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Speaker 1: Yo, Casey, Hi Millie.

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Speaker 2: How's it going.

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Speaker 1: Fine? It's going Actually, it's going great because we're about

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Speaker 1: to do an amazing podcast together again. Yeah, it's a

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Speaker 1: thrilling day, it is.

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Speaker 2: So we're gonna do another round of our film diary

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Speaker 2: because I know you all want to know.

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Speaker 1: And yes, we're gonna get really sensitive today because we're

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Speaker 1: talking about a film that is very meaningful to me.

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Speaker 1: It's called Garden State. And we're also gonna touch upon

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Speaker 1: a little thing called the uh Manic Pixie dream Girl,

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Speaker 1: which I have a lot to say. I'm sure you do.

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Speaker 1: I have quite a bit to say as well.

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Speaker 2: And then, because we're gonna be talking about some sense TiVos,

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Speaker 2: I've prepared a wonderful game that I'm gonna make you

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Speaker 2: play about some sensitive boys in film.

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Speaker 1: So well, I am a sensitive boy, So I'm very excited.

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Speaker 2: All of this and more on this episode of Dear Movies,

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Speaker 2: I Love You.

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Speaker 1: I love you, and I've got to know you love me.

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Speaker 2: To check the books. Welcome to Dear Movies, I Love You.

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Speaker 2: This is the podcast for those who are in a

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Speaker 2: doomed relationship with movies. I'm your host, Millie to Jericho

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Speaker 2: and I'm.

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Speaker 1: Your other host, Casey O'Brien. Oh, Millie, Yes, we got

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Speaker 1: a lot to talk about today.

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Speaker 2: We definitely do. This episode is going to feel like

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Speaker 2: I'm gonna learn a lot about you. I just have

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Speaker 2: this weird feeling about it. Would that be fair to say?

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Speaker 1: Are you fearful? No? I feel I'm worried. I'm going

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Speaker 1: to reveal things on this podcast that are going to

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Speaker 1: make you reconsider hosting a podcast with me, knowing me

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Speaker 1: as a human being. Oh so there's that. I mean,

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Speaker 1: we're gonna get into it now.

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Speaker 2: I kind of see it as you're like this overgrown

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Speaker 2: garden to discover when it comes to to be needed.

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Speaker 2: Because we have a lot of similar tastes in movies,

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Speaker 2: I would say yeah, more than I actually thought. I

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Speaker 2: gotta admit, because you never know, you know, when you

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Speaker 2: meet people in the film streets, you're like, what are

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Speaker 2: they into? And then you're like, oh, they only like

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Speaker 2: I don't know, they they only like Michael Bay movies

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Speaker 2: or something, and you're like, oh, okay, gotcha. And they're like,

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Speaker 2: I'm a film freak just like you, and I'm like,

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Speaker 2: we're not the same.

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Speaker 1: But there was a lot of guys I went to

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Speaker 1: film school with that. There's a specific type of film

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Speaker 1: school guy who I steered clear from. But they were everywhere.

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Speaker 1: And it's guys whose favorite movie is Indiana Jones and

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Speaker 1: they would also wear a fedora at film school. And

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Speaker 1: this is like a very specific type of guy and

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Speaker 1: it says a lot about them. I like Indiana Jones.

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Speaker 2: But yeah, sure, sure, But you know, I don't want

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Speaker 2: to say that there are cinematic red flags when it

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Speaker 2: comes to meeting people, right, Oh, but there are. But yeah,

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Speaker 2: I was gonna say, is there some movie or some

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Speaker 2: director or something that is immediately like when an eyebrow

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Speaker 2: gets raised with you when you talk to someone.

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Speaker 1: Oh yes, certainly. I feel like I'm gonna be struck

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Speaker 1: dead in the art house world for saying something like this.

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Speaker 1: But when people are like I love Gadard, sure, I

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Speaker 1: find that I'm like, shut the fuck up. His movies

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Speaker 1: are boring and they suck. That's certainly one I would say.

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Speaker 1: I don't hear this, But if someone like loved Lars

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Speaker 1: von Dreer, I think that would be another one for me.

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Speaker 2: Yeah, what about you, I should I'd probably be struck

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Speaker 2: dead if I said this. But I'm gonna go for it.

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Speaker 2: Why not. There's also like people who I have met

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Speaker 2: who only watch A twenty four movies and pretty much

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Speaker 2: nothing else.

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Speaker 1: Oh, A twenty four is becoming that there's a film

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Speaker 1: fandom there that is becoming nasty. It's growing, and I

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Speaker 1: mean in some ways it's like I like that art

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Speaker 1: house cinema is being held up and people are excited

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Speaker 1: for it. But I know exactly the type of man

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Speaker 1: you're talking about.

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Speaker 2: Okay, Incredible movies come out on A twenty four, no

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Speaker 2: doubt about it. Some of the best modern movies have

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Speaker 2: come out on that. I want to say label, but

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Speaker 2: it's a label production production. But that's what I mean.

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Speaker 2: It has become such a branded thing where people are

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Speaker 2: like really only kind of focusing on that and all

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Speaker 2: of the output and not watching other people's movies, do

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Speaker 2: you know what I mean? Like they just know, oh, well,

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Speaker 2: this is my this is my brand, Like I don't

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Speaker 2: go outside the brand. And it feels very kind of

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Speaker 2: modern capitalism in a way to be like I only

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Speaker 2: watch movies from this one production company.

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Speaker 1: Yeah.

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Speaker 2: Also there's like a vibe associated with it too, which

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Speaker 2: I think people have really bought into.

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Speaker 1: So I don't know.

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Speaker 2: Again, that's it's probably gonna make me persona on grata

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Speaker 2: I suppose for saying that. But I'm also like, come on, like,

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Speaker 2: there are other movies that come out and have come

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Speaker 2: out beyond.

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Speaker 1: This, So I hear you just have some variety, you know, absolutely,

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Speaker 1: And maybe we can help with that with our film

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Speaker 1: diary section to the podcast where we go through the

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Speaker 1: movies we watched in the last week. We discussed them

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Speaker 1: and uh, MILLI let me just ask you this before

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Speaker 1: we jump in, and this might be its own segment

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Speaker 1: at some point, But what's your like film watching process?

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Speaker 1: Do you have to like have a certain snack with you?

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Speaker 1: Do you have to like turn all the lights off?

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Speaker 1: Are you like, is that like a hallowed space? Or

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Speaker 1: are you like watching you know, Lawrence of Arabi on

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Speaker 1: your phone in bed or where where do you draw

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Speaker 1: the line?

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Speaker 2: Watching Lawrence of Arabia on my phone would be a

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Speaker 2: fucking nightmare?

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Speaker 1: Yes?

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Speaker 2: So are you talking about in theater or at home?

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Speaker 1: At home? At home the home movie watching experience.

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Speaker 2: So here is the play and truth is that I've

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Speaker 2: become that middle aged person that can easily fall asleep

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Speaker 2: in a movie even if it's riveting, even if it's

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Speaker 2: Indiana Jones, Do you know what I mean. Yeah, So

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Speaker 2: I've kind of switched things up and started watching movies

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Speaker 2: in the morning.

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Speaker 1: That's good fresh or in the early.

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Speaker 2: Afternoon, right, Yeah, I gotta say I love a morning movie,

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Speaker 2: and even in the theater. I love going to the

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Speaker 2: theater in the morning, like you know, before two pm,

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Speaker 2: the Senior Citizens hour where you get the good discounts

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Speaker 2: on things. So I watch things in the morning, And

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Speaker 2: to be honest, the best thing for me is to

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Speaker 2: like get up, make coffee, maybe make some toast, sure,

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Speaker 2: and just watch a movie like within an hour or

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Speaker 2: an hour and a half after I get.

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Speaker 1: Up, when your brain is fresh ready to absorb.

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Speaker 2: Yeah, fresh brain, and it's not as distracting. Yeah, and

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Speaker 2: I don't feel as tired. I just I don't know.

