,240 --> 00:33:06,600
Speaker 3: he talks it, And I just think he's incredible, And

649
00:33:06,640 --> 00:33:09,040
Speaker 3: I think the movies that we chose today show a

650
00:33:09,160 --> 00:33:11,840
Speaker 3: nice range of who he is. You might be thinking,

651
00:33:11,840 --> 00:33:13,240
Speaker 3: why didn't you pick this one or why didn't you

652
00:33:13,280 --> 00:33:15,720
Speaker 3: pick that one? We might in the future, you don't know,

653
00:33:16,880 --> 00:33:21,680
Speaker 3: but we chose these two because of Denzel.

654
00:33:23,880 --> 00:33:25,200
Speaker 1: Couldn't have said it any better.

655
00:33:25,320 --> 00:33:28,520
Speaker 3: And you have your own experience with Denzel. I hope

656
00:33:28,560 --> 00:33:31,040
Speaker 3: you want to express on this podcast.

657
00:33:31,880 --> 00:33:36,120
Speaker 1: Let me just scuzz up this tribute right now, the

658
00:33:36,200 --> 00:33:40,440
Speaker 1: great dramatic actor Denzel Washington. I'm just gonna follow everything

659
00:33:40,440 --> 00:33:44,400
Speaker 1: that you said so eloquently up with sheer trash. So

660
00:33:44,560 --> 00:33:47,560
Speaker 1: I went to Oh my god, I'm like doing a

661
00:33:47,560 --> 00:33:49,080
Speaker 1: side of the Cross before I say any of this.

662
00:33:49,480 --> 00:33:51,440
Speaker 2: She's sweating. She's sweating, Oh sweating.

663
00:33:51,640 --> 00:33:55,640
Speaker 1: So I went to the AFI tribute for Denzel Washington,

664
00:33:55,880 --> 00:33:58,120
Speaker 1: like a couple of years ago. It was the first

665
00:33:58,120 --> 00:34:01,800
Speaker 1: time I'd ever gone to the Code Theater in Hollywood,

666
00:34:01,840 --> 00:34:03,480
Speaker 1: you know where they have the oscars and stuff. And

667
00:34:03,520 --> 00:34:06,120
Speaker 1: it was just like huge thing. I had to dress

668
00:34:06,200 --> 00:34:09,200
Speaker 1: up fancy, you know, It's like it was kind of

669
00:34:09,239 --> 00:34:11,880
Speaker 1: a big deal. And don't get it twisted. I was

670
00:34:11,920 --> 00:34:13,880
Speaker 1: not in the bottom. I was in the top. I

671
00:34:13,920 --> 00:34:17,640
Speaker 1: was like in the balcony with everybody's assistant and like

672
00:34:17,719 --> 00:34:19,319
Speaker 1: I was a nobody, but I still had to get

673
00:34:19,400 --> 00:34:23,040
Speaker 1: dressed up, okay, And the person that one of the

674
00:34:23,040 --> 00:34:26,560
Speaker 1: people that I was with offered me an edible okay,

675
00:34:27,320 --> 00:34:31,600
Speaker 1: like okay at some point during the ceremony at the

676
00:34:31,719 --> 00:34:35,040
Speaker 1: very beginning, and of course I said yes because I

677
00:34:35,120 --> 00:34:37,560
Speaker 1: was like, do I need to be stoned for the

678
00:34:37,600 --> 00:34:40,680
Speaker 1: AFI tribute to Denzel Washington. I guess we're gonna see.

679
00:34:40,760 --> 00:34:42,040
Speaker 1: Let's see what happens. Wait.

680
00:34:42,120 --> 00:34:45,359
Speaker 3: I love the sentence at some point during the ceremony

681
00:34:45,680 --> 00:34:49,160
Speaker 3: at the beginning, like no one has said a word,

682
00:34:49,600 --> 00:34:50,320
Speaker 3: and your friend.

683
00:34:50,239 --> 00:34:53,120
Speaker 2: Is like, let's eat these edibles.

684
00:34:53,600 --> 00:34:58,680
Speaker 1: Oh God, very cloudy evening I had, but I decided

685
00:34:58,719 --> 00:35:01,560
Speaker 1: to take an edible, and without getting too much into

686
00:35:01,719 --> 00:35:05,840
Speaker 1: my history with edibles, I don't do them anymore because

687
00:35:06,120 --> 00:35:10,400
Speaker 1: of this, because of this situation and other situations I

688
00:35:10,400 --> 00:35:13,040
Speaker 1: had had prior. But this one really was the nail

689
00:35:13,080 --> 00:35:15,120
Speaker 1: on the coffin for me to ever fuck with edibles

690
00:35:15,120 --> 00:35:17,799
Speaker 1: ever again. So I'm like in my fancy clothes in

691
00:35:17,840 --> 00:35:21,359
Speaker 1: the balcony at the Kodak Theater and there is literal

692
00:35:21,920 --> 00:35:27,000
Speaker 1: famous Hollywood people like Julia Roberts is down there, Chadwick

693
00:35:27,160 --> 00:35:30,080
Speaker 1: Boseman was down there. This was when Chadwick Boseman was alive.

694
00:35:30,320 --> 00:35:35,680
Speaker 1: RP King Pauletta, and those kids were down there, like

695
00:35:35,760 --> 00:35:37,680
Speaker 1: literally his entire family.

696
00:35:37,400 --> 00:35:39,040
Speaker 2: Twins, the twins were there.

697
00:35:39,040 --> 00:35:43,120
Speaker 1: The twins were there. Everybody that was famous and awesome

698
00:35:43,320 --> 00:35:46,520
Speaker 1: in Hollywood was in the theater. And I'm just this

699
00:35:46,800 --> 00:35:51,759
Speaker 1: goon in a stupid dress from Modcloth, I guess, And

700
00:35:51,920 --> 00:35:58,719
Speaker 1: I was slowly unraveling because I just can't get edibles right,

701
00:35:58,960 --> 00:36:02,160
Speaker 1: and every time I had them, I'm like completely losing

702
00:36:02,160 --> 00:36:04,440
Speaker 1: my shit, to the point where I'm like calling my

703
00:36:04,480 --> 00:36:06,160
Speaker 1: friends being like you have to come over. I swear

704
00:36:06,200 --> 00:36:08,200
Speaker 1: to God, I'm gonna jump off the building, which is

705
00:36:08,239 --> 00:36:10,640
Speaker 1: exactly what happened, which I was like. I turned to

706
00:36:10,680 --> 00:36:13,120
Speaker 1: my friend at some point and I was feeling so

707
00:36:13,360 --> 00:36:16,480
Speaker 1: crazy and fucked up that I was like, I feel

708
00:36:16,480 --> 00:36:20,760
Speaker 1: like I'm gonna jump off the balcony and my friend's

709
00:36:20,760 --> 00:36:23,759
Speaker 1: like what, And I'm like, dude, I don't know what's

710
00:36:23,800 --> 00:36:24,200
Speaker 1: going on.

711
00:36:24,320 --> 00:36:24,520
Speaker 3: Man.

712
00:36:24,840 --> 00:36:28,160
Speaker 2: You were having a true reefer madness moment.

713
00:36:28,360 --> 00:36:31,120
Speaker 1: Oh my god. It was psychotic, and I just felt like,

714
00:36:31,160 --> 00:36:34,920
Speaker 1: I like, you're watching like all these like extremely famous

715
00:36:34,960 --> 00:36:38,760
Speaker 1: people like give him all of the accolades he deserves,

716
00:36:38,840 --> 00:36:42,319
Speaker 1: and he's like very grateful. They're showing his face like

717
00:36:42,400 --> 00:36:46,120
Speaker 1: close up on the screen and he's like tearing up.

718
00:36:46,400 --> 00:36:48,400
Speaker 1: He's very moved by everything that's going on.

719
00:36:48,600 --> 00:36:50,000
Speaker 2: Yeah, I watched it. I remember.

720
00:36:50,600 --> 00:36:55,759
Speaker 1: Yeah, I'm upstairs like sweating and being like, dude, dude,

721
00:36:55,920 --> 00:36:58,880
Speaker 1: whispering to my stupid friend. Dude, I gotta get the

722
00:36:58,920 --> 00:37:00,879
Speaker 1: fuck out of here. Man, I fucked up. I can't

723
00:37:00,920 --> 00:37:01,319
Speaker 1: be here.

724
00:37:01,480 --> 00:37:04,720
Speaker 2: Look what a way to go. You're gonna stop eating edibals?

725
00:37:04,840 --> 00:37:08,759
Speaker 3: What a way to go with the steely grin of

726
00:37:08,840 --> 00:37:12,239
Speaker 3: Denzel Washington making you feel like you are fucking up

727
00:37:12,280 --> 00:37:13,360
Speaker 3: his special night.

728
00:37:13,400 --> 00:37:17,359
Speaker 1: Listen, thank you, Denzel Washington for getting me off of Edibles, Sir,

729
00:37:19,040 --> 00:37:21,239
Speaker 1: I salute you, thank you for helping me kick that.

730
00:37:22,160 --> 00:37:25,080
Speaker 1: You are beloved by many, including the two of us.

731
00:37:25,120 --> 00:37:27,480
Speaker 1: And honestly, I can't wait to get into these movies

732
00:37:27,560 --> 00:37:30,359
Speaker 1: because I saw your movie for the very first time.

733
00:37:30,400 --> 00:37:33,080
Speaker 1: It was the first watch who it Is, Daniel's first

734
00:37:33,080 --> 00:37:41,360
Speaker 1: watch stressful, life ruining, family crushing.

735
00:37:45,080 --> 00:37:49,200
Speaker 3: Oh well, let's definitely get into this and you are

736
00:37:49,320 --> 00:37:51,960
Speaker 3: first this week, so knock us out.

737
00:37:52,280 --> 00:37:55,839
Speaker 1: Okay, let's get started. My movie for the theme of

738
00:37:56,520 --> 00:37:59,480
Speaker 1: King Kong. Hey, God, shit on him? Is a movie

739
00:37:59,520 --> 00:38:04,000
Speaker 1: from nineteen ninety five. It was written and directed by

740
00:38:04,080 --> 00:38:07,640
Speaker 1: Carl Franklin, and it's called Devil in a Blue Dress.

741
00:38:08,480 --> 00:38:09,960
Speaker 2: So here you need a jam, I'm kind of worth

742
00:38:10,000 --> 00:38:10,160
Speaker 2: you do.

743
00:38:10,360 --> 00:38:13,959
Speaker 1: I'm just looking for somebody bestey monnet fiance at Todd Kirk,

744
00:38:14,160 --> 00:38:15,360
Speaker 1: which has been gone two weeks.

745
00:38:15,640 --> 00:38:18,360
Speaker 3: See, Daphnie has a predilection for the company of Negroes.

746
00:38:19,600 --> 00:38:22,120
Speaker 2: He thought he knew how to play the game. And

747
00:38:22,200 --> 00:38:23,880
Speaker 2: he also seen a white girl by the name my

748
00:38:23,960 --> 00:38:25,600
Speaker 2: Dahlia Delia or something like that.

749
00:38:25,800 --> 00:38:27,120
Speaker 3: His name is Daphne.

750
00:38:27,160 --> 00:38:31,840
Speaker 1: He can't get none of that tonight. So, yeah, this movie.

751
00:38:31,960 --> 00:38:36,040
Speaker 1: I just wanted to briefly mention Carl Franklin, who wrote

752
00:38:36,080 --> 00:38:38,359
Speaker 1: and directed this movie, because I actually feel like he

753
00:38:38,360 --> 00:38:41,399
Speaker 1: could probably have his own episode for Black History Month.

754
00:38:41,560 --> 00:38:41,920
Speaker 2: Yeah.

755
00:38:41,960 --> 00:38:46,400
Speaker 1: He started his career as an actor in the nineteen seventies.

756
00:38:47,040 --> 00:38:50,200
Speaker 1: He went to UC Berkeley to study theater and then

757
00:38:50,400 --> 00:38:54,240
Speaker 1: went to New York where he started acting in many

758
00:38:54,360 --> 00:38:58,279
Speaker 1: beloved films and TV shows too many to mention. But

759
00:38:58,680 --> 00:39:02,520
Speaker 1: then at age thirty seven, he decided that he wanted

760
00:39:02,560 --> 00:39:05,240
Speaker 1: to be a director, so he went back to school

761
00:39:05,920 --> 00:39:09,879
Speaker 1: and he got a master's at the AFI Conservatory, as

762
00:39:09,920 --> 00:39:13,759
Speaker 1: we talked about just a moment ago. But after graduating,

763
00:39:14,080 --> 00:39:17,960
Speaker 1: Carl Franklin went to work for Roger Korman, as you do,

764
00:39:18,120 --> 00:39:21,360
Speaker 1: everybody has to have their turn with learning how to

765
00:39:21,400 --> 00:39:27,319
Speaker 1: make cheap movies with Roger Corman. But then his sort

766
00:39:27,360 --> 00:39:31,440
Speaker 1: of breakout film came in nineteen ninety two, this movie

767
00:39:31,480 --> 00:39:35,120
Speaker 1: called One False Move, which is also a neo no

768
00:39:35,239 --> 00:39:38,600
Speaker 1: Orr strangely enough, but that one starred Billy, Bob Thornton

769
00:39:38,800 --> 00:39:42,480
Speaker 1: and Bill Paxton and it's really a great film. I

770
00:39:42,600 --> 00:39:44,880
Speaker 1: urge you to check it out if you haven't. But

771
00:39:45,160 --> 00:39:48,120
Speaker 1: a few years after that came this movie Devil in

772
00:39:48,120 --> 00:39:51,160
Speaker 1: a Blue Dress, and it was because Carl Franklin was

773
00:39:51,160 --> 00:39:54,440
Speaker 1: a fan of this series of mystery books that were

774
00:39:54,480 --> 00:39:59,120
Speaker 1: written by the famous author Walter Mosley, who again could

775
00:39:59,160 --> 00:40:01,760
Speaker 1: probably have an episod during Black History Month as well.