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Speaker 2: I just love that. So that's been me for the

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Speaker 2: past year or so or more. Okay, what about you?

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Speaker 1: You know I used to be like really finicky about

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Speaker 1: like the room has to be completely black, I need

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Speaker 1: to like watch it all in one sitting without stopping

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Speaker 1: the movie. But since I've had a child, things have

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Speaker 1: become real lax. I'm watching on a laptop. Sometimes I'm

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Speaker 1: watching in fragments, and honestly, it hasn't ruined the overall experience.

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Speaker 1: You know, it's better to watch a movie though any

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Speaker 1: way you can, than not at all. And I was

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Speaker 1: watching them not at all because I didn't have like

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Speaker 1: a you know, a four hour block of time to

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Speaker 1: watch like Jan Dielman or whatever. Yeah, which is like

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Speaker 1: what I used to do before. It was like, all right,

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Speaker 1: turn my phone off. I'm zoned in on this movie.

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Speaker 1: But I've become more easygoing as I've gotten older.

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Speaker 2: Yes, that's good. That's good. You don't want to get

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Speaker 2: more rigid?

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Speaker 1: Yeah, exactly.

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Speaker 2: Life is gonna be harder. They're more rigid.

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Speaker 1: You are.

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Speaker 2: I'm just telling you right now.

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Speaker 1: It's true.

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Speaker 3: Maley.

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Speaker 1: I gotta hear. I want to hear what movies you

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Speaker 1: watched this past week? Please tell me? Yeah?

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Speaker 2: So okay, film diary this week? First up, I watched

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Speaker 2: Anora Seawan Baker's Anora.

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Speaker 3: Fuck.

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Speaker 1: I need to see it. Would you think it's fantastic? Damn?

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Speaker 1: I gotta see it.

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Speaker 2: A huge fan of Sean Baker, me too. I fucking

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Speaker 2: love Red Rocket.

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Speaker 1: See I haven't seen Red Rocks.

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Speaker 2: Like I'm a fan more than all of y'all are

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Speaker 2: of Red Rocket. I'm just gonna throw that out there. Wow,

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Speaker 2: like the whole Cybin Rex phenomenon.

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Speaker 1: Yes, I love this.

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Speaker 2: I love this. I love him. I have loved him

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Speaker 2: since the nineties when I used to see him on

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Speaker 2: MTV TV and I just loved the trajectory of his

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Speaker 2: career and like he's sort of like he's really kind

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Speaker 2: of like self effacing and very like no bullshit about

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Speaker 2: things in his life. Yeah, which I really appreciate.

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Speaker 1: He's a dynamic person.

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Speaker 2: Yeah.

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Speaker 1: And I want to see Red Rocket because I want

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Speaker 1: to see him up on the screen. I think he

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Speaker 1: got the call to like be in that movie like

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Speaker 1: a few days before they started shooting. Really. Yes.

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Speaker 2: And also Sean Baker, just because we're friends on Instagram.

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Speaker 2: I mean not that we interact, but.

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Speaker 1: You know, he's a good letterboxed follow he is. Yeah.

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Speaker 2: Yeah, Yeah, he's a huge exploitation fan, which is great.

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Speaker 2: I mean I love that about him. So, So I

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Speaker 2: saw Noora, loved it. I thought it was very, very charming.

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Speaker 2: So I then saw Pumping Iron two.

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Speaker 1: The women. Fuck, I didn't know there was a Pumping

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Speaker 1: Iron two.

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Speaker 2: Little of us did, and I will.

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Speaker 1: Say few of us knew.

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Speaker 2: Shame because it This is my letterbox review, verbatim and

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Speaker 2: all vibes. Masterpiece five stars, five stars, five stars. Pumping

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Speaker 2: Iron to the women is better than pumping iron, and

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Speaker 2: I hold pumping Iron in the highest esteem, like everybody

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Speaker 2: knows why. I mean, you've got young Arnold talking about

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Speaker 2: how working out is like ejaculating exactly, and then you've

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Speaker 2: got like loof Forregno and his dad. I mean, there's

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Speaker 2: so many charring parts to Pumping Iron, but like Pumping

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Speaker 2: Iron two is its own fucking beautiful universe. Like there's glamour,

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Speaker 2: there's lots of backstories, there's this like what speaking of

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Speaker 2: sensitive boys, There's a man in the movie who is

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Speaker 2: a bodybuilder and he's married to one of the bodybuilder

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Speaker 2: women who are competing in the Big competition, and he

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Speaker 2: is a wife guy of the highest order. I'm obsessed

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Speaker 2: with him, but not even like an annoying wife, like

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Speaker 2: a true, beautiful soul wife guy, like an eighty his

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Speaker 2: wife guy, which was hard to do back in the

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Speaker 2: eighties to be that. But he is great, and the

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Speaker 2: whole movie is so good and the music is great,

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Speaker 2: So I had to watch it on YouTube. I think

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Speaker 2: it's on YouTube.

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Speaker 1: Wow, but it is so good, Okay, I.

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Speaker 2: Encourage everybody to see it.

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Speaker 1: Amazing.

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Speaker 2: I also watched this documentary. This is like a total

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Speaker 2: swing in the other direction. I watched the documentary about

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Speaker 2: merchant Ivory. Oh, okay, the filmmaker's merchant Ivory. Yeah, I

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Speaker 2: think it's just called merchant Ivory. It was directed by

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Speaker 2: Steven Soussie. I think it's his name sou See why

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Speaker 2: And I don't know if you've had a long history

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Speaker 2: with watching those movies like Room with a View.

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Speaker 1: I've only seen The Butler. Why am I blanking on

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Speaker 1: the name? I read the book too, Remains of the Day,

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Speaker 1: The Remains of the Day. I love that movie and

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Speaker 1: I love that book. But that's the only merchant Ivory

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Speaker 1: movie I've seen. I guess Call Me by Your Name

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Speaker 1: was written by Yes, James Ivory.

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Speaker 2: Correct, basically if you don't know and Ivory. They were

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Speaker 2: the craters of these very speaking of vibes, viby, sort

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Speaker 2: of Edwardian era England.

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Speaker 1: Gentle kind of movies, would you.

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Speaker 2: Say, gentle, lush scenery. It's like a lot of farmhouses

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Speaker 2: in England in the countryside with like parasols and big dresses,

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Speaker 2: Helena bottom carter and a messy bun that's just like cascading,

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Speaker 2: you know, down.

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Speaker 1: Her shoulders, caskating messy bun.

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Speaker 2: Yeah, cas skating messy buns, but like that.

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Speaker 1: You know.

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Speaker 2: They've done several movies over the years, and Ismael Merchant

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Speaker 2: and James Ivory were essentially a couple they met. I

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Speaker 2: mean I think Ismail Merchant was maybe twenty four when

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Speaker 2: he met James Ivory, and they met in like, you know,

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Speaker 2: the sixties or the fifties or sixties, and they basically

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Speaker 2: were like a gay couple at a time where gay

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Speaker 2: couples were not chill, especially in England. I mean, you

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Speaker 2: could get arrested for being gay in England back in

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Speaker 2: the sixties. And they were like creative collaborators. They bring

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Speaker 2: in all the usual suspects, so you've got like Emma

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Speaker 2: Thompson and like Hugh Grant and all the people that

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Speaker 2: were in their films holding on a bottom carter of course,

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Speaker 2: and then they bring in all of these other people

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Speaker 2: that worked on the films, and then it was just

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Speaker 2: kind of this like oh, they had this farmhouse, like

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Speaker 2: I said, in the English countryside, and they had the

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Speaker 2: ware they edited was in a barn with like Ivy growing.

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Speaker 1: Up the walls and god, what a dream.

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Speaker 2: And then people would come and like live there for

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Speaker 2: months at a time to work on their films, you know,

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Speaker 2: like their composers and their you know, story editors and everything.

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Speaker 2: And I was just like every minute that went by,

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Speaker 2: I started getting so in my feelings and I was like,

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Speaker 2: I am depressed that I had never met my life

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Speaker 2: partner at twenty four and made movies with them until

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Speaker 2: I died.

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Speaker 1: Like I was.

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Speaker 2: Literally sitting there going like, why didn't that not happen

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Speaker 2: for me?

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Speaker 1: You fucked up? I know. And I just was like,

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Speaker 1: I mean.

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Speaker 2: You know, and of course, you know, being in a

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Speaker 2: relationship for that long is very complicated, especially if you

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Speaker 2: work together, but you know, and they talk about that

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Speaker 2: a bit, but I was like, I hate my life.

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Speaker 2: I wish I had their.

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Speaker 1: Life, Relly.

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Speaker 2: I was really in my feelings about it. I was like,

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Speaker 2: I want it.

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Speaker 1: I want this life sucks. Why am I me?

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Speaker 2: And that's it's a fan If you're a fan, even

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Speaker 2: if you're like a kind of like just curious about them,

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Speaker 2: it's a good watch and the last movie I watch

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Speaker 2: in my film diary this week is.

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Speaker 1: Again.

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Speaker 2: Another big swing in another direction was the two thousand

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Speaker 2: and nine movie called Obsessed, starring Beyonce.

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Speaker 1: Yep and Interest Elba and Ali Lauterer. Beyonce really gave

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Speaker 1: up on acting, didn't she. She was trying to make

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Speaker 1: that happen for a while, and I don't know if

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Speaker 1: she was very good as an actor.

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Speaker 2: We were talking about that as we were watching it

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Speaker 2: because I had actually seen it before, and I was

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Speaker 2: trying to get my friends and Eddie to watch it

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Speaker 2: because my friend Eddie has this fascination and love for

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Speaker 2: Ali Lauter, and I was like, have you ever seen Obsessed?

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Speaker 2: And he was like no, And I'm like, what, It's

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Speaker 2: only the best milk toast erotic thriller I've ever seen.

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Speaker 2: But that's the thing is that, like Beyonce. We were

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Speaker 2: talking about this because I was like, Okay, should we

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Speaker 2: do a Beyonce film festival? What would be included? And

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Speaker 2: it would be like gold Member? Wasn't she in gold Member?

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Speaker 1: She was in gold Member?

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Speaker 2: Yeah, sort of playing that like fake Pam mcgreer character.

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Speaker 2: I didn't think she was that good. Gotta be honest,

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Speaker 2: and listen, I'm in the Beehive.

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Speaker 1: I didn't think she was that good.

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Speaker 2: I'm in the Beehive, and I can say this, sure

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Speaker 2: we both are yes. And then I think she was

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Speaker 2: in like Cadillac Records and a couple of other.

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Speaker 1: Like she played Eda James in Cadillac or right.

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Speaker 2: She's in another kind of like fifties motown adjacent Dreamgirls,

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Speaker 2: Oh yeah, dream Girls. But also what is it called

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Speaker 2: Fighting Temptations or something like.

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Speaker 1: That, I don't know. In The Lion King.

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Speaker 2: She was in The Lion King. Yeah. Well, and so

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Speaker 2: needless to say, I think we were all pressed to

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Speaker 2: find something.

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Speaker 1: I don't know. If i'd be attending that film festival movie, yeah,

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Speaker 1: I know.

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Speaker 2: And if only she'd been in a merchant Ivory movie,

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Speaker 2: we'd be having.

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Speaker 1: A much different discussion.

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Speaker 2: Only But that movie Obsessed is so funny, and I

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Speaker 2: think you know why I'm saying it's funny. It's ridiculous,

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Speaker 2: Like it is a ridiculous movie. It sort of feels

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Speaker 2: like a Tyler Perry movie without Tyler Perry.

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Speaker 1: Kim Kardashian's not in that movie, is she?

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Speaker 2: No no, no, no, no no no. But it's supposed to

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Speaker 2: be an erotic thriller, but there's no stakes, there's no

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Speaker 2: eroticness to it at all. So if you want to

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Speaker 2: see a movie, whereat Beyonce goes Hay, I'm on, Ali Lauter,

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Speaker 2: you should check it out. And that's it for me.

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Speaker 1: Kim Kardashian was in the movie Temptation Confessions of a

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Speaker 1: Marriage Counselor, which is a movie by Tyler Perry.

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Speaker 2: Okay, that's where we're getting confused.

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Speaker 1: That's where we're crossing wires there. Wow, what a week

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Speaker 1: for you, Elly? Yeah?

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Speaker 2: Real crazy? So what about you?

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Speaker 1: I have a pathetic week compared to you. I saw

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Speaker 1: the movie wish Master from nineteen ninety seven, which is

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Speaker 1: very funny. It's like an evil Genie comes back and

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Speaker 1: basically he can only use his powers if used within

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Speaker 1: a wish, So he's tricking people into making wishes and

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Speaker 1: they'll be like, like, this woman, you know, working in

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Speaker 1: a clothing store was like, oh my gosh, that other

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Speaker 1: woman over there is beautiful, and he's like, don't you

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Speaker 1: wish you were the most beautiful woman on earth? And

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Speaker 1: she's like, I guess so, and he's like, then say it,

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Speaker 1: and then he like kills her it's very bad and stupid.

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Speaker 2: Is stars the late Tony Todd. Am I wrong about that?

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Speaker 1: Tony Todd, I believe does make an appearance. All right,

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Speaker 1: pe King, Well it doesn't. Maybe he doesn't start. No,

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Speaker 1: he's just in there. So Tony Todd, Robert England is

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Speaker 1: in it a lot, and the guy who played Jason

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Speaker 1: is in it. There's like a lot of other horror

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Speaker 1: movie people in it, Okay. Then I watched The Substance.

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Speaker 1: That was great.

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Speaker 2: I haven't seen it yet. Everybody's like asking me if

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Speaker 2: I had seen it, and I have to say no.

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Speaker 1: I love a horror movie that has a lot of

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Speaker 1: goo in it, and this is a very goo forward movie.

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Speaker 1: I love body horror. It reminded me of Brian Husena's Society.

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Speaker 1: If you've ever seen that movie, it's great cool. I

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Speaker 1: would even consider doing an episode on it. There's a

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Speaker 1: lot to say about that movie, okay. And then I

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Speaker 1: watched the two thousand and two comedy written by Mike

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Speaker 1: White called Orange County. I was just in the mood

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Speaker 1: to see this movie. I remember really liking it when

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Speaker 1: it came out, and it's a fun You know, my

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Speaker 1: wife Tricia is from Orange County and so it was

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Speaker 1: kind of fun to watch that. Yeah, talk about life

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Speaker 1: in Orange County. And it's got a Jack Black before

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Speaker 1: School of Rock, you know, before he blew up, Colin Hanks,

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Speaker 1: Colin Hanks, Catherine O'Hara, John Lithgow, Harold ramis inclined. There's

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Speaker 1: a lot of people in it. Yeah, so Lily.

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Speaker 2: Tomlin, I love Mike White, will watch anything he does.

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Speaker 1: So yeah, I have actually never seen Chuck and Buck.

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Speaker 2: Oh we did it for I saw what you did.

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Speaker 1: I know you did. Yeah, I didn't watch it.

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Speaker 2: Yeah. My favorite of his is Enlightened. I was obsessed

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Speaker 2: with Enlightened when it came out on HBO, to the

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Speaker 2: point where when it ended, I think I actually wrote

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Speaker 2: an email to somewhat internally, because at the time that

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Speaker 2: this happened, I was working for Warner Brothers Discovery, which

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Speaker 2: of course owns HBO, and I was like, let me

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Speaker 2: find somebody at HBO write a letter, like just some

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Speaker 2: maniac woman who sends a blind email complaining about a

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Speaker 2: show getting canceled.