776
00:40:02,360 --> 00:40:06,480
Speaker 1: It was a series that revolved around the character of

777
00:40:06,760 --> 00:40:11,880
Speaker 1: Easy Rawlins, who was a black private detective living in

778
00:40:12,120 --> 00:40:15,600
Speaker 1: the Watts neighborhood of Los Angeles around the end of

779
00:40:15,640 --> 00:40:19,239
Speaker 1: the Second World War and was really inspired by that

780
00:40:19,360 --> 00:40:23,800
Speaker 1: kind of hard boiled fiction of like Raymond Chandler and

781
00:40:24,120 --> 00:40:26,919
Speaker 1: people like that. But right off the bat, I love

782
00:40:27,040 --> 00:40:31,480
Speaker 1: that this film is inspired by, directed by, and acted

783
00:40:31,640 --> 00:40:34,680
Speaker 1: by black artists and performers. I think that's really cool.

784
00:40:35,480 --> 00:40:41,239
Speaker 1: And Denzel was already super famous and successful by the

785
00:40:41,280 --> 00:40:44,000
Speaker 1: time this movie came out in nineteen ninety five. But

786
00:40:44,400 --> 00:40:47,120
Speaker 1: what I think is interesting is that this film when

787
00:40:47,120 --> 00:40:50,680
Speaker 1: it came out, was considered a box office failure. And

788
00:40:51,360 --> 00:40:54,600
Speaker 1: for me, I think it's become one of these movies

789
00:40:54,719 --> 00:40:57,799
Speaker 1: where I just sit and think, I can't believe this

790
00:40:57,960 --> 00:41:02,640
Speaker 1: movie wasn't more yeah than that, Like, I just it's

791
00:41:02,680 --> 00:41:05,040
Speaker 1: puzzling to me because I'm like, why did this movie

792
00:41:05,080 --> 00:41:06,440
Speaker 1: not become La Confidential?

793
00:41:06,560 --> 00:41:08,080
Speaker 2: That is it exactly?

794
00:41:08,160 --> 00:41:10,480
Speaker 3: That was exactly what I thought when I saw it,

795
00:41:10,560 --> 00:41:13,840
Speaker 3: even like recently of course, like watching it for the show.

796
00:41:14,000 --> 00:41:15,600
Speaker 3: But when I first saw it, I'm like, this is

797
00:41:15,640 --> 00:41:19,000
Speaker 3: like a noir movie in the vein of the La

798
00:41:19,080 --> 00:41:21,600
Speaker 3: Confidentials and so many others, And how is it so

799
00:41:21,840 --> 00:41:23,320
Speaker 3: overlooked totally?

800
00:41:23,480 --> 00:41:26,000
Speaker 1: And even on top of that, like we're such in

801
00:41:26,080 --> 00:41:30,640
Speaker 1: the age of like franchises and intellectual property now that

802
00:41:30,840 --> 00:41:33,640
Speaker 1: maybe that's informing sort of my thoughts on this, But

803
00:41:33,680 --> 00:41:39,000
Speaker 1: I'm like, why didn't Easy Rawlins become the big franchise

804
00:41:39,080 --> 00:41:43,520
Speaker 1: character like Philip Marlowe, like the Raymond Chandler guy who

805
00:41:43,880 --> 00:41:48,680
Speaker 1: had many movies and many ips about him. So I'm

806
00:41:48,719 --> 00:41:51,839
Speaker 1: kind of like, it just really puzzled me. And then

807
00:41:52,200 --> 00:41:54,480
Speaker 1: I started really thinking about it, and I was like, oh,

808
00:41:54,480 --> 00:41:57,520
Speaker 1: there's probably lots of reasons for this, because one of

809
00:41:57,520 --> 00:42:00,480
Speaker 1: the biggest ones is that Devil in a Blue addresses

810
00:42:00,520 --> 00:42:05,680
Speaker 1: a period piece, and as we know, Hollywood just simply

811
00:42:05,920 --> 00:42:07,960
Speaker 1: does not know how to make or deal with films

812
00:42:08,320 --> 00:42:10,919
Speaker 1: that aren't being made expressly for teenagers.

813
00:42:11,080 --> 00:42:12,480
Speaker 2: Yes, you know, we're.

814
00:42:12,360 --> 00:42:15,600
Speaker 1: Always complaining about now how there seems to be like

815
00:42:15,800 --> 00:42:19,279
Speaker 1: no adult films. Like when I mean adult films, I

816
00:42:19,280 --> 00:42:23,080
Speaker 1: don't mean porn. I'm talking about movies for grown ups,

817
00:42:23,160 --> 00:42:25,520
Speaker 1: you know, that aren't tied to like comic books or

818
00:42:25,560 --> 00:42:28,640
Speaker 1: something like that. There's no like, you know, movies for

819
00:42:28,880 --> 00:42:30,920
Speaker 1: middle aged people. I guess it's the best way to

820
00:42:30,960 --> 00:42:34,360
Speaker 1: put it. And so there's a moment where I thought, oh,

821
00:42:34,520 --> 00:42:37,200
Speaker 1: nobody wants to see us a period piece like that's

822
00:42:37,239 --> 00:42:41,680
Speaker 1: not popular for teenage boys, certainly. But another big reason,

823
00:42:41,840 --> 00:42:43,440
Speaker 1: and this is something that we talk about a lot

824
00:42:43,440 --> 00:42:46,440
Speaker 1: on this podcast, is that Hollywood just doesn't know how

825
00:42:46,480 --> 00:42:49,920
Speaker 1: to deal with films about the black experience and staring

826
00:42:49,960 --> 00:42:55,000
Speaker 1: black people, and even if in this film you have

827
00:42:55,600 --> 00:43:01,120
Speaker 1: black people operating within the conventions of a most white

828
00:43:01,520 --> 00:43:06,720
Speaker 1: genre traditionally like film noir. But there's this great article

829
00:43:06,800 --> 00:43:08,920
Speaker 1: that I read when I was doing research for this

830
00:43:09,400 --> 00:43:12,680
Speaker 1: episode that was written by a writer named Scott Mendelssohn,

831
00:43:12,880 --> 00:43:15,919
Speaker 1: and it was in Forbes magazine last year about why

832
00:43:16,120 --> 00:43:18,799
Speaker 1: Devil in a Blue Dress didn't become this big hit

833
00:43:18,840 --> 00:43:21,439
Speaker 1: when it came out, and he actually believes a big

834
00:43:21,480 --> 00:43:24,880
Speaker 1: part of it had to do with the idea that, yes,

835
00:43:25,360 --> 00:43:28,400
Speaker 1: Dentil Washington was as big of a star as you

836
00:43:28,440 --> 00:43:31,520
Speaker 1: could have imagined in nineteen ninety five, but at the

837
00:43:31,560 --> 00:43:34,360
Speaker 1: same time, he was not allowed to carry a film

838
00:43:34,440 --> 00:43:39,520
Speaker 1: by himself without a famous white co star. That's right, right,

839
00:43:40,560 --> 00:43:43,680
Speaker 1: And listen, I mean, I know Jennifer Beals is technically

840
00:43:43,760 --> 00:43:46,719
Speaker 1: the female lead in this film, but she was not

841
00:43:46,920 --> 00:43:49,319
Speaker 1: even near the level of famous that he was at

842
00:43:49,320 --> 00:43:51,400
Speaker 1: this time, and she's also half black, so it's kind

843
00:43:51,440 --> 00:43:53,879
Speaker 1: of like, okay. It's almost like Hollywood was like, oh,

844
00:43:53,880 --> 00:43:56,960
Speaker 1: we can pair you with a famous white person and

845
00:43:56,960 --> 00:44:00,560
Speaker 1: it's okay. But if this is your entire show, how

846
00:44:00,560 --> 00:44:04,320
Speaker 1: do we figure this out? And the writer of the article,

847
00:44:04,520 --> 00:44:08,160
Speaker 1: Scott Mendelssohn, he makes this kind of fascinating observation, which

848
00:44:08,200 --> 00:44:10,440
Speaker 1: is that Devil in a Blue Dross came out the

849
00:44:10,480 --> 00:44:14,080
Speaker 1: week that the David Fincher movie Seven came out, which

850
00:44:14,120 --> 00:44:17,239
Speaker 1: is also a mystery film. Oh right, a lot of

851
00:44:17,239 --> 00:44:20,160
Speaker 1: twist and turns in that one, but it says star

852
00:44:20,360 --> 00:44:24,040
Speaker 1: a famous black actor alongside a famous white actor, and

853
00:44:24,120 --> 00:44:27,160
Speaker 1: actually two if you want to count Gwyneth Paltrow, and

854
00:44:27,239 --> 00:44:30,800
Speaker 1: it was, weirdly enough, the seventh highest grossing film of

855
00:44:30,800 --> 00:44:33,399
Speaker 1: the year and was nominated for an Academy Award. It's

856
00:44:33,480 --> 00:44:37,520
Speaker 1: kind of like you got two like noarree films that

857
00:44:37,560 --> 00:44:40,040
Speaker 1: are being released within a week of each other, and

858
00:44:40,080 --> 00:44:44,239
Speaker 1: these like little variables make one film kind of not

859
00:44:44,480 --> 00:44:48,040
Speaker 1: bankable and not a box office success, and the other

860
00:44:48,080 --> 00:44:49,560
Speaker 1: one is a wild success.

861
00:44:49,800 --> 00:44:52,280
Speaker 2: Do you know what I mean? Exactly exactly.

862
00:44:52,320 --> 00:44:55,319
Speaker 3: And that is something that when I was researching, you know,

863
00:44:55,360 --> 00:44:57,680
Speaker 3: for my film, and researching Denzel in general, that I

864
00:44:57,680 --> 00:45:01,080
Speaker 3: didn't realize either, is that his his ability to carry

865
00:45:01,080 --> 00:45:04,200
Speaker 3: a film on his own was always present, like he

866
00:45:04,600 --> 00:45:07,640
Speaker 3: could have carried a film on his own much earlier

867
00:45:07,640 --> 00:45:09,919
Speaker 3: than he actually did, and that.

868
00:45:09,880 --> 00:45:12,920
Speaker 2: Was all politics. It's all politics behind the scenes.

869
00:45:12,960 --> 00:45:14,480
Speaker 3: And it was weird for me to realize that because

870
00:45:14,480 --> 00:45:16,040
Speaker 3: I'm like, no, he's been a leading man for a

871
00:45:16,120 --> 00:45:18,000
Speaker 3: long time. And then when I looked at the films,

872
00:45:18,000 --> 00:45:19,799
Speaker 3: I'm like, yep, here he is with Tom Hanks, and

873
00:45:19,840 --> 00:45:21,239
Speaker 3: here he is with this person, and here he is

874
00:45:21,280 --> 00:45:24,240
Speaker 3: with that person. And it wasn't really until like Malcolm

875
00:45:24,520 --> 00:45:28,120
Speaker 3: X and that film in particular, but like he showed

876
00:45:28,239 --> 00:45:30,320
Speaker 3: that he could carry it. And that was again another

877
00:45:30,400 --> 00:45:34,360
Speaker 3: film about a very important and prominent figure in our.

878
00:45:34,360 --> 00:45:36,600
Speaker 2: History, in Black history and in all history.

879
00:45:36,640 --> 00:45:38,640
Speaker 3: And if you don't know about Malcolm X, you should

880
00:45:38,640 --> 00:45:40,759
Speaker 3: read about him because I guarantee that what you've learned

881
00:45:40,760 --> 00:45:43,200
Speaker 3: about him is not the full story and it is

882
00:45:43,239 --> 00:45:45,640
Speaker 3: not nearly as fascinating as he was as a person.

883
00:45:45,800 --> 00:45:48,040
Speaker 3: And they fought to get that film made. You know,

884
00:45:48,080 --> 00:45:51,239
Speaker 3: it's like every film is a fight, even if you're

885
00:45:51,239 --> 00:45:53,160
Speaker 3: Denzel fucking Washington.

886
00:45:52,960 --> 00:45:55,680
Speaker 1: Right, It's almost like, if you're not like this incredibly

887
00:45:55,920 --> 00:45:59,799
Speaker 1: famous historical figure, then you know, we're gonna have to

888
00:45:59,800 --> 00:46:03,359
Speaker 1: pay with some white, bankable star. Not to say that

889
00:46:03,400 --> 00:46:05,480
Speaker 1: Denzel wasn't bankable, because at the time, I mean, he

890
00:46:05,520 --> 00:46:08,239
Speaker 1: had made so many big movies in a row. I mean,

891
00:46:08,280 --> 00:46:11,600
Speaker 1: Philadelphia was right before this film, but it is that

892
00:46:11,680 --> 00:46:15,200
Speaker 1: weird Hollywood thing of like, okay, well then what happened here?

893
00:46:15,239 --> 00:46:18,040
Speaker 1: Because this is such a great film, I mean, really

894
00:46:18,080 --> 00:46:19,879
Speaker 1: is a great film, and I will definitely get into

895
00:46:20,000 --> 00:46:22,280
Speaker 1: like my reasons for loving it in just a second,

896
00:46:22,320 --> 00:46:24,279
Speaker 1: but just to give you a I mean, there's a

897
00:46:24,280 --> 00:46:26,680
Speaker 1: lot to chew on obviously with all of that, but

898
00:46:26,719 --> 00:46:28,520
Speaker 1: I would love to give you like a one sentence

899
00:46:28,600 --> 00:46:29,920
Speaker 1: synopsis of the film.

900
00:46:30,880 --> 00:46:33,239
Speaker 2: I'm smiling because this film is so intricate.

901
00:46:33,560 --> 00:46:37,000
Speaker 1: Yes, I mean, I'm just gonna say this might appear

902
00:46:37,040 --> 00:46:39,880
Speaker 1: to be shockingly simplitic, but I think it actually covers

903
00:46:40,000 --> 00:46:43,399
Speaker 1: the entire film. Here. It goes a black World War

904
00:46:43,440 --> 00:46:47,479
Speaker 1: two veteran living in Los Angeles just wants to own

905
00:46:47,680 --> 00:46:50,719
Speaker 1: his own home in peace, but it's laid off one

906
00:46:50,800 --> 00:46:55,640
Speaker 1: day and therefore forced to accept an extremely sketchy job

907
00:46:56,000 --> 00:46:58,640
Speaker 1: working for a bunch of racists in order to afford

908
00:46:58,680 --> 00:47:00,360
Speaker 1: his mortgage.

909
00:46:59,760 --> 00:47:02,160
Speaker 2: I don't think that's simplistic at all.

910
00:47:02,320 --> 00:47:07,000
Speaker 1: Okay, So Denzel plays the lead character, who is, like

911
00:47:07,040 --> 00:47:11,200
Speaker 1: I said, his full name is Ezekiel easy for short,

912
00:47:11,719 --> 00:47:15,960
Speaker 1: Rawlins and he is in this film, he's one of

913
00:47:15,960 --> 00:47:19,200
Speaker 1: the only people in his neighborhood who owns his own home. Okay,

914
00:47:19,560 --> 00:47:21,640
Speaker 1: Like I said, this takes place in nineteen forty eight.

915
00:47:21,920 --> 00:47:24,040
Speaker 1: I actually think that this is one of the more

916
00:47:24,080 --> 00:47:27,920
Speaker 1: fascinating points of this movie. And it's talked about, but

917
00:47:28,200 --> 00:47:30,400
Speaker 1: you know, it's kind of brief, right, It's almost like

918
00:47:30,480 --> 00:47:33,279
Speaker 1: if you blink, you miss it. But nineteen forty eight

919
00:47:33,440 --> 00:47:36,640
Speaker 1: obviously the post World War Two era where a lot

920
00:47:36,640 --> 00:47:40,440
Speaker 1: of servicemen were coming home wanted to buy homes and

921
00:47:40,480 --> 00:47:43,720
Speaker 1: starting the benefits that they had earned with the GI

922
00:47:43,760 --> 00:47:48,440
Speaker 1: Bill for their service. Right. But of course black servicemen

923
00:47:48,800 --> 00:47:51,640
Speaker 1: typically got the shaft when it came to getting those

924
00:47:51,680 --> 00:47:55,440
Speaker 1: benefits right that they'd earned they earned him exactly by

925
00:47:56,280 --> 00:47:59,200
Speaker 1: being in a war, and would shuneou. They had a

926
00:47:59,280 --> 00:48:02,400
Speaker 1: much harder time I'm getting home loans, getting jobs, getting

927
00:48:02,400 --> 00:48:04,279
Speaker 1: in to college. I mean, I think, go look up

928
00:48:04,280 --> 00:48:07,920
Speaker 1: the history of redlining if you haven't done so already. Yes, So,

929
00:48:08,680 --> 00:48:12,080
Speaker 1: the idea that Easy was a veteran and actually did

930
00:48:12,200 --> 00:48:15,520
Speaker 1: own his own home and had an enormous sense of

931
00:48:15,640 --> 00:48:18,480
Speaker 1: pride about that is actually, to me the most important

932
00:48:18,480 --> 00:48:19,440
Speaker 1: part of this movie.

933
00:48:19,520 --> 00:48:22,240
Speaker 2: I completely agree and it's wild and wonderful to watch

934
00:48:22,440 --> 00:48:25,359
Speaker 2: these scenes where he's like, I just want to pay

935
00:48:25,360 --> 00:48:27,840
Speaker 2: my mortgage and eat ye, Like his goals are so

936
00:48:28,040 --> 00:48:32,319
Speaker 2: simple and so and should be so attainable. And he

937
00:48:32,440 --> 00:48:35,239
Speaker 2: left this war and came back to a country that

938
00:48:35,320 --> 00:48:38,040
Speaker 2: was still very racist, so the system was always working

939
00:48:38,080 --> 00:48:40,879
Speaker 2: against him. And the fact that they don't even show

940
00:48:40,960 --> 00:48:42,440
Speaker 2: how he got the home that could have been its

941
00:48:42,480 --> 00:48:43,600
Speaker 2: own movie, like.

942
00:48:43,600 --> 00:48:46,279
Speaker 3: Showing how he got a home, a home, loan, and

943
00:48:46,320 --> 00:48:48,560
Speaker 3: a mortgage in this in this kind of you know,

944
00:48:48,600 --> 00:48:51,359
Speaker 3: this cultural stew So I think that it's really it

945
00:48:51,400 --> 00:48:54,160
Speaker 3: is important, and every time they mention it, it punctuates

946
00:48:54,200 --> 00:48:56,880
Speaker 3: a deeper point about what was going on in society

947
00:48:56,880 --> 00:48:57,400
Speaker 3: in that moment.

948
00:48:57,600 --> 00:49:00,640
Speaker 1: Definitely. And you know Easy at the beginning of this

949
00:49:00,719 --> 00:49:04,080
Speaker 1: film is laid off from his job by his white

950
00:49:04,080 --> 00:49:07,840
Speaker 1: boss and he's behind on the bills, and so he

951
00:49:08,120 --> 00:49:11,239
Speaker 1: accepts this sort of under the table gig from this

952
00:49:11,320 --> 00:49:15,600
Speaker 1: guy named mister Albright, who is a private detective played

953
00:49:15,600 --> 00:49:21,000
Speaker 1: by Tom Sizemore in another Stone Cold cycle role.

954
00:49:21,400 --> 00:49:24,440
Speaker 3: As you can imagine, the man is a character actor.

955
00:49:24,960 --> 00:49:27,120
Speaker 3: We might not be able to say that about him

956
00:49:27,120 --> 00:49:31,000
Speaker 3: across the board. He loves to play an unhinged cop.

957
00:49:31,320 --> 00:49:36,000
Speaker 1: Yes, just like a dirty, fucking crooked cop or detective.

958
00:49:36,040 --> 00:49:40,440
Speaker 1: It's just crazy. And mister Albright makes Easy this offer

959
00:49:40,480 --> 00:49:42,680
Speaker 1: that he can't refuse, which is he just tells him,

960
00:49:42,680 --> 00:49:45,040
Speaker 1: I'm gonna give you money if you can locate this

961
00:49:45,080 --> 00:49:50,080
Speaker 1: woman named Daphne Monet, and mister Albright sort of tells him, Hey,

962
00:49:50,200 --> 00:49:54,319
Speaker 1: I would actually try to find her myself. But Daphney,

963
00:49:54,520 --> 00:49:57,120
Speaker 1: who is played by Jennifer Bials, like I think I

964
00:49:57,120 --> 00:50:00,120
Speaker 1: said earlier, who was very standwick in this film, by

965
00:50:00,120 --> 00:50:03,759
Speaker 1: the way, She's just the classic beautiful, fe fetal Daphney

966
00:50:04,239 --> 00:50:06,840
Speaker 1: likes to hang out with black people and likes to

967
00:50:06,880 --> 00:50:10,200
Speaker 1: hang out in black clubs, despite the fact that she's

968
00:50:10,320 --> 00:50:14,680
Speaker 1: dating this very important white guy running for mayor of

969
00:50:14,840 --> 00:50:19,080
Speaker 1: Los Angeles. Okay, And the problem is is that the

970
00:50:19,200 --> 00:50:22,120
Speaker 1: guy that she's dating is running against this other guy

971
00:50:22,400 --> 00:50:26,480
Speaker 1: who also might be a child pornographer, and maybe Daphne

972
00:50:26,600 --> 00:50:29,880
Speaker 1: has proof that he is, and maybe that's why she's missing,

973
00:50:30,200 --> 00:50:32,640
Speaker 1: and all Bright needs Easy to find her.

974
00:50:32,920 --> 00:50:33,320
Speaker 2: Okay.

975
00:50:33,840 --> 00:50:35,880
Speaker 1: So that's kind of the crux of the story really,

976
00:50:36,000 --> 00:50:40,239
Speaker 1: And after this Easy is hired to basically go into

977
00:50:40,239 --> 00:50:43,840
Speaker 1: the black community to start asking around about Daphne, and

978
00:50:44,239 --> 00:50:47,440
Speaker 1: as we say a lot on this podcast, all hell

979
00:50:47,640 --> 00:50:53,160
Speaker 1: simply breaks loose from here truly, okay, And remember Easy

980
00:50:53,360 --> 00:50:57,439
Speaker 1: just wants to pay his damn bills and keep his house.

981
00:50:57,600 --> 00:51:00,399
Speaker 3: And look, you tell me, I'll give you this money.

982
00:51:00,400 --> 00:51:02,080
Speaker 3: All you have to do is find someone like you

983
00:51:02,080 --> 00:51:03,759
Speaker 3: don't have to talk to them, you don't have.

984
00:51:04,160 --> 00:51:06,960
Speaker 2: To drive them anywhere. You just have to find them

985
00:51:06,960 --> 00:51:07,360
Speaker 2: and tell me.

986
00:51:07,360 --> 00:51:09,799
Speaker 3: Where they are. I would take the job. Yes, it

987
00:51:09,920 --> 00:51:11,319
Speaker 3: sounds easy. It sounds easy.

988
00:51:11,360 --> 00:51:14,800
Speaker 1: It sounds easy, but you know, an eight, it's just bad.

989
00:51:15,000 --> 00:51:19,799
Speaker 1: Like people are showing up dead. Okay, the asshole lapd

990
00:51:20,120 --> 00:51:23,920
Speaker 1: are on his tail as they are. This mister Albright

991
00:51:24,160 --> 00:51:27,359
Speaker 1: character truly one of the shittiest races to ever live,

992
00:51:27,360 --> 00:51:31,640
Speaker 1: and also just completely unhinged at all moments. Truly, Albright's

993
00:51:31,680 --> 00:51:36,400
Speaker 1: got Easy by the balls, and Easy essentially is feeling

994
00:51:36,640 --> 00:51:39,640
Speaker 1: the weight of this decision that he's made to accept

995
00:51:39,640 --> 00:51:42,920
Speaker 1: this money from this like fucked up scenario, right, and

996
00:51:42,960 --> 00:51:46,720
Speaker 1: he essentially has no recourse but to start taking matters

997
00:51:46,760 --> 00:51:50,920
Speaker 1: into his own hands, which includes calling up his old

998
00:51:51,080 --> 00:51:56,720
Speaker 1: buddy from Houston Mouse, who was played epically by Don Sheetel.

999
00:51:57,239 --> 00:52:00,480
Speaker 2: I mean again, why can't we get a franchise just

1000
00:52:00,640 --> 00:52:02,160
Speaker 2: about Mouse Alexander.

1001
00:52:03,120 --> 00:52:07,560
Speaker 3: There is a scene in a kitchen where they've been

1002
00:52:07,640 --> 00:52:10,160
Speaker 3: drinking to try to get some information out of somebody,

1003
00:52:10,440 --> 00:52:14,839
Speaker 3: and the Easy Rollins character goes to roused Mouse out

1004
00:52:14,880 --> 00:52:17,080
Speaker 3: of the kitchen to kind of get him moving, and

1005
00:52:17,160 --> 00:52:19,920
Speaker 3: Mouse just starts pulling guns on him like drunk.

1006
00:52:19,960 --> 00:52:23,040
Speaker 2: All his mind just wakes up. Drunk starts pulling guns.

1007
00:52:23,320 --> 00:52:25,160
Speaker 2: It is the most tense and.

1008
00:52:25,160 --> 00:52:29,200
Speaker 3: Simultaneously the most hilarious scene I have possibly seen.

1009
00:52:30,120 --> 00:52:35,040
Speaker 1: Mouse will literally kill anyone at any time. He's just

1010
00:52:35,120 --> 00:52:37,680
Speaker 1: that person. He's just basically like, whatever you need, I'll

1011
00:52:37,719 --> 00:52:39,719
Speaker 1: kill this guy. I know you don't even want me

1012
00:52:39,800 --> 00:52:41,239
Speaker 1: to kill him, but I'll just do it.

1013
00:52:41,400 --> 00:52:44,960
Speaker 2: Strong survival instinct strong exactly.