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Speaker 1: I was so pissed. Did you get a response? No,

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Speaker 1: of course not. I feel like I make emails like that,

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Speaker 1: like cold emails to random people and like, out of

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Speaker 1: a thousand of them, one of them gets answered or

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Speaker 1: like gets a response, and that so is thrilling. Actually,

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Speaker 1: I have kind of a story related to the movie

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Speaker 1: we're talking about today, kind of I guess to a

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Speaker 1: cold email that got responded to that I was going

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Speaker 1: to bring up. But that's great, that's our film, Diary.

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Speaker 1: That's it, dear Diary. Millie was mean today. Let's move

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Speaker 1: on to the big show of what we're talking about today.

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Speaker 2: So let's I don't know, I'm cracking my knuckles. I

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Speaker 2: don't know if you can hear it. Yeah, because I'm

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Speaker 2: settling in on this movie that we're going to talk

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Speaker 2: about this time period. Like when we talked about potentially

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Speaker 2: bringing this movie to the podcast just to chat it up,

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Speaker 2: I immediately was sent back to a time and place.

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Speaker 1: Yes, well, I floated the idea to you, and I

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Speaker 1: was worried you were gonna pick it up and then

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Speaker 1: throw it back at me and say, we're not talking

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Speaker 1: about this movie. So I was thrilled that you were

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Speaker 1: to talk about it.

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Speaker 2: Oh yeah, listen, I love matching someone's freak. So let's

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Speaker 2: go okay, yeah, fabulous. So we're talking about garden State Today,

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Speaker 2: two thousand and fours. Garden State written and directed by

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Speaker 2: Zach Braff. Let me take you back in the time machine.

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Speaker 2: It's two thousand and four. I'm sixteen years old. Ooh

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Speaker 2: am I sensitive. I am a sensitive, sad little boy.

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Speaker 2: And this trailer almost more than the movie. The trailer

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Speaker 2: for this movie hit me. I was just getting into

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Speaker 2: art house film, you know. I was going to the

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Speaker 2: lagoon in Minneapolis and this played. I don't remember before

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Speaker 2: what movie, but I was just like, this is made

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Speaker 2: for the music, the imagery, the sensitivity.

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Speaker 1: I was thinking about this. I was like, if the FBI,

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Speaker 1: like for some reason needed to try to like trick

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Speaker 1: me and kidnap me somehow, they would put this trailer

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Speaker 1: together and I would be such an easy mark to

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Speaker 1: like show up at a movie theater to watch this movie.

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Speaker 1: I mean, it was like made for me. Yes, and

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Speaker 1: I remember my friends and I were all my sensitive

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Speaker 1: boyfriends were so thrilled. We went on the first day

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Speaker 1: that it came out. We already owned the soundtrack. The

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Speaker 1: soundtrack was already a huge thing. We listened to the soundtrack.

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Speaker 1: I remember this day very specifically. We listened to the

437
00:22:18,640 --> 00:22:21,000
Speaker 1: soundtrack on the way to the theater, and when I

438
00:22:21,119 --> 00:22:23,119
Speaker 1: was watching it, I was like, this is the most

439
00:22:23,160 --> 00:22:26,679
Speaker 1: important movie I've ever seen. It just felt like the

440
00:22:26,720 --> 00:22:32,480
Speaker 1: stakes were so high, and I feel like this movie

441
00:22:32,800 --> 00:22:36,639
Speaker 1: opened it hit me right at the right time. You know.

442
00:22:36,680 --> 00:22:39,119
Speaker 1: I had probably just seen The Four Hundred Blows and

443
00:22:39,200 --> 00:22:42,080
Speaker 1: like the Seventh Seal, and I was seeing more like

444
00:22:43,119 --> 00:22:47,800
Speaker 1: artsy movies, and so I was kind of ready for

445
00:22:47,880 --> 00:22:51,199
Speaker 1: something like this, and it just it became such an

446
00:22:51,240 --> 00:22:54,360
Speaker 1: important part of my life. I look back to things

447
00:22:54,680 --> 00:22:57,480
Speaker 1: that I made and wrote even in college, that are

448
00:22:57,520 --> 00:23:01,640
Speaker 1: heavily influenced by this movie being core and sensitive. And

449
00:23:02,280 --> 00:23:05,399
Speaker 1: when I was in high school, my senior year, I

450
00:23:05,440 --> 00:23:07,720
Speaker 1: was in the theater program. I was very heavily involved

451
00:23:07,760 --> 00:23:10,280
Speaker 1: in the theater program in high school, and my senior year,

452
00:23:10,440 --> 00:23:13,639
Speaker 1: my theater director came to me and another guy and

453
00:23:13,680 --> 00:23:16,000
Speaker 1: were like, you guys should write a play that will

454
00:23:16,000 --> 00:23:19,679
Speaker 1: do for the fall play WHOA And we wrote a

455
00:23:19,680 --> 00:23:23,280
Speaker 1: play that, looking back, copied a lot of elements of

456
00:23:23,320 --> 00:23:25,760
Speaker 1: Garden State. It's like about a guy, like a grown

457
00:23:25,880 --> 00:23:28,560
Speaker 1: man coming I We're like seventeen oh, and it's like

458
00:23:28,880 --> 00:23:31,080
Speaker 1: we're got like a grown man coming back to his

459
00:23:31,200 --> 00:23:36,080
Speaker 1: hometown after trying to make it in La and the

460
00:23:36,200 --> 00:23:39,119
Speaker 1: dad was in a wheelchair, not the mom, which is

461
00:23:39,200 --> 00:23:41,600
Speaker 1: like in Garden State. I mean it's like such and

462
00:23:41,720 --> 00:23:45,280
Speaker 1: there's like a manic pixie dream girl esque character in it.

463
00:23:45,640 --> 00:23:47,720
Speaker 1: And I don't even know if I can hunt down

464
00:23:47,720 --> 00:23:50,840
Speaker 1: a copy of that play. It was called Prodigal Oh,

465
00:23:50,960 --> 00:23:55,159
Speaker 1: it's like about the prodigal son coming back. So anyways,

466
00:23:55,359 --> 00:23:59,439
Speaker 1: it was this is a very important movie for me

467
00:23:59,480 --> 00:24:02,959
Speaker 1: in high school. And it's interesting because I feel like

468
00:24:03,040 --> 00:24:09,119
Speaker 1: this movie became a punchline not long after it was released. Yes,

469
00:24:09,560 --> 00:24:12,640
Speaker 1: so after that initial bubble of love, like after high

470
00:24:12,640 --> 00:24:15,159
Speaker 1: school and maybe after college, I feel like it was

471
00:24:15,200 --> 00:24:17,760
Speaker 1: like an embarrassing movie to like, especially when I got

472
00:24:17,800 --> 00:24:21,199
Speaker 1: into film school and we're watching movies like Gumo or

473
00:24:21,320 --> 00:24:26,080
Speaker 1: like you know, like Sallo and stuff like that. It's

474
00:24:26,160 --> 00:24:28,520
Speaker 1: like there's no place for a movie like Garden State.

475
00:24:28,960 --> 00:24:34,080
Speaker 1: But to me, I feel like I'm still affected by

476
00:24:34,480 --> 00:24:37,199
Speaker 1: it in terms of the type of movie it is.

477
00:24:37,800 --> 00:24:39,960
Speaker 1: I've kind of come full circle on it, like this

478
00:24:40,200 --> 00:24:43,439
Speaker 1: type of movie is my kind of movie. Whether this

479
00:24:43,600 --> 00:24:46,160
Speaker 1: is like a totally effective movie or not, this kind

480
00:24:46,160 --> 00:24:48,840
Speaker 1: of movie is my still my kind of movie. Yes,

481
00:24:49,040 --> 00:24:56,080
Speaker 1: So that's my long winded story and experience with Garden State.

482
00:24:56,080 --> 00:24:57,640
Speaker 1: And we're kind of talking about it because it came

483
00:24:57,680 --> 00:25:00,439
Speaker 1: out twenty years ago. It's kind of like the twenty

484
00:25:00,640 --> 00:25:02,159
Speaker 1: a little longer than twenty years ago, but I think

485
00:25:02,160 --> 00:25:04,399
Speaker 1: believe it came out in August of two thousand and four. Okay,

486
00:25:04,520 --> 00:25:07,119
Speaker 1: so I thought it appropriate to revisit it.

487
00:25:07,040 --> 00:25:09,800
Speaker 2: And I'm glad that you picked it because I'll just

488
00:25:09,800 --> 00:25:11,320
Speaker 2: get I'm gonna say this right now. You've said all

489
00:25:11,320 --> 00:25:14,000
Speaker 2: these beautiful things about how this was a part of

490
00:25:14,080 --> 00:25:17,720
Speaker 2: your childhood, about your formative years. It inspired you to

491
00:25:17,760 --> 00:25:19,800
Speaker 2: be a filmmaker and to be in movies, And.

492
00:25:19,840 --> 00:25:21,240
Speaker 1: Yes, I mean this is one of the movies I

493
00:25:21,280 --> 00:25:23,720
Speaker 1: would say I went to film school because of this movie.

494
00:25:23,800 --> 00:25:29,359
Speaker 2: So oh, of course, I totally totally understand. I had

495
00:25:29,680 --> 00:25:33,080
Speaker 2: the complete opposite reaction when this movie came out. Of course,

496
00:25:33,280 --> 00:25:35,000
Speaker 2: I know I'm a little bit older than you. I

497
00:25:35,119 --> 00:25:39,320
Speaker 2: was twenty four twenty five when this movie came out, So.

498
00:25:39,520 --> 00:25:41,360
Speaker 1: You're out of the You were out of the window.

499
00:25:42,680 --> 00:25:45,320
Speaker 2: I not only was out of the window, but I

500
00:25:45,359 --> 00:25:49,959
Speaker 2: am I immediately saw as Sus as the kids say, sus,

501
00:25:50,119 --> 00:25:53,200
Speaker 2: I was like, what is this thing? What is happening?

502
00:25:53,240 --> 00:25:55,600
Speaker 2: Because you know, being in my twenties, I think was

503
00:25:55,600 --> 00:25:58,879
Speaker 2: obviously marketed for people in their twenties two And I

504
00:25:59,000 --> 00:26:02,040
Speaker 2: was just like, but I have no connection to Zach Braff.

505
00:26:02,160 --> 00:26:05,440
Speaker 2: I have actually no connection to Natalie Portman because I'm

506
00:26:05,440 --> 00:26:09,560
Speaker 2: not a Star Wars person and I wasn't really I

507
00:26:09,560 --> 00:26:10,840
Speaker 2: didn't really have a connection to her.

508
00:26:12,240 --> 00:26:17,399
Speaker 1: I was a Scrubs faf to my favorite show in

509
00:26:17,520 --> 00:26:19,760
Speaker 1: high school. I was obsessed because it was that was

510
00:26:19,800 --> 00:26:22,280
Speaker 1: like a sitcom, but it had so many like emotional

511
00:26:22,359 --> 00:26:25,200
Speaker 1: emo moments in it too, and I was just I

512
00:26:25,280 --> 00:26:27,239
Speaker 1: was just such a sucker for it. So like I

513
00:26:27,359 --> 00:26:30,960
Speaker 1: was the pump was primed for this movie to come

514
00:26:31,000 --> 00:26:33,240
Speaker 1: out for me. Oh, I was already obsessed with Zach Braff.

515
00:26:33,760 --> 00:26:36,000
Speaker 2: See that is so interesting to me because Zach Braff,

516
00:26:36,040 --> 00:26:38,240
Speaker 2: to me is the worst part of this movie after

517
00:26:38,640 --> 00:26:42,040
Speaker 2: having seen it again, because I watched it. I think

518
00:26:42,080 --> 00:26:45,200
Speaker 2: I watched it on campus at the campus movie theater

519
00:26:45,680 --> 00:26:48,760
Speaker 2: of my old college because basically you could see movies

520
00:26:48,760 --> 00:26:51,480
Speaker 2: for a dollar there if you had your student ID,

521
00:26:51,600 --> 00:26:52,120
Speaker 2: and I had my.

522
00:26:52,040 --> 00:26:53,639
Speaker 1: Still and my student ideas was like why not?

523
00:26:54,160 --> 00:26:57,680
Speaker 2: And I was like, yo, I hate this big time.

524
00:26:58,000 --> 00:27:01,040
Speaker 2: I hate it, even though, like so of the soundtrack,

525
00:27:01,080 --> 00:27:03,199
Speaker 2: which I know we're going to get into, there are

526
00:27:03,240 --> 00:27:05,359
Speaker 2: bands on that soundtrack that I liked. I also feel

527
00:27:05,400 --> 00:27:08,080
Speaker 2: like too, it took advantage of like this rediscovery of

528
00:27:08,160 --> 00:27:11,600
Speaker 2: Nick Drake. Yeah, that I'm very resentful. I'm actually resentful

529
00:27:12,040 --> 00:27:12,280
Speaker 2: of it.

530
00:27:12,400 --> 00:27:15,359
Speaker 1: Yeah, because I think Nick Drake was in a car commercial,

531
00:27:15,359 --> 00:27:18,720
Speaker 1: a Volkswagen commercial roughly around this time. Yeah, think Moon.

532
00:27:18,800 --> 00:27:20,159
Speaker 1: I believe the song was used in that.

533
00:27:20,480 --> 00:27:23,359
Speaker 2: Yes, And speaking of sensitive boys, I was a big

534
00:27:23,400 --> 00:27:25,160
Speaker 2: fan of Nick Drake. And then all of a sudden,

535
00:27:25,560 --> 00:27:28,520
Speaker 2: here comes like, you know, the cavalry being like, oh

536
00:27:28,600 --> 00:27:31,240
Speaker 2: Nick Drake, Pink Moon, Oh, Garden State Soundtruck. I was like,

537
00:27:31,280 --> 00:27:34,920
Speaker 2: you motherfuckers, Like where have you been? Honestly, where have

538
00:27:35,000 --> 00:27:38,159
Speaker 2: you been? But all of this is to say, my

539
00:27:38,320 --> 00:27:41,560
Speaker 2: thing about it is that like I had those movies

540
00:27:41,600 --> 00:27:44,120
Speaker 2: when I was sixteen, seventeen years old. I mean when

541
00:27:44,119 --> 00:27:46,640
Speaker 2: I was that age, you know, it was a lot

542
00:27:46,640 --> 00:27:49,760
Speaker 2: of like reality bites, singles. You know. I was kind

543
00:27:49,760 --> 00:27:51,679
Speaker 2: of like in high school in the nineties. Sure, so

544
00:27:51,880 --> 00:27:56,480
Speaker 2: there were movies like that were similar for me where

545
00:27:56,520 --> 00:27:58,800
Speaker 2: I was like I want to adopt the world. That

546
00:27:58,840 --> 00:28:00,840
Speaker 2: it's in and yeah, I want to act like the

547
00:28:00,920 --> 00:28:03,520
Speaker 2: characters and I just want to I'm like all invested

548
00:28:03,560 --> 00:28:07,240
Speaker 2: into this whatever. This movie is a promotion of a

549
00:28:07,280 --> 00:28:09,800
Speaker 2: life that I want or something. Yeah, so I'm not

550
00:28:10,160 --> 00:28:14,120
Speaker 2: begrudging that that is actually like a time honor tradition

551
00:28:14,200 --> 00:28:17,159
Speaker 2: for most teenagers that they find a movie that is

552
00:28:17,240 --> 00:28:19,679
Speaker 2: kind of their everything and then it becomes this like

553
00:28:19,920 --> 00:28:21,120
Speaker 2: formative moment for them.