1014
00:52:44,520 --> 00:52:49,000
Speaker 1: Yes, yes, very strong survival instinct. Just like the co

1015
00:52:49,080 --> 00:52:52,719
Speaker 1: host of the podcast. I saw what he did, but

1016
00:52:52,920 --> 00:52:56,440
Speaker 1: don Chittle got so much he stole the show. I

1017
00:52:56,440 --> 00:52:59,560
Speaker 1: mean he got so much attention from this character of Mouse,

1018
00:52:59,719 --> 00:53:02,080
Speaker 1: and he's great. He is one of the best parts

1019
00:53:02,160 --> 00:53:05,919
Speaker 1: of this film. Yes, but essentially Easy has to link

1020
00:53:06,000 --> 00:53:09,520
Speaker 1: up with Mouse because honestly, he needs this edge. He's

1021
00:53:09,520 --> 00:53:14,799
Speaker 1: in a white, rich person's mess and he has to

1022
00:53:14,800 --> 00:53:16,839
Speaker 1: get himself out of it. And this is I think

1023
00:53:16,880 --> 00:53:19,680
Speaker 1: part of the noir element to the film, which is

1024
00:53:19,719 --> 00:53:23,000
Speaker 1: that the subject of noir is usually the lead character

1025
00:53:23,040 --> 00:53:26,720
Speaker 1: of a noir is either like a detective, and Easy

1026
00:53:26,800 --> 00:53:29,600
Speaker 1: Rollins is not a detective by the way. He he

1027
00:53:29,719 --> 00:53:32,520
Speaker 1: is a total normal person that gets put into the

1028
00:53:32,560 --> 00:53:35,360
Speaker 1: detective role. That's I think a little bit of the

1029
00:53:35,480 --> 00:53:38,719
Speaker 1: variation on the neo noir or the noir film, but

1030
00:53:38,960 --> 00:53:43,719
Speaker 1: the conventions of noir that the world that this person's in,

1031
00:53:43,840 --> 00:53:47,560
Speaker 1: the character's in, is fucked up. And part of what

1032
00:53:47,600 --> 00:53:49,759
Speaker 1: I think is great about noir film is that it's

1033
00:53:49,800 --> 00:53:52,760
Speaker 1: able to like use that as a platform to discuss

1034
00:53:53,000 --> 00:53:56,360
Speaker 1: the bullshit of you know, the world, the society, the

1035
00:53:56,360 --> 00:53:59,239
Speaker 1: ills of society, like whatever kind of political statement he

1036
00:53:59,239 --> 00:54:01,640
Speaker 1: needs to make can have and within that narrative structure.

1037
00:54:02,200 --> 00:54:05,040
Speaker 1: But it's what Easy is. I mean, he's basically the

1038
00:54:05,840 --> 00:54:08,239
Speaker 1: lead character in a noar film without being the like

1039
00:54:08,400 --> 00:54:11,680
Speaker 1: private eye really, but he's definitely put in that role

1040
00:54:11,719 --> 00:54:15,120
Speaker 1: and he gets put into this ginormous mess, and you know,

1041
00:54:15,239 --> 00:54:17,200
Speaker 1: that is the film. And I and as much as

1042
00:54:17,239 --> 00:54:19,719
Speaker 1: like I would love to continue going down this road

1043
00:54:19,760 --> 00:54:23,080
Speaker 1: and explaining the plot, I just feel like it gets convoluted,

1044
00:54:23,120 --> 00:54:25,680
Speaker 1: but that it's giving too much away. And this is

1045
00:54:25,680 --> 00:54:27,880
Speaker 1: a film that I want everybody to see, so you know,

1046
00:54:27,960 --> 00:54:30,799
Speaker 1: you just have to know that it gets really good

1047
00:54:30,840 --> 00:54:34,160
Speaker 1: and intense. And you know, part of what, though, is

1048
00:54:34,200 --> 00:54:37,560
Speaker 1: so special about this film, I think it is very

1049
00:54:37,640 --> 00:54:41,800
Speaker 1: much a in that classic film noir of the forties tradition.

1050
00:54:42,000 --> 00:54:44,239
Speaker 1: Like I think I talked about this when we did

1051
00:54:44,600 --> 00:54:46,719
Speaker 1: the episode with Kiss, Kiss Bang Bang. I think that

1052
00:54:46,800 --> 00:54:48,319
Speaker 1: was the one where I talked about this. But I

1053
00:54:48,360 --> 00:54:51,640
Speaker 1: love la focused noir films, like yeah, the whole kind

1054
00:54:51,680 --> 00:54:57,160
Speaker 1: of Raymond Chandler inspired cinematic universe. But you know, in

1055
00:54:57,239 --> 00:54:59,600
Speaker 1: Devil in a Blue Dress, there's obviously just like big

1056
00:54:59,680 --> 00:55:02,680
Speaker 1: hints of like I see Chinatown in this movie. I

1057
00:55:02,719 --> 00:55:05,799
Speaker 1: mean it's very similar to like The Big Sleep and

1058
00:55:05,880 --> 00:55:08,680
Speaker 1: Kiss Me Deadly, just kind of these famous classic noir

1059
00:55:08,800 --> 00:55:13,040
Speaker 1: films of the you know, classic Hollywood era. And honestly, Denzel,

1060
00:55:13,480 --> 00:55:16,319
Speaker 1: he goes absolutely toe to toe with any of these

1061
00:55:16,360 --> 00:55:21,200
Speaker 1: famous men like Bogart, Mitchem, Richard Widmark, whomever. Like, Denzel

1062
00:55:21,560 --> 00:55:24,400
Speaker 1: goes toe to toe with all of them. He's so great, completely,

1063
00:55:24,440 --> 00:55:27,040
Speaker 1: and like I said in the beginning, I'm just baffled

1064
00:55:27,080 --> 00:55:29,759
Speaker 1: as to why this movie wasn't bigger. I mean, to me,

1065
00:55:30,000 --> 00:55:34,200
Speaker 1: it's very complex and it's a very interesting mystery. It's

1066
00:55:34,200 --> 00:55:37,759
Speaker 1: got a great period feel, like just everything, the outfits,

1067
00:55:37,840 --> 00:55:41,759
Speaker 1: the hair, the sets, and most importantly, I think it

1068
00:55:41,960 --> 00:55:45,759
Speaker 1: discusses a lot about race and racism on a lot

1069
00:55:45,800 --> 00:55:48,239
Speaker 1: of different fronts, Like it kind of comes at it

1070
00:55:48,239 --> 00:55:51,680
Speaker 1: from a lot of different angles, and I think placing

1071
00:55:51,800 --> 00:55:54,319
Speaker 1: that within the framework of in Nana War is just

1072
00:55:54,360 --> 00:55:56,480
Speaker 1: really smart. I think that's a very smart way to

1073
00:55:56,600 --> 00:55:59,399
Speaker 1: talk about it. And I don't know, I'm not sure.

1074
00:55:59,440 --> 00:56:01,800
Speaker 1: I'm not sure what happened in ninety five with this film,

1075
00:56:01,920 --> 00:56:05,160
Speaker 1: But Justice for Devil in a Blue Dress all day.

1076
00:56:05,520 --> 00:56:08,640
Speaker 1: I love this movie and I would be remiss, I mean,

1077
00:56:08,719 --> 00:56:12,360
Speaker 1: just to bring it back to Hornyville for a brief

1078
00:56:12,360 --> 00:56:15,640
Speaker 1: moment for my money. I'm not sure if Denzel has

1079
00:56:15,680 --> 00:56:20,880
Speaker 1: ever been hotter. Maybe maybe no better blues, But honestly,

1080
00:56:21,320 --> 00:56:22,480
Speaker 1: he couldn't have been.

1081
00:56:22,320 --> 00:56:25,840
Speaker 2: Hotter to me, I mean, to be fair. He spends

1082
00:56:26,160 --> 00:56:28,319
Speaker 2: ninety five percent of the movie in a white tank top.

1083
00:56:28,840 --> 00:56:31,880
Speaker 1: That's true, he showed off the arms, But I just

1084
00:56:31,920 --> 00:56:36,000
Speaker 1: would be remiss if I didn't just mention that but look,

1085
00:56:36,040 --> 00:56:37,719
Speaker 1: I think, at the end of the day, such a

1086
00:56:37,719 --> 00:56:41,919
Speaker 1: great film. He is so great in it. Criminally underrated. Yeah,

1087
00:56:41,960 --> 00:56:44,520
Speaker 1: but honestly, I think now that we, I think as

1088
00:56:44,600 --> 00:56:47,080
Speaker 1: film culture is starting to re examine a lot of

1089
00:56:47,320 --> 00:56:51,480
Speaker 1: nineties films, you know, because they're moving into classic film territory. People,

1090
00:56:51,520 --> 00:56:53,760
Speaker 1: Whether you like it or not, age is a bitch.

1091
00:56:53,840 --> 00:56:54,719
Speaker 2: How dare you?

1092
00:56:55,480 --> 00:56:57,600
Speaker 1: I know, I know, But I honestly think that it's

1093
00:56:57,600 --> 00:57:01,080
Speaker 1: good because I think that maybe this film will finally

1094
00:57:01,160 --> 00:57:04,000
Speaker 1: get the appreciation that I think it deserves. And yeah,

1095
00:57:04,160 --> 00:57:05,600
Speaker 1: just a great film for me. I love it.

1096
00:57:06,080 --> 00:57:07,759
Speaker 3: I'm so glad that you picked it. I'm glad that

1097
00:57:07,760 --> 00:57:10,880
Speaker 3: you're part of helping this movie find its audience. I

1098
00:57:10,880 --> 00:57:14,560
Speaker 3: think it's a great examination of just who Denzel is

1099
00:57:14,600 --> 00:57:16,960
Speaker 3: as an actor. And I think that you're right that

1100
00:57:17,040 --> 00:57:20,240
Speaker 3: it says so much about There's so much happening in

1101
00:57:20,280 --> 00:57:22,080
Speaker 3: this film that could make you can make a direct

1102
00:57:22,080 --> 00:57:24,680
Speaker 3: correlation to what's happening in current society, and it kind

1103
00:57:24,680 --> 00:57:28,200
Speaker 3: of explains the foundations of a lot of that racist history.

1104
00:57:28,440 --> 00:57:30,280
Speaker 3: But I think, what also, you know, something I love

1105
00:57:30,320 --> 00:57:33,080
Speaker 3: about this movie, And again, another reason I'm so glad

1106
00:57:33,080 --> 00:57:35,920
Speaker 3: you picked it is that to me, the centerpiece of

1107
00:57:35,960 --> 00:57:41,680
Speaker 3: his acting is that he never lets you forget about blackness,

1108
00:57:42,000 --> 00:57:45,040
Speaker 3: and he still can tell a story. So it's not

1109
00:57:45,280 --> 00:57:48,520
Speaker 3: even stories that are not about him specifically being black.

1110
00:57:48,880 --> 00:57:52,400
Speaker 3: He's able to remind you that his presence in a

1111
00:57:52,480 --> 00:57:56,040
Speaker 3: film is saying something about blackness. And I just think

1112
00:57:56,040 --> 00:57:58,680
Speaker 3: it's a real skill that he has to really sharpen

1113
00:57:58,880 --> 00:58:01,200
Speaker 3: the knife edge of that. He walks a fine line,

1114
00:58:01,440 --> 00:58:03,680
Speaker 3: but he's not afraid to tell these stories and to

1115
00:58:03,720 --> 00:58:06,160
Speaker 3: be part of telling these stories that are incredibly important.

1116
00:58:06,200 --> 00:58:08,200
Speaker 2: And I'm just so glad you picked this movie.

1117
00:58:08,480 --> 00:58:11,200
Speaker 1: Well, thanks, It was a joy to rewatch it again.

1118
00:58:11,200 --> 00:58:13,760
Speaker 1: I've seen it several times, but every time I watch it,

1119
00:58:13,880 --> 00:58:17,480
Speaker 1: I feel a new thing. So yay, I'm glad you

1120
00:58:17,600 --> 00:58:19,440
Speaker 1: enjoyed it. Oh my god, your movie.

1121
00:58:19,680 --> 00:58:22,520
Speaker 3: Ah okay, let's just we'll get into it again. No,

1122
00:58:22,600 --> 00:58:24,800
Speaker 3: SeGW needed, We're doing it.

1123
00:58:25,160 --> 00:58:25,600
Speaker 2: We're here.

1124
00:58:26,200 --> 00:58:30,400
Speaker 3: My choice for the theme of King Kong Ain't Got

1125
00:58:30,400 --> 00:58:33,200
Speaker 3: Shit on Him was released in two thousand and six.

1126
00:58:34,040 --> 00:58:38,200
Speaker 3: It was written by Russell Gewertz and directed by Spike Lee.

1127
00:58:38,920 --> 00:58:41,480
Speaker 3: And my movie is inside Man.

1128
00:58:43,560 --> 00:58:46,120
Speaker 2: You're the hot die negotiate It's right, detective phrase Itus

1129
00:58:46,120 --> 00:58:48,560
Speaker 2: detective Mitchell, What do you got put on one of

1130
00:58:48,600 --> 00:58:50,240
Speaker 2: these suits? On these masks?

1131
00:58:51,320 --> 00:58:52,920
Speaker 1: We gotta step back and look at these things in

1132
00:58:52,960 --> 00:58:55,280
Speaker 1: the distance. Things not only appeared.

1133
00:58:55,000 --> 00:58:55,280
Speaker 3: To be.

1134
00:58:56,720 --> 00:58:57,200
Speaker 2: Okay.

1135
00:58:57,480 --> 00:59:01,760
Speaker 3: So much to say about this film. I've wanted to

1136
00:59:01,800 --> 00:59:04,840
Speaker 3: talk about this on the podcast since we started the podcast.

1137
00:59:05,040 --> 00:59:07,120
Speaker 1: Oh, I know, I know you have.

1138
00:59:07,720 --> 00:59:12,640
Speaker 3: I tried to shoehorn this in in so many different ways,

1139
00:59:12,920 --> 00:59:15,520
Speaker 3: but I feel like this is the perfect theme to

1140
00:59:15,640 --> 00:59:20,040
Speaker 3: do it for several reasons, but one being that this

1141
00:59:20,120 --> 00:59:22,760
Speaker 3: is a later day Denzel. This is again released in

1142
00:59:22,760 --> 00:59:27,040
Speaker 3: two thousand and six, so you're seeing a more mature Denzel,

1143
00:59:27,440 --> 00:59:32,280
Speaker 3: you know, a more a beefear Denzel. But you're seeing

1144
00:59:32,320 --> 00:59:35,160
Speaker 3: someone in this film, to me, who's able to take

1145
00:59:35,320 --> 00:59:39,040
Speaker 3: everything he's learned in his incredible career of acting and

1146
00:59:39,120 --> 00:59:43,479
Speaker 3: still create something incredibly fresh and new. And I love

1147
00:59:43,960 --> 00:59:46,919
Speaker 3: watching this movie. It has been a favorite of mine

1148
00:59:46,920 --> 00:59:49,400
Speaker 3: for a very long time since it came out, essentially

1149
00:59:49,480 --> 00:59:52,720
Speaker 3: and I returned to it constantly. I cannot tell you

1150
00:59:52,800 --> 00:59:55,240
Speaker 3: how many times I've seen this movie. Over fifteen I

1151
00:59:55,240 --> 00:59:58,520
Speaker 3: will say over fifteen times. Wow, amazing, And it's just

1152
00:59:58,560 --> 01:00:00,640
Speaker 3: one of those movies like once I think about it

1153
01:00:00,680 --> 01:00:01,880
Speaker 3: once it's in my head.

1154
01:00:02,360 --> 01:00:04,200
Speaker 2: I have to watch it like I have to. I

1155
01:00:04,240 --> 01:00:04,920
Speaker 2: have to play it out.

1156
01:00:04,960 --> 01:00:07,560
Speaker 3: I have to play it through a brief synopsis before

1157
01:00:07,560 --> 01:00:09,360
Speaker 3: we really start getting into this movie.

1158
01:00:09,520 --> 01:00:10,760
Speaker 2: One sentenced synopsis.

1159
01:00:11,240 --> 01:00:15,520
Speaker 3: A shady detective matches wits with a flawless bank robber

1160
01:00:15,560 --> 01:00:18,880
Speaker 3: in a New York centric heist. And also Willem Dafoe

1161
01:00:18,920 --> 01:00:22,120
Speaker 3: is there, Thank.

1162
01:00:21,960 --> 01:00:23,919
Speaker 2: God, Thank God.

1163
01:00:24,160 --> 01:00:27,720
Speaker 3: And I say that because the primary actors in this

1164
01:00:27,840 --> 01:00:31,480
Speaker 3: film are so intensely good that I sometimes forget it

1165
01:00:31,560 --> 01:00:36,600
Speaker 3: also stars Christopher Plummer, Jodie Foster, and Willem Dafoe. That

1166
01:00:36,720 --> 01:00:38,240
Speaker 3: is how good this movie is.

1167
01:00:38,920 --> 01:00:39,160
Speaker 1: I know.

1168
01:00:39,240 --> 01:00:39,960
Speaker 2: It's like they.

1169
01:00:39,880 --> 01:00:42,360
Speaker 1: Really stacked it in this film. And like I was

1170
01:00:42,400 --> 01:00:45,920
Speaker 1: reading articles about it, and it was essentially like everybody

1171
01:00:46,080 --> 01:00:48,200
Speaker 1: everybody wanted to work with Spike Lee. Like they were

1172
01:00:48,240 --> 01:00:49,760
Speaker 1: just like, I want to work with Spike Lee. Okay,

1173
01:00:49,840 --> 01:00:51,880
Speaker 1: another famous person, you want to work with Spike Lee.

1174
01:00:51,960 --> 01:00:53,080
Speaker 1: You want to work with Spike I mean that was

1175
01:00:53,120 --> 01:00:55,680
Speaker 1: Willem Dafoe. Well, Deo is like, hey, I want to

1176
01:00:55,920 --> 01:00:58,160
Speaker 1: want to make a Spike Lee movie in New York.

1177
01:00:58,240 --> 01:00:59,160
Speaker 1: So here's my shot.

1178
01:00:59,280 --> 01:01:00,920
Speaker 2: So this is what I'll do. I'll play this police

1179
01:01:00,920 --> 01:01:01,680
Speaker 2: captain and.

1180
01:01:03,800 --> 01:01:07,400
Speaker 1: I'll be billed twelfth. I don't give a shit shit

1181
01:01:07,880 --> 01:01:08,440
Speaker 1: to be in it.

1182
01:01:08,840 --> 01:01:11,400
Speaker 3: Everyone was like, I will work for two dollars a

1183
01:01:11,480 --> 01:01:13,560
Speaker 3: day and a slice of pizza.

1184
01:01:13,960 --> 01:01:15,479
Speaker 2: I mean that is a whole other show.

1185
01:01:15,520 --> 01:01:18,160
Speaker 3: To talk about Spike Lee and his impact in the

1186
01:01:18,160 --> 01:01:21,440
Speaker 3: world of film. To work with him means you're working

1187
01:01:21,440 --> 01:01:23,680
Speaker 3: with someone who has something to say and will showcase

1188
01:01:23,680 --> 01:01:26,200
Speaker 3: it in a very specific and beautiful way. So I

1189
01:01:26,280 --> 01:01:30,080
Speaker 3: don't blame any of this cast for wanting to work

1190
01:01:30,120 --> 01:01:30,600
Speaker 3: with him.

1191
01:01:30,680 --> 01:01:36,440
Speaker 2: And it also stars a young chiwetto Elgefoor as Denzel's partner,

1192
01:01:36,680 --> 01:01:39,800
Speaker 2: Bill Mitchell's detective Bill Mitchell. So this movie is incredible.

1193
01:01:39,840 --> 01:01:40,840
Speaker 2: I absolutely love it.

1194
01:01:40,960 --> 01:01:44,880
Speaker 3: I will say that there are two things about this

1195
01:01:45,000 --> 01:01:47,800
Speaker 3: movie that astonish me every time I watch it. It's

1196
01:01:47,800 --> 01:01:52,200
Speaker 3: still astonishing to me. One being that the main characters

1197
01:01:52,200 --> 01:01:55,320
Speaker 3: in this film do not interact for almost an hour.

1198
01:01:56,120 --> 01:02:00,280
Speaker 3: So the film stars Clive Owen as Dalton Russell, who

1199
01:02:00,360 --> 01:02:04,280
Speaker 3: is the bank robber, and Denzel Washington is Detective Keith Fraser,

1200
01:02:04,280 --> 01:02:08,360
Speaker 3: he's a hostage negotiator, and they don't interact for an hour,

1201
01:02:08,600 --> 01:02:10,439
Speaker 3: like they don't meet, they don't talk nothing.

1202
01:02:10,640 --> 01:02:12,080
Speaker 2: So the whole setup of this film.

1203
01:02:12,160 --> 01:02:15,000
Speaker 3: The whole premise of this film is crafted in a

1204
01:02:15,040 --> 01:02:18,080
Speaker 3: way that is at the same time split.

1205
01:02:18,000 --> 01:02:19,440
Speaker 2: Like they are split from each other.

1206
01:02:19,720 --> 01:02:23,760
Speaker 3: We're watching two completely different stories, and then we're also

1207
01:02:23,840 --> 01:02:27,360
Speaker 3: watching how they overlap and interlace. It's just it's very masterful.

1208
01:02:27,400 --> 01:02:30,600
Speaker 3: I think the script is incredibly good. And then the

1209
01:02:30,680 --> 01:02:33,120
Speaker 3: other thing that astonishes me about this movie is in

1210
01:02:33,120 --> 01:02:38,120
Speaker 3: a similar vein, is that Spike Lee had the absolute

1211
01:02:38,280 --> 01:02:43,080
Speaker 3: nerve to take one of the world's most attractive men,

1212
01:02:43,640 --> 01:02:46,760
Speaker 3: Clive Owen, and put him in a mask.

1213
01:02:47,080 --> 01:02:51,080
Speaker 2: For fifty four fucking minutes. You don't even.

1214
01:02:50,880 --> 01:02:55,680
Speaker 3: See Clive Owens got damn beautiful face for fifty four

1215
01:02:55,800 --> 01:02:56,520
Speaker 3: fucking minutes.

1216
01:02:56,560 --> 01:02:57,640
Speaker 2: You see him in the beginning.

1217
01:02:57,760 --> 01:02:59,520
Speaker 1: That's power, baby, that's power.

1218
01:02:59,720 --> 01:03:00,520
Speaker 2: That power.

1219
01:03:00,640 --> 01:03:02,880
Speaker 3: That is Clive Owen reading a script and being like,

1220
01:03:03,040 --> 01:03:04,360
Speaker 3: you don't see me for an hour.

1221
01:03:04,480 --> 01:03:07,720
Speaker 2: I still want to work with Spike Lee. Solid, solid,

1222
01:03:07,760 --> 01:03:10,000
Speaker 2: I'll do it. You see him in the beginning, he

1223
01:03:10,440 --> 01:03:11,240
Speaker 2: very intricately.

1224
01:03:11,280 --> 01:03:13,280
Speaker 3: Again, Like one of the things that I that I

1225
01:03:13,360 --> 01:03:16,240
Speaker 3: also love about this movie is that it opens with

1226
01:03:16,360 --> 01:03:19,280
Speaker 3: Dalton Russell telling you every single thing about the heist,

1227
01:03:19,640 --> 01:03:22,200
Speaker 3: including his plan to walk out of the front door.

1228
01:03:22,520 --> 01:03:24,440
Speaker 2: But you don't know how. That is.

1229
01:03:24,480 --> 01:03:27,160
Speaker 3: The thing that he leaves hanging is the how, and

1230
01:03:27,200 --> 01:03:30,360
Speaker 3: that's what you're watching as the movie unfold, is how

1231
01:03:30,360 --> 01:03:33,960
Speaker 3: does this flawless bank heist happen? So it's kind of

1232
01:03:34,000 --> 01:03:36,560
Speaker 3: again in a similar vein to a lot of heist films,

1233
01:03:36,600 --> 01:03:39,440
Speaker 3: where you see it from the moment of impact. You know,

1234
01:03:39,480 --> 01:03:42,520
Speaker 3: where they enter the bank, lock it down, do their thing,

1235
01:03:43,040 --> 01:03:47,920
Speaker 3: but it's much more complicated than that, much more complicated.

1236
01:03:48,160 --> 01:03:50,240
Speaker 3: And then the other thing that you see is that,

1237
01:03:50,520 --> 01:03:53,880
Speaker 3: like as you're watching the movie, you're watching Denzel and

1238
01:03:54,000 --> 01:03:58,919
Speaker 3: Showett al el jefor, these two detectives interview hostages who

1239
01:03:58,920 --> 01:04:02,080
Speaker 3: were in the bank, and you very slowly start to

1240
01:04:02,160 --> 01:04:06,000
Speaker 3: realize that every hostage is also a suspect. So the

1241
01:04:06,040 --> 01:04:10,200
Speaker 3: movie starts to explain how that happens as well. So

1242
01:04:10,240 --> 01:04:12,440
Speaker 3: before I get into this in depth, I just want

1243
01:04:12,480 --> 01:04:15,040
Speaker 3: to know what were your thoughts about seeing this movie

1244
01:04:15,040 --> 01:04:16,120
Speaker 3: for the first time.

1245
01:04:16,640 --> 01:04:19,760
Speaker 1: Now, it's a little shameful for me to admit that this.

1246
01:04:19,880 --> 01:04:21,680
Speaker 1: I mean, I'm a big fan of Spike Lee, but

1247
01:04:21,800 --> 01:04:24,880
Speaker 1: I just I never watched this film for whatever reason.

1248
01:04:25,400 --> 01:04:28,760
Speaker 1: And again, here we go, another movie from the two

1249
01:04:28,800 --> 01:04:33,080
Speaker 1: thousands that Daniel has made me watch thank God, because

1250
01:04:33,120 --> 01:04:34,920
Speaker 1: it honestly, well, I don't know what happened to me

1251
01:04:35,200 --> 01:04:39,200
Speaker 1: in the aughts. I missed it. I don't know if

1252
01:04:39,200 --> 01:04:41,240
Speaker 1: I was doing too many edibles. I don't know what's

1253
01:04:41,240 --> 01:04:43,040
Speaker 1: going on. But I just missed a lot of films

1254
01:04:43,080 --> 01:04:45,600
Speaker 1: that came out in the aughts, and I'm so thankful

1255
01:04:45,600 --> 01:04:47,600
Speaker 1: that you're here to remind me of them. But this

1256
01:04:47,760 --> 01:04:52,960
Speaker 1: movie was fucking stressful as shit. It was like a

1257
01:04:53,040 --> 01:04:59,959
Speaker 1: tempano of stress of bank heist details. Let's just say that, right.

1258
01:05:00,440 --> 01:05:04,080
Speaker 2: It really is, But it's.

1259
01:05:04,040 --> 01:05:06,080
Speaker 1: Kind of amazing at the same time because you're just

1260
01:05:06,120 --> 01:05:08,240
Speaker 1: sort of like, I love a bank heist film, you know.

1261
01:05:08,280 --> 01:05:10,600
Speaker 1: I was reading also that like Spike Lee is a

1262
01:05:10,600 --> 01:05:12,960
Speaker 1: big fan of Dog Day Afternoon, which is like one

1263
01:05:13,000 --> 01:05:15,200
Speaker 1: of the most classic bank heist films of all time,

1264
01:05:15,760 --> 01:05:17,919
Speaker 1: and I have several favorites, and that's one of them too.

1265
01:05:18,640 --> 01:05:22,040
Speaker 1: But the whole thing of it being like it starts

1266
01:05:22,080 --> 01:05:24,680
Speaker 1: out kind of like a typical bank It starts out

1267
01:05:24,720 --> 01:05:26,400
Speaker 1: like set it off, where they just enter the building

1268
01:05:26,440 --> 01:05:28,520
Speaker 1: and they're like, everybody, get on the floor, and then

1269
01:05:28,960 --> 01:05:31,840
Speaker 1: the more it continues, it's just this kind of like

1270
01:05:31,880 --> 01:05:34,840
Speaker 1: slow burn of like details of what they're making the

1271
01:05:34,880 --> 01:05:38,960
Speaker 1: people do and the whole fucking plan of making everybody

1272
01:05:39,000 --> 01:05:41,440
Speaker 1: wear their outfits. So then and they switch them around,

1273
01:05:41,680 --> 01:05:44,400
Speaker 1: I'm just like, oh, hell no, they are fucking going

1274
01:05:44,440 --> 01:05:47,840
Speaker 1: there with this shit. And it just created this sense

1275
01:05:47,880 --> 01:05:50,760
Speaker 1: of panic of like, well, then, how the fuck are

1276
01:05:50,800 --> 01:05:54,640
Speaker 1: like Denzel and everybody gonna figure out who did it?