554
00:28:21,160 --> 00:28:23,719
Speaker 1: And I also think that movie is not necessarily the

555
00:28:23,920 --> 00:28:27,880
Speaker 1: cool it's kind of the more mainstream that actual cool

556
00:28:27,920 --> 00:28:32,040
Speaker 1: people would be resentful of late. Like I think five

557
00:28:32,080 --> 00:28:34,560
Speaker 1: Hundred Days of Summer is actually a very similar comp

558
00:28:34,600 --> 00:28:36,679
Speaker 1: to this, because when I saw that, I was like

559
00:28:37,640 --> 00:28:39,880
Speaker 1: twenty three, twenty four, and I was like, fuck this.

560
00:28:40,080 --> 00:28:43,360
Speaker 1: I resent them using Pixies music in this. Yes, I

561
00:28:43,440 --> 00:28:46,840
Speaker 1: resent them doing this. But I know younger people who

562
00:28:46,840 --> 00:28:49,400
Speaker 1: are like very affected by that movie. You know. It's

563
00:28:49,440 --> 00:28:53,080
Speaker 1: like there's kind of this window and it's like that

564
00:28:53,160 --> 00:28:57,000
Speaker 1: doesn't mean those things are bad inherently, but it's it's

565
00:28:57,000 --> 00:28:59,480
Speaker 1: almost like the not I don't know how to describe it.

566
00:28:59,480 --> 00:29:02,400
Speaker 1: It's like the n not cool version of something, or

567
00:29:02,520 --> 00:29:06,240
Speaker 1: like the more mainstreamified do you know what I'm saying.

568
00:29:06,160 --> 00:29:09,600
Speaker 2: Yes, well and like okay, so maybe this is an

569
00:29:09,640 --> 00:29:14,560
Speaker 2: easy segue into maybe the larger theme of both what

570
00:29:14,720 --> 00:29:17,520
Speaker 2: this movie represents and maybe the theme of this episode

571
00:29:17,720 --> 00:29:21,080
Speaker 2: in a way. So I am not sure of the

572
00:29:21,120 --> 00:29:23,360
Speaker 2: actual timeline for any of this, and I feel like

573
00:29:23,440 --> 00:29:25,880
Speaker 2: you might know more than me, so just feel free

574
00:29:25,920 --> 00:29:28,800
Speaker 2: to correct me at any at any point. Sure, this

575
00:29:29,000 --> 00:29:32,800
Speaker 2: movie feels like it ushered in this era of the

576
00:29:32,840 --> 00:29:35,400
Speaker 2: mannic pixie dream girl, which was a term that was

577
00:29:36,160 --> 00:29:38,800
Speaker 2: coined by Nathan Rabin, who is a film writer and

578
00:29:38,880 --> 00:29:43,360
Speaker 2: a critic very famously created this word that has become

579
00:29:43,440 --> 00:29:46,120
Speaker 2: kind of like the catch all for a certain type

580
00:29:46,160 --> 00:29:47,800
Speaker 2: of female movie character, right.

581
00:29:47,760 --> 00:29:50,120
Speaker 1: Yes, and it's he coined that term in the review

582
00:29:50,200 --> 00:29:53,640
Speaker 1: for the movie Elizabethtown, which is a Cameron Crowe movie.

583
00:29:53,680 --> 00:29:57,560
Speaker 1: Who Cameron Crowe is very filmmaker who has kind of

584
00:29:57,680 --> 00:30:00,920
Speaker 1: utilized that type of care a few times.

585
00:30:01,000 --> 00:30:04,080
Speaker 2: Yes, well, I mean he he did singles. So it's like,

586
00:30:04,560 --> 00:30:07,360
Speaker 2: I mean, even if you go back to that movie,

587
00:30:07,360 --> 00:30:11,800
Speaker 2: which was made in like what ninety two ninety four, yeh, yeah,

588
00:30:12,040 --> 00:30:15,280
Speaker 2: even though we were not in a manic Pixie dream

589
00:30:15,280 --> 00:30:19,680
Speaker 2: girl era, theoretically there are elements of the male character

590
00:30:19,720 --> 00:30:21,880
Speaker 2: I mean, like I would say that Campbell Scott character

591
00:30:21,920 --> 00:30:24,600
Speaker 2: in Singles is very close to the zach Raff character

592
00:30:24,800 --> 00:30:27,720
Speaker 2: or you know whatever character that would be in Elizabeth

593
00:30:27,720 --> 00:30:32,320
Speaker 2: toown that sort of like good guy, some damage, sensitive,

594
00:30:32,560 --> 00:30:38,240
Speaker 2: sensitive inspired to you know, live again via a girl

595
00:30:38,320 --> 00:30:41,640
Speaker 2: who he finds charming and fascinating. Yes, that concept to

596
00:30:41,760 --> 00:30:43,440
Speaker 2: be actually honest.

597
00:30:43,200 --> 00:30:45,120
Speaker 1: Is old school, very old school.

598
00:30:45,160 --> 00:30:48,760
Speaker 2: It's like that is, you know, very screwball comedy, early

599
00:30:48,840 --> 00:30:51,440
Speaker 2: days of Hollywood. That's set up. But I feel like

600
00:30:52,120 --> 00:30:55,560
Speaker 2: this movie Garden State was the thing that really crystallized

601
00:30:55,680 --> 00:30:59,000
Speaker 2: that new era of it. It felt like then after

602
00:30:59,080 --> 00:31:03,280
Speaker 2: Garden State, there was this like proliferation of those types

603
00:31:03,320 --> 00:31:06,480
Speaker 2: of movies like Elizabethtown and it's five hundred Days in Summer.

604
00:31:06,720 --> 00:31:08,240
Speaker 2: That's after guard State too.

605
00:31:08,320 --> 00:31:11,560
Speaker 1: Yeah, that's like twenty ten, five hundred days of Summer.

606
00:31:11,760 --> 00:31:14,840
Speaker 1: Nick and Nora's Infinite Playlist is one that I comes

607
00:31:14,880 --> 00:31:18,680
Speaker 1: to mind. Scott Pilgrim Versus the World is another one,

608
00:31:19,040 --> 00:31:22,080
Speaker 1: and a lot of these movies. It's a character type,

609
00:31:22,200 --> 00:31:25,440
Speaker 1: but it's also a movie type. This character exists within

610
00:31:25,560 --> 00:31:29,480
Speaker 1: a certain type of movie. It's like sensitive boy caught

611
00:31:29,520 --> 00:31:34,680
Speaker 1: in a rut and this unhinged woman who's free. A

612
00:31:34,760 --> 00:31:39,640
Speaker 1: free spirit gets them out of their rut. And it's

613
00:31:39,720 --> 00:31:44,680
Speaker 1: mildly problematic because it kind of is all self serving

614
00:31:44,760 --> 00:31:47,840
Speaker 1: for the man's journey, and a lot of times this

615
00:31:47,960 --> 00:31:52,000
Speaker 1: female character doesn't really have any substance to them other

616
00:31:52,040 --> 00:31:54,520
Speaker 1: than being kind of quirky and weird.

617
00:31:54,400 --> 00:32:00,280
Speaker 2: Right, potentially mentally ill, yes, always hanging in there, which

618
00:32:00,280 --> 00:32:03,080
Speaker 2: is very interesting to me as well. But here's the thing, though,

619
00:32:03,120 --> 00:32:06,640
Speaker 2: I mean, listen, I think, if you know who I am,

620
00:32:07,400 --> 00:32:10,960
Speaker 2: if you've listened to other podcasts I've done, if you

621
00:32:11,040 --> 00:32:13,600
Speaker 2: just know my work or anything, just don't me personally.

622
00:32:13,640 --> 00:32:17,360
Speaker 2: I mean, you know that the MANI picture dream girl is,

623
00:32:17,920 --> 00:32:21,120
Speaker 2: you know a little I brace myself anytime we talk

624
00:32:21,160 --> 00:32:24,320
Speaker 2: about it because it is such an archetype that doesn't

625
00:32:24,480 --> 00:32:29,160
Speaker 2: feel necessarily real. It feels like a product of a

626
00:32:29,200 --> 00:32:30,160
Speaker 2: man's brain.

627
00:32:30,680 --> 00:32:32,080
Speaker 1: Right, yes, But at the.

628
00:32:32,040 --> 00:32:35,680
Speaker 2: Same time, I want boys to be sensitive. I want

629
00:32:35,720 --> 00:32:38,520
Speaker 2: them to feel deep things, and I want them to

630
00:32:39,120 --> 00:32:43,320
Speaker 2: fall in love in a very like, earnest, beautiful way.

631
00:32:43,480 --> 00:32:46,600
Speaker 2: Like I mean, I want the evolution of men so

632
00:32:46,720 --> 00:32:51,480
Speaker 2: badly that I don't want to say it's totally bullshit

633
00:32:51,680 --> 00:32:54,520
Speaker 2: that this era exists, that this type of filmmaking exists

634
00:32:54,560 --> 00:32:56,840
Speaker 2: at one point because I feel like if it makes

635
00:32:56,960 --> 00:32:59,480
Speaker 2: boys more sensitive and in two and other feelings, great,

636
00:33:00,200 --> 00:33:03,800
Speaker 2: But the problem is is that like that conversation is

637
00:33:03,880 --> 00:33:06,120
Speaker 2: never as nuanced as I want it to be.

638
00:33:06,240 --> 00:33:08,040
Speaker 1: Yeah, and it certainly doesn't talk.

639
00:33:07,880 --> 00:33:10,840
Speaker 2: About the women as part of that at all in

640
00:33:10,880 --> 00:33:13,320
Speaker 2: any kind of real nuanced way. Like it's just basically

641
00:33:13,360 --> 00:33:16,240
Speaker 2: like a sensitive boys like projection of who he thinks

642
00:33:16,320 --> 00:33:18,360
Speaker 2: is going to come save him, you know what I mean.

643
00:33:18,400 --> 00:33:21,640
Speaker 2: And also I would add an eternal Sunshine, right, that's

644
00:33:21,640 --> 00:33:22,720
Speaker 2: another one of these movies.

645
00:33:22,840 --> 00:33:25,560
Speaker 1: Eternal Sunshine, absolutely.

646
00:33:25,000 --> 00:33:28,560
Speaker 2: Yeah, Eternal Sunshine of the Spotless Mind, as you know

647
00:33:29,040 --> 00:33:33,160
Speaker 2: Michelle Gondry, you know, Kate Winslet and Jim Carrey. That

648
00:33:33,320 --> 00:33:38,120
Speaker 2: to me was the movie that I was like, oh,

649
00:33:38,160 --> 00:33:40,920
Speaker 2: I understand what's going on now, Like I watched that

650
00:33:41,000 --> 00:33:43,719
Speaker 2: movie several times and I actually think it's a great film. Yeah,

651
00:33:43,800 --> 00:33:47,560
Speaker 2: but it did for me go, okay, yeah, this movie

652
00:33:47,840 --> 00:33:49,920
Speaker 2: alongside all this other stuff. Now we're in a vibe

653
00:33:49,920 --> 00:33:52,120
Speaker 2: and I don't know what to think of it. It

654
00:33:52,200 --> 00:33:56,000
Speaker 2: feels very suspect. And also not all women are like that,

655
00:33:56,360 --> 00:34:02,200
Speaker 2: like they're not you know, whimsical and and all these things.

656
00:34:02,240 --> 00:34:05,040
Speaker 2: I mean, it's just like it is a fantasy, and

657
00:34:05,120 --> 00:34:08,799
Speaker 2: I wish that there would be more substance to that,

658
00:34:08,960 --> 00:34:11,680
Speaker 2: or more conversation around what that is to men, you

659
00:34:11,719 --> 00:34:12,160
Speaker 2: know what I mean.

660
00:34:12,320 --> 00:34:15,680
Speaker 1: Yeah, I think that like inherently it's not a bad thing.

661
00:34:15,760 --> 00:34:18,719
Speaker 1: Like the Magic Pixie dream Girl, I think it's good

662
00:34:18,800 --> 00:34:23,120
Speaker 1: to be able to represent women on screen in a

663
00:34:23,120 --> 00:34:26,399
Speaker 1: way that isn't like demure and quiet. It's like because

664
00:34:26,400 --> 00:34:28,400
Speaker 1: a lot of the times these women are like loud

665
00:34:28,440 --> 00:34:32,160
Speaker 1: and abrasive and like whoa, they're making a scene. And

666
00:34:32,239 --> 00:34:35,799
Speaker 1: I think that isn't necessarily a bad thing on the

667
00:34:35,800 --> 00:34:37,759
Speaker 1: face of it. It's a good thing, you know. But

668
00:34:37,880 --> 00:34:41,880
Speaker 1: it's when there's like all in the service of the

669
00:34:41,960 --> 00:34:46,240
Speaker 1: man and there isn't really a journey that that character

670
00:34:46,440 --> 00:34:48,480
Speaker 1: goes on, because a lot of times they're just like

671
00:34:48,520 --> 00:34:54,040
Speaker 1: there being like there to free the main character guy

672
00:34:54,239 --> 00:34:57,280
Speaker 1: from his you know, spot in life, but there isn't

673
00:34:57,400 --> 00:35:00,000
Speaker 1: like they don't have a journey themselves. I was just

674
00:35:00,120 --> 00:35:02,640
Speaker 1: thinking of the movie Something Wild. Yes, that's sort of

675
00:35:02,640 --> 00:35:06,640
Speaker 1: a manic Pixie dream girl, but Melanie Griffith's character, you

676
00:35:06,680 --> 00:35:09,239
Speaker 1: get to know her and her troubles and she does

677
00:35:09,320 --> 00:35:11,279
Speaker 1: go on a journey and so it's yes, there's a

678
00:35:11,320 --> 00:35:14,680
Speaker 1: way to do it correctly, you know, but yeah, I don't.

679
00:35:14,480 --> 00:35:16,720
Speaker 2: Know well, and like it feels like a one sided

680
00:35:16,760 --> 00:35:18,839
Speaker 2: thing where it's basically like, here's a fucked up guy

681
00:35:18,920 --> 00:35:22,040
Speaker 2: who it's a fucked up girl. But there's not in

682
00:35:22,120 --> 00:35:25,560
Speaker 2: these movies to me as potentially, you know, seeing this

683
00:35:25,600 --> 00:35:28,160
Speaker 2: through the eyes of the woman, I'm just like, where's

684
00:35:28,640 --> 00:35:32,799
Speaker 2: you know, her story in relation to is he helping her?

685
00:35:33,239 --> 00:35:36,400
Speaker 2: Is there? Like the thing that drove me batshit crazy

686
00:35:36,440 --> 00:35:39,640
Speaker 2: about Garden State for several reasons. Okay, Like, like I said,

687
00:35:39,680 --> 00:35:43,240
Speaker 2: I watched it again for the podcast. I was like, yep,

688
00:35:43,680 --> 00:35:46,399
Speaker 2: now I'm watching this with middle aged eyes, and I'm

689
00:35:46,440 --> 00:35:49,560
Speaker 2: like this movie, I had the right instinct. I did

690
00:35:49,600 --> 00:35:53,440
Speaker 2: not like it before, maybe not as strongly, but I

691
00:35:53,520 --> 00:35:57,480
Speaker 2: definitely thought, Okay, this is not great to me, and

692
00:35:58,040 --> 00:35:59,960
Speaker 2: I think part of it is that well, I'll just

693
00:36:00,120 --> 00:36:01,879
Speaker 2: tell you right now, I'm not saying this is hard

694
00:36:01,880 --> 00:36:03,359
Speaker 2: and fast rule for me, but I'm just gonna say,

695
00:36:03,400 --> 00:36:07,600
Speaker 2: immediately suspect when a filmmaker who is the writer, director,

696
00:36:07,600 --> 00:36:10,840
Speaker 2: and star of his own movie is easily able to

697
00:36:10,920 --> 00:36:12,280
Speaker 2: get in his underwear.