1277
01:05:55,120 --> 01:05:58,320
Speaker 1: Everyone is guilt, like there's like thirty people in this bank,

1278
01:05:58,720 --> 01:06:02,040
Speaker 1: and how are they gonna know? And I so, to me,

1279
01:06:02,160 --> 01:06:04,840
Speaker 1: it was perfect, Like if the movie's function was to

1280
01:06:05,000 --> 01:06:07,439
Speaker 1: keep me on the edge of my seat, that did it.

1281
01:06:07,440 --> 01:06:08,880
Speaker 1: It did it perfectly.

1282
01:06:09,080 --> 01:06:10,760
Speaker 3: I'm so glad to hear that, because I feel the

1283
01:06:10,760 --> 01:06:12,480
Speaker 3: same way every time I watch it, and I know.

1284
01:06:12,480 --> 01:06:13,560
Speaker 2: Exactly what happens.

1285
01:06:13,880 --> 01:06:18,200
Speaker 3: It is so cool to see it unfold, yes, and

1286
01:06:18,560 --> 01:06:20,880
Speaker 3: it's a joy of a movie. It's stressful, yes, but

1287
01:06:20,920 --> 01:06:22,800
Speaker 3: it is a joy of a movie for that reason.

1288
01:06:23,200 --> 01:06:25,160
Speaker 3: And I think part of it too, for me, is

1289
01:06:25,240 --> 01:06:28,360
Speaker 3: in all of the different characters that they are introducing

1290
01:06:28,480 --> 01:06:31,000
Speaker 3: in the film. So it's not just about the bank robbers,

1291
01:06:31,000 --> 01:06:32,480
Speaker 3: it's not just about the detectives.

1292
01:06:32,720 --> 01:06:35,080
Speaker 2: There's a whole world that's being created here.

1293
01:06:35,400 --> 01:06:40,080
Speaker 3: And so Denzel is so again he's so wonderful in

1294
01:06:40,080 --> 01:06:43,080
Speaker 3: this role, and he's got this maturity and he's got

1295
01:06:43,080 --> 01:06:46,680
Speaker 3: this denzelness about him, but it's a little bit crooked,

1296
01:06:46,680 --> 01:06:48,880
Speaker 3: like he's kind of flipped on his side a little

1297
01:06:48,880 --> 01:06:52,880
Speaker 3: bit because he's playing a detective who is a little

1298
01:06:52,880 --> 01:06:55,160
Speaker 3: bit shady. But the thing again that I love about

1299
01:06:55,160 --> 01:06:58,000
Speaker 3: this script is you know exactly who he is within

1300
01:06:58,040 --> 01:07:01,240
Speaker 3: fifteen seconds of his character speaking for the first time.

1301
01:07:01,680 --> 01:07:04,880
Speaker 3: And I think that Denzel is just he is smooth,

1302
01:07:05,280 --> 01:07:07,880
Speaker 3: he is fast talking. He is at the top of

1303
01:07:07,920 --> 01:07:10,400
Speaker 3: his fucking game in this movie. And so within the

1304
01:07:10,400 --> 01:07:13,440
Speaker 3: first fifteen seconds of the story, you know that he's divorced,

1305
01:07:13,760 --> 01:07:17,000
Speaker 3: that he's under investigation because the last job he worked

1306
01:07:17,120 --> 01:07:20,080
Speaker 3: money had gone missing and he was being investigated for

1307
01:07:20,120 --> 01:07:23,400
Speaker 3: possibly having stolen it. You know that he's a hostage negotiator,

1308
01:07:23,640 --> 01:07:25,760
Speaker 3: that he has a girlfriend that wants to get married.

1309
01:07:25,800 --> 01:07:29,080
Speaker 3: Like you just are front loaded with information about him,

1310
01:07:29,640 --> 01:07:33,600
Speaker 3: and so as you're watching him make decisions in this movie,

1311
01:07:34,160 --> 01:07:36,800
Speaker 3: you're already aware of why he's doing it, or you're

1312
01:07:36,840 --> 01:07:39,960
Speaker 3: aware of what his possible reasons for making these decisions are.

1313
01:07:40,280 --> 01:07:42,080
Speaker 2: And I just love that. I think that he played

1314
01:07:42,080 --> 01:07:42,840
Speaker 2: that to a tee.

1315
01:07:43,040 --> 01:07:46,440
Speaker 3: And again you also have Christopher Plumber, who plays mister

1316
01:07:46,560 --> 01:07:50,080
Speaker 3: Case who owns the bank. And when you first see

1317
01:07:50,120 --> 01:07:55,280
Speaker 3: Christopher Plumber and he's like gray and stately and hot

1318
01:07:55,320 --> 01:08:00,479
Speaker 3: as shit standing next to this window, and you realize that, look,

1319
01:08:00,520 --> 01:08:01,640
Speaker 3: you know, I like him craggy.

1320
01:08:01,720 --> 01:08:02,680
Speaker 2: You know I like them old.

1321
01:08:02,960 --> 01:08:05,760
Speaker 1: We love a craggy old Christopher Plumber.

1322
01:08:05,920 --> 01:08:09,000
Speaker 3: You can keep a goddamn sound of music, Christopher Plumber.

1323
01:08:09,400 --> 01:08:14,040
Speaker 3: I will take the Christopher Plumber who used Nazi blood

1324
01:08:14,080 --> 01:08:17,519
Speaker 3: money to start a bank, because that is the secret

1325
01:08:17,600 --> 01:08:20,280
Speaker 3: that this character is trying to keep. So when the

1326
01:08:20,320 --> 01:08:25,080
Speaker 3: bank is locked down, he calls in this hired gun,

1327
01:08:25,120 --> 01:08:28,080
Speaker 3: he calls in this fixer, Madeline White, who's played by

1328
01:08:28,160 --> 01:08:32,120
Speaker 3: Jodie Foster, because he's like, look, I have a safety

1329
01:08:32,160 --> 01:08:35,640
Speaker 3: deposit box there, and I don't want what's inside to

1330
01:08:35,680 --> 01:08:38,800
Speaker 3: get out. And what you learn pretty quickly is that

1331
01:08:38,880 --> 01:08:42,599
Speaker 3: it's not jewels, it's not money. It's that when he

1332
01:08:42,680 --> 01:08:45,640
Speaker 3: was a younger man, he traded on his capital to

1333
01:08:45,960 --> 01:08:50,120
Speaker 3: use money from the Nazis to get rich, and he

1334
01:08:50,240 --> 01:08:53,080
Speaker 3: sold out friends, and he sold out neighbors, and he

1335
01:08:53,120 --> 01:08:54,960
Speaker 3: did what he could and he took that money and

1336
01:08:55,200 --> 01:08:56,880
Speaker 3: started a bank. In New York and is like one

1337
01:08:56,880 --> 01:08:59,320
Speaker 3: of the richest men in the city. And as the

1338
01:08:59,600 --> 01:09:02,600
Speaker 3: movie you see him, mister Case kind of makes a

1339
01:09:02,600 --> 01:09:04,800
Speaker 3: big deal out of being a good Samaritan and it's

1340
01:09:04,880 --> 01:09:07,080
Speaker 3: kind of like his penance for.

1341
01:09:07,080 --> 01:09:09,960
Speaker 2: This horrible deed he did. So you get this sense

1342
01:09:10,000 --> 01:09:12,360
Speaker 2: that he's been living with guilt for a while, but

1343
01:09:12,400 --> 01:09:14,600
Speaker 2: then as the movie unfold, you realize maybe that's not

1344
01:09:14,680 --> 01:09:17,640
Speaker 2: the case. So it's a very complicated character that you

1345
01:09:17,680 --> 01:09:20,599
Speaker 2: see in such a limited way. But I really love

1346
01:09:20,880 --> 01:09:23,639
Speaker 2: that it's not overwrought. They don't kind of use him

1347
01:09:23,720 --> 01:09:26,559
Speaker 2: in a way that's very overwrought. Instead, what they do

1348
01:09:26,640 --> 01:09:29,960
Speaker 2: is they send in Jody Foster. And Jody Foster there

1349
01:09:30,000 --> 01:09:31,760
Speaker 2: is a scene with her and the Mayor of New

1350
01:09:31,840 --> 01:09:33,519
Speaker 2: York where she's trying to wheel and deal and get

1351
01:09:33,560 --> 01:09:36,040
Speaker 2: her way to this crisis, this hostage scene at the

1352
01:09:36,080 --> 01:09:39,240
Speaker 2: bank and they're kind of talking all nice and friendly

1353
01:09:39,280 --> 01:09:40,800
Speaker 2: in front of people. In the minute they get in

1354
01:09:40,800 --> 01:09:43,400
Speaker 2: this office and the door closes, he calls her a

1355
01:09:43,439 --> 01:09:46,840
Speaker 2: magnificent cunt, and she's like thank you. And she has

1356
01:09:46,920 --> 01:09:48,439
Speaker 2: this like shit eating grin.

1357
01:09:48,240 --> 01:09:51,160
Speaker 3: Throughout the whole fucking movie because she knows exactly who

1358
01:09:51,200 --> 01:09:53,800
Speaker 3: she is and exactly what she does. And this is

1359
01:09:53,800 --> 01:09:57,040
Speaker 3: the kind of character who helped Osama bin Laden's nephew

1360
01:09:57,120 --> 01:10:00,639
Speaker 3: buy a penthouse in New York City. This is who

1361
01:10:01,360 --> 01:10:04,280
Speaker 3: they send in to smooth that shit over. So she

1362
01:10:04,479 --> 01:10:08,639
Speaker 3: interacts with Frasier, you know, the Denzel character a little bit.

1363
01:10:08,760 --> 01:10:11,559
Speaker 3: But the other characters that I think really round this

1364
01:10:11,720 --> 01:10:15,080
Speaker 3: out in such a vibrant way are the customers at

1365
01:10:15,080 --> 01:10:18,680
Speaker 3: the bank. And we have a woman talking on her

1366
01:10:18,720 --> 01:10:20,839
Speaker 3: cell phone about how she wants to use her boss's

1367
01:10:20,880 --> 01:10:24,000
Speaker 3: credit card to play an anniversary dinner for herself, a

1368
01:10:24,080 --> 01:10:25,760
Speaker 3: father and his son who's playing.

1369
01:10:25,479 --> 01:10:26,360
Speaker 2: A video game.

1370
01:10:26,680 --> 01:10:28,840
Speaker 3: We see this kind of like slice of New York

1371
01:10:28,920 --> 01:10:32,879
Speaker 3: life in these characters. And the thing I absolutely fucking

1372
01:10:33,040 --> 01:10:38,920
Speaker 3: love about this particular section of characters is that absolutely

1373
01:10:39,000 --> 01:10:42,799
Speaker 3: everyone has an attitude. People are disagreeing with the gunmen.

1374
01:10:42,840 --> 01:10:44,960
Speaker 3: They're like, I am not taking my clothes off, i

1375
01:10:44,960 --> 01:10:45,960
Speaker 3: am not getting.

1376
01:10:45,680 --> 01:10:49,000
Speaker 2: On the floor. They're refusing orders, they are yelling at

1377
01:10:49,000 --> 01:10:49,639
Speaker 2: the cops.

1378
01:10:49,880 --> 01:10:53,040
Speaker 3: There's a scene where there's some dialogue coming through from

1379
01:10:53,080 --> 01:10:55,120
Speaker 3: the bank and they play it over the loudspeakers because

1380
01:10:55,160 --> 01:10:57,680
Speaker 3: they don't know what language it's in. And this construction

1381
01:10:57,800 --> 01:11:00,920
Speaker 3: worker comes in and he's like, it's one hundred sent Albanian.

1382
01:11:01,280 --> 01:11:03,800
Speaker 3: And they're like, so you speak Albanian and he's like, no,

1383
01:11:03,960 --> 01:11:08,320
Speaker 3: my ex wife and her family are all Albanian. I

1384
01:11:08,320 --> 01:11:10,840
Speaker 3: can tell you for a fact as Albanian. And he's

1385
01:11:10,880 --> 01:11:12,599
Speaker 3: getting an attitude with them where they're.

1386
01:11:12,400 --> 01:11:13,880
Speaker 2: Like, can you just stay here? And he's like, not

1387
01:11:14,000 --> 01:11:14,759
Speaker 2: this shit again.

1388
01:11:15,880 --> 01:11:19,160
Speaker 3: Like the thing that I love about it is and

1389
01:11:19,240 --> 01:11:22,040
Speaker 3: Spike Lee is very good at this. It's these little

1390
01:11:22,160 --> 01:11:25,519
Speaker 3: New York slice of life moments that are very real.

1391
01:11:25,720 --> 01:11:27,000
Speaker 2: Like when the bank.

1392
01:11:26,760 --> 01:11:30,280
Speaker 3: Is first infiltrated, there's this plume of smoke that comes

1393
01:11:30,280 --> 01:11:32,639
Speaker 3: out because they set off these smoke bombs, and there's

1394
01:11:32,640 --> 01:11:34,920
Speaker 3: this plume of smoke that comes out of the front doors,

1395
01:11:35,240 --> 01:11:37,799
Speaker 3: and this guy walks by and he kind of grabs

1396
01:11:37,800 --> 01:11:39,439
Speaker 3: a cop and he's like, hey, I think something's happening

1397
01:11:39,520 --> 01:11:42,120
Speaker 3: in that bank, and then he just keeps walking, which

1398
01:11:42,200 --> 01:11:46,240
Speaker 3: is like so New York to me, where he's like

1399
01:11:46,800 --> 01:11:48,679
Speaker 3: you might want to deal with that. I have watched

1400
01:11:48,680 --> 01:11:52,280
Speaker 3: people walk by buildings on fire. I myself have walked

1401
01:11:52,280 --> 01:11:56,120
Speaker 3: by buildings that had water cascading out of the windows,

1402
01:11:56,320 --> 01:11:58,600
Speaker 3: like you just do not have time to stop. In

1403
01:11:58,640 --> 01:12:03,040
Speaker 3: New York to get involved in anything.

1404
01:12:02,080 --> 01:12:04,599
Speaker 1: Right, No, And that's part of I think what is

1405
01:12:04,680 --> 01:12:07,519
Speaker 1: so so great about the film is that you're right.

1406
01:12:07,560 --> 01:12:10,400
Speaker 1: It's that thing where you're like, oh, this bank heist

1407
01:12:10,439 --> 01:12:14,120
Speaker 1: is not gonna be this flawless execution with everybody following

1408
01:12:14,160 --> 01:12:16,639
Speaker 1: the rules. I mean, it's like, within the first minute

1409
01:12:16,720 --> 01:12:20,160
Speaker 1: of them bringing those people down into the basement, you

1410
01:12:20,240 --> 01:12:25,040
Speaker 1: got the great Peter Forshett fucking Demucci from Greece too,

1411
01:12:25,680 --> 01:12:28,120
Speaker 1: pretending that he doesn't have his cell phone beautiful, and

1412
01:12:28,439 --> 01:12:31,479
Speaker 1: they have to beat his ass in an office because

1413
01:12:31,520 --> 01:12:34,000
Speaker 1: he just doesn't follow the rules, Like he's just like,

1414
01:12:34,600 --> 01:12:37,479
Speaker 1: you know, they call his phone, like they make everybody

1415
01:12:37,520 --> 01:12:40,240
Speaker 1: put their cell phone in a bag, Like Clive Owe

1416
01:12:40,360 --> 01:12:43,559
Speaker 1: is literally going through every phone in the bag looking

1417
01:12:43,560 --> 01:12:46,040
Speaker 1: for this guy's phone because he's convinced the dude did

1418
01:12:46,080 --> 01:12:48,400
Speaker 1: not put his cell phone in the bag. And the

1419
01:12:48,479 --> 01:12:51,720
Speaker 1: minute he calls him and he's got Kanye West as

1420
01:12:51,800 --> 01:12:54,400
Speaker 1: his ring tone. I mean, it's just like that thing

1421
01:12:54,400 --> 01:12:56,559
Speaker 1: where you're like, I mean, I don't sympathize with bank

1422
01:12:56,640 --> 01:12:58,960
Speaker 1: robbers at all, but at that moment, I was like, damn, man,

1423
01:12:59,000 --> 01:13:00,559
Speaker 1: you're gonna have to put up with all this shit

1424
01:13:00,640 --> 01:13:02,920
Speaker 1: all day long. All these people they're not gonna want

1425
01:13:02,920 --> 01:13:05,080
Speaker 1: to strip for you. They're not gonna give you their shit.

1426
01:13:05,760 --> 01:13:08,120
Speaker 1: This is part of the part of the business. Maybe

1427
01:13:08,320 --> 01:13:09,880
Speaker 1: this is what you got into in New York.

1428
01:13:10,240 --> 01:13:12,800
Speaker 3: And what I love is they fucking plan for it,

1429
01:13:13,000 --> 01:13:15,120
Speaker 3: like they fucking knew that.

1430
01:13:15,680 --> 01:13:16,720
Speaker 2: He fucking knew it.

1431
01:13:17,520 --> 01:13:22,000
Speaker 3: That scene is so hilarious in a weird way because

1432
01:13:22,080 --> 01:13:25,240
Speaker 3: you see him like Peter Furschett, like you said, is

1433
01:13:25,240 --> 01:13:26,960
Speaker 3: like I didn't run my cell phone today, I left

1434
01:13:26,960 --> 01:13:29,840
Speaker 3: it at home. And Dalton Russell, the Clive Owen character,

1435
01:13:29,960 --> 01:13:33,240
Speaker 3: is like absolute bullshit, starts going through phones because they've

1436
01:13:33,240 --> 01:13:35,800
Speaker 3: collected This is again something about the heist that makes

1437
01:13:35,800 --> 01:13:38,439
Speaker 3: it such a well oiled machine. So first they separate

1438
01:13:38,479 --> 01:13:42,000
Speaker 3: the employees from the customers, they take everybody's keys and phones,

1439
01:13:42,360 --> 01:13:45,400
Speaker 3: they separate people by genders, and then they make everyone

1440
01:13:45,439 --> 01:13:48,040
Speaker 3: wear the same jumpsuit. Like it's just very well oiled

1441
01:13:48,160 --> 01:13:52,400
Speaker 3: inside that heist. And when he dials that number and

1442
01:13:52,760 --> 01:13:57,320
Speaker 3: gold Digger starts playing that man crumples. But then you

1443
01:13:57,360 --> 01:14:00,800
Speaker 3: see Dalton Russell goes into the office and you see

1444
01:14:00,880 --> 01:14:04,720
Speaker 3: him behind this glass kind of like acting out like, oh,

1445
01:14:04,760 --> 01:14:06,840
Speaker 3: I don't know, should I should I not, Like he's

1446
01:14:06,880 --> 01:14:10,680
Speaker 3: just kind of acting out in a very funny scene, like, well, should.

1447
01:14:10,400 --> 01:14:12,280
Speaker 2: He beat this guy's ass or not? And then he.

1448
01:14:12,200 --> 01:14:16,240
Speaker 3: Does and it terrifies everyone else in there. Yeah, and

1449
01:14:16,280 --> 01:14:18,479
Speaker 3: you're starting to figure out too. There's this moment in

1450
01:14:18,520 --> 01:14:21,040
Speaker 3: the film where because they're going back and forth between

1451
01:14:21,040 --> 01:14:23,600
Speaker 3: the inside of the bank and now what is the

1452
01:14:23,680 --> 01:14:25,880
Speaker 3: command unit that has been set outside of the bank

1453
01:14:25,920 --> 01:14:29,120
Speaker 3: with the cops and some spectators, And you're starting to

1454
01:14:29,120 --> 01:14:32,200
Speaker 3: figure out also that something else is up when they

1455
01:14:32,240 --> 01:14:35,920
Speaker 3: start trading hostages with people who are actually working the job.

1456
01:14:36,000 --> 01:14:38,439
Speaker 3: So there's about four people who are involved in the

1457
01:14:38,479 --> 01:14:42,640
Speaker 3: actual robbery, and then you see them acting out that

1458
01:14:42,680 --> 01:14:46,200
Speaker 3: they're part of the they're part of the hostage situation,

1459
01:14:46,760 --> 01:14:48,519
Speaker 3: and they get pushed into a room and they might

1460
01:14:48,560 --> 01:14:51,320
Speaker 3: pull somebody else out, and the person they pull out

1461
01:14:51,560 --> 01:14:54,559
Speaker 3: ends up going into the vault and working on the heist.

1462
01:14:54,920 --> 01:14:58,160
Speaker 3: So it's very complicated because you do not know who's involved.

1463
01:14:58,200 --> 01:15:01,920
Speaker 3: You don't know fully who's involved until the very end.

1464
01:15:02,200 --> 01:15:04,599
Speaker 3: So yeah, I just I love it. I love watching

1465
01:15:04,640 --> 01:15:07,960
Speaker 3: Denzel in this movie because there are all these different

1466
01:15:08,080 --> 01:15:11,840
Speaker 3: ways that he exerts power and control. So subtly so

1467
01:15:11,920 --> 01:15:14,559
Speaker 3: with Willem Dafoe. For example, Willem Dafoe is the captain

1468
01:15:14,640 --> 01:15:17,880
Speaker 3: of the police squad that's there, and he doesn't want

1469
01:15:17,920 --> 01:15:20,479
Speaker 3: to defer to Fraser. He's like, I don't like, this

1470
01:15:20,520 --> 01:15:22,639
Speaker 3: is my job, this is my scene. Here's what's up.

1471
01:15:22,880 --> 01:15:26,799
Speaker 3: But the scene really serves the purpose of both Fraser

1472
01:15:26,960 --> 01:15:29,559
Speaker 3: and Mitchell getting their flack jackets, like they're getting their

1473
01:15:29,600 --> 01:15:34,479
Speaker 3: bulletproof vests, but it's really about Fraser getting control, and

1474
01:15:34,520 --> 01:15:38,080
Speaker 3: that to me is all Denzel like again, fast talking,

1475
01:15:38,400 --> 01:15:40,720
Speaker 3: Here's what's up, Here's what's going to happen, Here's who

1476
01:15:40,760 --> 01:15:42,880
Speaker 3: I am, this is why it's going to be, and

1477
01:15:42,920 --> 01:15:45,479
Speaker 3: it's all Denzel like I would hate to be one

1478
01:15:45,520 --> 01:15:47,720
Speaker 3: of his children and try to get out of a

1479
01:15:47,720 --> 01:15:50,759
Speaker 3: punishment with this man because he can talk in circles

1480
01:15:50,800 --> 01:15:52,880
Speaker 3: around anyone.

1481
01:15:53,120 --> 01:15:53,880
Speaker 2: So I love that.

1482
01:15:54,160 --> 01:15:56,160
Speaker 3: And there's also again, like I mentioned at the top

1483
01:15:56,160 --> 01:15:59,960
Speaker 3: of the episode, Denzel does have a very specific walk,

1484
01:16:00,040 --> 01:16:02,160
Speaker 3: and I think the thing that I also really love

1485
01:16:02,160 --> 01:16:05,960
Speaker 3: about him in this movie is that he is full swagger,

1486
01:16:06,120 --> 01:16:10,120
Speaker 3: like this full tilt swagger all the time, every scene,

1487
01:16:10,640 --> 01:16:14,519
Speaker 3: and there's one scene in particular that is so Spike

1488
01:16:14,640 --> 01:16:19,000
Speaker 3: Lee stylized where there's an incident that happens where Denzel

1489
01:16:19,120 --> 01:16:21,719
Speaker 3: he thinks he has control over this situation. He thinks

1490
01:16:21,720 --> 01:16:26,360
Speaker 3: he's gotten away in to Dalton Russell and this bank heist,

1491
01:16:26,880 --> 01:16:31,080
Speaker 3: and then Dalton Russell surprises him by murdering a hostage,

1492
01:16:31,360 --> 01:16:35,960
Speaker 3: and Denzel leaves the trailer, the police trailer, and instead

1493
01:16:35,960 --> 01:16:39,160
Speaker 3: of walking to the bank, you just see him float

1494
01:16:39,280 --> 01:16:42,400
Speaker 3: like he's like floating through and flying through the crowd

1495
01:16:42,439 --> 01:16:44,920
Speaker 3: like he's on some kind of stabilizer. And it's such

1496
01:16:44,960 --> 01:16:49,280
Speaker 3: a cool scene and it's so emotionally impactful, and it's

1497
01:16:49,280 --> 01:16:52,479
Speaker 3: so short, but again, it's like this combination of Spike

1498
01:16:52,560 --> 01:16:55,120
Speaker 3: Lee and Denzel that just makes you realize, like, fuck,

1499
01:16:55,200 --> 01:16:58,720
Speaker 3: I am witnessing two different forms of greatness here, and

1500
01:16:58,760 --> 01:17:00,720
Speaker 3: it is astonishing to me time I see it.

1501
01:17:01,160 --> 01:17:03,439
Speaker 1: Yeah, I mean, I think part of what it was

1502
01:17:03,720 --> 01:17:05,880
Speaker 1: so great about seeing this movie for the first time

1503
01:17:06,000 --> 01:17:09,040
Speaker 1: was that just seeing knowing this movie was, you know,

1504
01:17:09,120 --> 01:17:13,640
Speaker 1: one of Spike Lee's most profitable, famous films, and you know,

1505
01:17:13,680 --> 01:17:16,519
Speaker 1: he's got so much good talent in this film that

1506
01:17:16,640 --> 01:17:18,600
Speaker 1: are like clamoring to work with him. But then he

1507
01:17:18,720 --> 01:17:23,280
Speaker 1: has this long standing relationship with Denzel Washington and that

1508
01:17:23,360 --> 01:17:26,120
Speaker 1: partnership is just I think one of the most famous,

1509
01:17:26,280 --> 01:17:29,519
Speaker 1: you know, creative partnerships in Hollywood. And I don't know,

1510
01:17:29,600 --> 01:17:32,439
Speaker 1: to me, it's it's nice to see the two of

1511
01:17:32,479 --> 01:17:35,439
Speaker 1: them both in a different type of movie for both

1512
01:17:35,520 --> 01:17:37,559
Speaker 1: of them, like to me, because you know, when you've

1513
01:17:37,600 --> 01:17:40,320
Speaker 1: seen them together in Malcolm X and Mobidle Blues and

1514
01:17:40,400 --> 01:17:43,639
Speaker 1: all these collaborations, you know, it's not this. This seems

1515
01:17:43,640 --> 01:17:47,680
Speaker 1: like a very big Hollywood film, and I kind of

1516
01:17:47,800 --> 01:17:50,000
Speaker 1: like that for them, and I kind of like seeing

1517
01:17:50,080 --> 01:17:53,200
Speaker 1: them together. I mean, you know, seeing Denzel act in

1518
01:17:53,280 --> 01:17:56,080
Speaker 1: his film in this film, yes, was really great to me.

1519
01:17:56,240 --> 01:17:58,160
Speaker 3: I agree with you completely because you're also kind of

1520
01:17:58,160 --> 01:18:02,960
Speaker 3: seeing these two create grow together and that felt really

1521
01:18:03,320 --> 01:18:05,840
Speaker 3: really incredible to witness as well. Like it's again, it

1522
01:18:05,840 --> 01:18:08,200
Speaker 3: seems like such a small feat, but you're watching these

1523
01:18:08,280 --> 01:18:12,040
Speaker 3: two very established creators spread their wings a little bit

1524
01:18:12,080 --> 01:18:14,519
Speaker 3: and create something new and fresh and cool.

1525
01:18:15,240 --> 01:18:16,679
Speaker 2: And you know, again, I think.

1526
01:18:16,520 --> 01:18:18,600
Speaker 3: The script has so much to do with it, but

1527
01:18:18,760 --> 01:18:21,280
Speaker 3: it's the acting and the directing. It all comes together

1528
01:18:21,400 --> 01:18:25,280
Speaker 3: in a wonderful soup, a wonderful stew that is beautiful

1529
01:18:25,320 --> 01:18:28,280
Speaker 3: to watch. And I think this movie was very successful,

1530
01:18:28,320 --> 01:18:31,160
Speaker 3: but I think it is also pretty forgotten for a

1531
01:18:31,160 --> 01:18:33,280
Speaker 3: lot of people, Like I think that. There was an

1532
01:18:33,360 --> 01:18:37,000
Speaker 3: article in Vulture and twenty twenty by Hunter Harris called

1533
01:18:37,040 --> 01:18:40,719
Speaker 3: Inside Man still absolutely rules. And I love seeing stuff

1534
01:18:40,760 --> 01:18:42,599
Speaker 3: like that because I think that you're right. There are

1535
01:18:42,640 --> 01:18:46,000
Speaker 3: so many movies that come out now all the time

1536
01:18:46,520 --> 01:18:50,559
Speaker 3: that it's very easy to forget these more subtle films.

1537
01:18:50,640 --> 01:18:53,559
Speaker 3: And it's successful, yes, but it's still subtle enough that

1538
01:18:53,560 --> 01:18:55,559
Speaker 3: it's not the first thing people think of when they think,

1539
01:18:55,600 --> 01:18:57,320
Speaker 3: I want to watch a Denzel movie or I want

1540
01:18:57,320 --> 01:18:59,280
Speaker 3: to watch a Spike Lee movie. But it is an

1541
01:18:59,280 --> 01:19:02,280
Speaker 3: incredible film and it does absolutely rule, and it will

1542
01:19:02,360 --> 01:19:05,360
Speaker 3: keep you fucking riveted. Like I have seen it multiple

1543
01:19:05,400 --> 01:19:08,240
Speaker 3: times and I'm still sucked into the narrative every time.

1544
01:19:08,560 --> 01:19:11,040
Speaker 3: There are details that you miss, there are always things

1545
01:19:11,040 --> 01:19:13,879
Speaker 3: to catch and things to watch. But it is truly

1546
01:19:14,080 --> 01:19:17,040
Speaker 3: just a heist movie that's been turned on its head,

1547
01:19:17,120 --> 01:19:19,200
Speaker 3: and so much of what works for me is that

1548
01:19:19,240 --> 01:19:23,680
Speaker 3: Denzel is so charismatic and such a powerful actor in

1549
01:19:23,720 --> 01:19:24,240
Speaker 3: this movie.

1550
01:19:24,439 --> 01:19:26,640
Speaker 1: Yeah, I agree. I mean, and to get back to

1551
01:19:26,800 --> 01:19:29,000
Speaker 1: like the whole reason for doing this episode is that

1552
01:19:29,120 --> 01:19:32,679
Speaker 1: I feel like, with Denzel Washington, you have arguably, like again,

1553
01:19:32,760 --> 01:19:36,160
Speaker 1: one of the most famous black dramatic actors of our generation.

1554
01:19:36,920 --> 01:19:39,720
Speaker 1: And it's a thing where you see two films sort

1555
01:19:39,760 --> 01:19:42,320
Speaker 1: of like when he was at the absolute height portion

1556
01:19:42,439 --> 01:19:44,880
Speaker 1: of his career to these kind of later period films

1557
01:19:44,920 --> 01:19:48,240
Speaker 1: where he's older. But it's never an easy thing, I think,

1558
01:19:48,280 --> 01:19:50,680
Speaker 1: And that's kind of like what we've talked about, you know,

1559
01:19:50,760 --> 01:19:53,320
Speaker 1: in episodes we've done about Black History Month last year,

1560
01:19:53,600 --> 01:19:57,000
Speaker 1: just about how it is harder for black artists to

1561
01:19:57,280 --> 01:20:01,439
Speaker 1: navigate this entire landscape of Hollywood. Yes, and even if

1562
01:20:01,439 --> 01:20:05,639
Speaker 1: you're super fucking famous and super fucking talented like Denzel Washington,

1563
01:20:05,760 --> 01:20:06,920
Speaker 1: it's not written.

1564
01:20:06,960 --> 01:20:07,719
Speaker 2: It's not certain.

1565
01:20:08,200 --> 01:20:10,559
Speaker 1: And the fact that he has as much gratitude and

1566
01:20:10,600 --> 01:20:14,240
Speaker 1: as much like humbleness in his life after the many

1567
01:20:14,320 --> 01:20:17,479
Speaker 1: years that he's been in this business is kind of amazing. Yeah,

1568
01:20:17,520 --> 01:20:20,280
Speaker 1: And he's so good and in every point, like, he's

1569
01:20:20,600 --> 01:20:23,759
Speaker 1: such a good actor. And with both of these films,

1570
01:20:23,960 --> 01:20:26,800
Speaker 1: I feel like they were like super obvious choices, which

1571
01:20:26,840 --> 01:20:28,840
Speaker 1: I like, I mean, we could have done Trading Day,

1572
01:20:28,920 --> 01:20:31,200
Speaker 1: we could have done Malcolm X, or we could have

1573
01:20:31,240 --> 01:20:34,400
Speaker 1: done Philadelphia even but I think with us choosing these

1574
01:20:34,400 --> 01:20:36,559
Speaker 1: two in particular, I think it was a little cool

1575
01:20:36,600 --> 01:20:39,080
Speaker 1: to see some pockets of his career that you know,

1576
01:20:39,160 --> 01:20:41,360
Speaker 1: we thought needed to be elevated.

1577
01:20:41,400 --> 01:20:43,719
Speaker 2: A little couldn't have said it better, So I won't.

1578
01:20:43,760 --> 01:20:45,839
Speaker 2: I won't. I won't even add to that. It's perfect.

1579
01:20:46,800 --> 01:20:48,880
Speaker 2: All I'll say is Denzel.

1580
01:20:50,080 --> 01:20:51,360
Speaker 1: Come to Danielle's house.

1581
01:20:51,880 --> 01:20:57,040
Speaker 3: I'm telling you Denzel Washington and Luther Vandros, Luther Vandrose.

1582
01:20:57,280 --> 01:20:59,880
Speaker 3: Growing up, I thought his name was l U t

1583
01:21:00,600 --> 01:21:03,519
Speaker 3: Ha because everyone who came through.

1584
01:21:03,320 --> 01:21:06,519
Speaker 2: My house was in my family. And anyway, anytime a

1585
01:21:06,560 --> 01:21:08,439
Speaker 2: Luther Vandros song came on, it.

1586
01:21:08,479 --> 01:21:13,240
Speaker 3: Was Lutha, Lutha and Denzel.

1587
01:21:14,080 --> 01:21:17,599
Speaker 1: Well, we can get Denzel to sit in your garage

1588
01:21:18,160 --> 01:21:20,840
Speaker 1: and wait with your grandma on the oil company to

1589
01:21:20,880 --> 01:21:25,000
Speaker 1: come through. I think we should have our producer email

1590
01:21:25,080 --> 01:21:26,080
Speaker 1: him toot sweet.

1591
01:21:27,400 --> 01:21:30,000
Speaker 2: Nothing would please me more. It would be the role

1592
01:21:30,040 --> 01:21:34,439
Speaker 2: of a lifetime. Oh, thank you so much for doing this.

1593
01:21:34,479 --> 01:21:39,240
Speaker 3: We have one more week of our Black History Month extravaganza. Yes,

1594
01:21:39,400 --> 01:21:41,120
Speaker 3: and do you want to tell these fine folks what

1595
01:21:41,160 --> 01:21:45,799
Speaker 3: our movies are next week? Oh my god do I okay,

1596
01:21:46,520 --> 01:21:49,519
Speaker 3: I just realized what the pair off was next week.

1597
01:21:49,760 --> 01:21:53,280
Speaker 1: I can't, I know, I know it's it's so fun.

1598
01:21:53,680 --> 01:21:55,800
Speaker 1: It's so fun. I can't wait to do this. So

1599
01:21:55,880 --> 01:22:01,280
Speaker 1: next episode, the movies are US from twenty nine and

1600
01:22:01,720 --> 01:22:06,040
Speaker 1: Tales from the Hood from nineteen ninety five. What is

1601
01:22:06,040 --> 01:22:07,479
Speaker 1: the theme? People? What is it?

1602
01:22:07,520 --> 01:22:08,759
Speaker 2: What is the theme?

1603
01:22:09,000 --> 01:22:13,160
Speaker 3: And I believe if I'm not mistaken, when we discuss

1604
01:22:13,240 --> 01:22:15,960
Speaker 3: the movie US, we will also get to talk about

1605
01:22:16,280 --> 01:22:19,120
Speaker 3: how the idea for this podcast came to be.

1606
01:22:19,520 --> 01:22:22,760
Speaker 1: Ooh, I think we might. I think we might.

1607
01:22:23,280 --> 01:22:25,120
Speaker 2: Oh my god, just in case we never have. I

1608
01:22:25,160 --> 01:22:26,720
Speaker 2: don't know if we have. I can't remember if we

1609
01:22:26,800 --> 01:22:27,160
Speaker 2: ever have.

1610
01:22:27,240 --> 01:22:30,120
Speaker 1: But yeah, oh my god, Well you gotta have to

1611
01:22:30,160 --> 01:22:31,040
Speaker 1: listen next week.

1612
01:22:31,080 --> 01:22:31,360
Speaker 2: Come on.

1613
01:22:31,800 --> 01:22:34,599
Speaker 1: So many reasons. But hey, look a lot of people

1614
01:22:34,600 --> 01:22:38,360
Speaker 1: have been sending us emails and we really really appreciate

1615
01:22:38,400 --> 01:22:41,200
Speaker 1: all the great feedback about Black History Month. But if

1616
01:22:41,200 --> 01:22:42,840
Speaker 1: you want to email us, we're at I Saw what

1617
01:22:42,920 --> 01:22:44,760
Speaker 1: you Did pod at gmail dot com.

1618
01:22:44,760 --> 01:22:47,120
Speaker 3: And you can please find us on our social media.

1619
01:22:47,280 --> 01:22:50,240
Speaker 3: We are at I Saw Pod on Instagram and Twitter.

1620
01:22:50,560 --> 01:22:53,240
Speaker 1: We've definitely got I Saw what you Did merch in

1621
01:22:53,320 --> 01:22:56,120
Speaker 1: the Exactly Right shop at Exactlyrightmedia dot com.

1622
01:22:56,360 --> 01:22:57,200
Speaker 2: And don't forget that.

1623
01:22:57,280 --> 01:22:59,680
Speaker 3: If you want even more from us, we have a

1624
01:23:00,080 --> 01:23:05,200
Speaker 3: flu of bonus episodes available exclusively at Stitcher Premium, and

1625
01:23:05,479 --> 01:23:05,920
Speaker 3: you can.

1626
01:23:05,840 --> 01:23:08,439
Speaker 2: Use the promo code SAW for a free month.

1627
01:23:08,800 --> 01:23:11,280
Speaker 1: Yes please do we have a lot of fun over there.

1628
01:23:11,560 --> 01:23:14,839
Speaker 1: Speaking of fun, Danielle, it was so fun, a pleasure

1629
01:23:14,880 --> 01:23:17,320
Speaker 1: as always. Thank you so much, Thank.

1630
01:23:17,120 --> 01:23:17,920
Speaker 2: You so much.

1631
01:23:18,439 --> 01:23:30,559
Speaker 3: Now, thank you see next week. Fine. This has been

1632
01:23:30,560 --> 01:23:33,760
Speaker 3: an exactly right production. Our producer is Alexis Samrosi. Our

1633
01:23:33,800 --> 01:23:37,120
Speaker 3: engineer is Ryo Baum. Our theme song is by Tom Bryfogel.

1634
01:23:37,520 --> 01:23:41,120
Speaker 3: Artwork by Garrett Ross. Our executive producers are Georgia Hardstar,

1635
01:23:41,280 --> 01:23:44,000
Speaker 3: Karen Kilgareth and Danielle Kramer. You can follow us on

1636
01:23:44,040 --> 01:23:47,160
Speaker 3: Instagram and Twitter at I Saw Pod. You can email

1637
01:23:47,240 --> 01:23:49,200
Speaker 3: us at I Saw What you Did Pod at Gmail,

1638
01:23:49,520 --> 01:23:52,120
Speaker 3: and please don't forget to listen, subscribe and leave us

1639
01:23:52,120 --> 01:23:55,960
Speaker 3: a review on Apple Podcasts, Stitcher, or wherever you listen.

1640
01:24:01,920 --> 01:24:01,960
Speaker 1: M