698
00:36:11,880 --> 00:36:12,800
Speaker 1: In multiple scenes.

699
00:36:13,280 --> 00:36:16,800
Speaker 2: I'm like, you are in your underwear and shirtless throughout

700
00:36:16,840 --> 00:36:19,200
Speaker 2: a lot of this movie. Interesting, And I'm like, that

701
00:36:19,320 --> 00:36:21,680
Speaker 2: is bold. Yeah, It's almost like he'd been wanting to

702
00:36:21,680 --> 00:36:23,800
Speaker 2: get in his underwear for a long time on camera.

703
00:36:23,960 --> 00:36:25,040
Speaker 1: Interesting, and he.

704
00:36:24,960 --> 00:36:28,319
Speaker 2: Was able to do it. And I was like, hmm, interesting, Okay.

705
00:36:28,120 --> 00:36:31,920
Speaker 1: That's fascinating. That didn't cross my mind when I was

706
00:36:32,000 --> 00:36:34,640
Speaker 1: watching this. I mean on Scrubs he was shirtless a

707
00:36:34,680 --> 00:36:36,800
Speaker 1: lot too, So I feel like I've seen Zach Braff shirtless.

708
00:36:37,400 --> 00:36:39,279
Speaker 1: I know it was good. It looks good shirtless, and

709
00:36:39,320 --> 00:36:42,440
Speaker 1: maybe that's why he wanted to do it.

710
00:36:42,440 --> 00:36:45,040
Speaker 2: It's like he knows he does, Casey, That's what I'm

711
00:36:45,120 --> 00:36:47,600
Speaker 2: I think I'm hunting at. He knows he looks good shirtless,

712
00:36:47,600 --> 00:36:49,600
Speaker 2: and he's like, Yo, let me get in my underwear

713
00:36:49,680 --> 00:36:51,600
Speaker 2: a lot and let me take my shirt off a lot.

714
00:36:51,640 --> 00:36:53,720
Speaker 1: Can I tell you me watching it? Because I haven't

715
00:36:53,719 --> 00:36:57,160
Speaker 1: seen it in like eighteen years, I don't think suure.

716
00:36:57,400 --> 00:37:00,120
Speaker 1: So the last time I watched this was in my

717
00:37:00,160 --> 00:37:02,239
Speaker 1: freshman year of college, just to kind of like check

718
00:37:02,320 --> 00:37:05,440
Speaker 1: back in with it after a couple of years, and

719
00:37:05,840 --> 00:37:08,440
Speaker 1: I don't think it hit me quite as hard that time.

720
00:37:08,719 --> 00:37:11,840
Speaker 1: And watching it this time, I was like, this is

721
00:37:11,920 --> 00:37:14,800
Speaker 1: kind of a silly little movie. Like there's so many

722
00:37:14,960 --> 00:37:21,160
Speaker 1: visual gags and like cute moments and like well framed shots,

723
00:37:21,960 --> 00:37:24,799
Speaker 1: and visually it's fun to watch it, but I was

724
00:37:24,920 --> 00:37:28,759
Speaker 1: like the underlying emotion because I feel like when I

725
00:37:28,800 --> 00:37:31,120
Speaker 1: first saw it, I was like, this is so emotional,

726
00:37:31,160 --> 00:37:34,719
Speaker 1: and I was like the end was so powerful for me.

727
00:37:35,320 --> 00:37:37,439
Speaker 1: But this time, I was like, this is just kind

728
00:37:37,440 --> 00:37:42,080
Speaker 1: of cute and there's not as much. I think at

729
00:37:42,120 --> 00:37:43,879
Speaker 1: the end of the movie, I was a little bit

730
00:37:44,080 --> 00:37:48,440
Speaker 1: like what was this all for? What are we doing here?

731
00:37:48,760 --> 00:37:50,319
Speaker 1: And there were points in the movie where I'm like,

732
00:37:50,440 --> 00:37:52,880
Speaker 1: where are we going? Yes, why are we still watching

733
00:37:52,920 --> 00:37:59,480
Speaker 1: this movie? There wasn't a overarching narrative that kept it

734
00:37:59,520 --> 00:38:02,840
Speaker 1: all together. And at the time, you know, I was

735
00:38:02,880 --> 00:38:06,880
Speaker 1: suffering from depression and anxiety, but in kind of a

736
00:38:07,000 --> 00:38:11,279
Speaker 1: smaller way, sure, and so I was really attached to

737
00:38:11,400 --> 00:38:15,200
Speaker 1: Zach Braff's character and he's like struggling with depression and

738
00:38:15,280 --> 00:38:18,200
Speaker 1: ant and he's on all these pills that are numbing him.

739
00:38:18,239 --> 00:38:19,840
Speaker 1: That was such a big thing. It was like I

740
00:38:19,880 --> 00:38:22,160
Speaker 1: don't want to take these pills because they know I

741
00:38:22,200 --> 00:38:25,440
Speaker 1: feel nothing, and I just want to feel something. Anyways,

742
00:38:25,719 --> 00:38:29,560
Speaker 1: flash forward a few years where I am medicated for

743
00:38:29,880 --> 00:38:33,239
Speaker 1: my depression and I'm going to therapy and I'm like,

744
00:38:33,560 --> 00:38:37,840
Speaker 1: I don't find this as cute of a problem. Yeah,

745
00:38:37,880 --> 00:38:41,880
Speaker 1: and I don't think it's as accurate and its depiction

746
00:38:42,480 --> 00:38:47,439
Speaker 1: of depression. And when I was on medication, I was like, Oh,

747
00:38:47,560 --> 00:38:50,520
Speaker 1: thank god, it's numbing some of those feelings. I never

748
00:38:50,560 --> 00:38:53,280
Speaker 1: felt like, God, I just want to feel I don't

749
00:38:53,360 --> 00:38:54,640
Speaker 1: feel anything.

750
00:38:54,320 --> 00:38:54,520
Speaker 3: You know.

751
00:38:54,560 --> 00:38:59,680
Speaker 1: And so that type of storyline I was less affected by,

752
00:38:59,840 --> 00:39:03,200
Speaker 1: or I didn't find as much, you know, I didn't

753
00:39:03,239 --> 00:39:06,840
Speaker 1: connect with the character as much this time, and so

754
00:39:06,960 --> 00:39:08,640
Speaker 1: I was kind of like, this is like a funny,

755
00:39:08,680 --> 00:39:12,000
Speaker 1: cute movie, but I just it didn't have the punch

756
00:39:12,120 --> 00:39:15,640
Speaker 1: it once had, and it kind of made me sad.

757
00:39:15,719 --> 00:39:18,120
Speaker 1: To be honest, I wasn't able to tap into that

758
00:39:18,160 --> 00:39:20,880
Speaker 1: younger version of myself. Yes, and I feel like I

759
00:39:20,960 --> 00:39:24,319
Speaker 1: kind of like, in a way, was letting this movie down.

760
00:39:25,320 --> 00:39:26,759
Speaker 1: I know that's sort of a slight thing to say,

761
00:39:26,800 --> 00:39:29,399
Speaker 1: but I was like, no, no, I feel like you meant

762
00:39:29,400 --> 00:39:30,960
Speaker 1: so much to me and I'm just not able to

763
00:39:31,000 --> 00:39:33,120
Speaker 1: get there with you. I mean, I'm thirty six now

764
00:39:33,160 --> 00:39:37,799
Speaker 1: and I'm still a very emotionally sensitive person, but I

765
00:39:37,960 --> 00:39:42,040
Speaker 1: just didn't connect to this. And I just read this

766
00:39:42,160 --> 00:39:46,000
Speaker 1: graphic novel called Blankets. Have you ever heard of this book? No,

767
00:39:46,160 --> 00:39:49,680
Speaker 1: it's from two thousand and four also, and it's about

768
00:39:49,760 --> 00:39:52,560
Speaker 1: a high school romance. It's similar Garden State. It's like

769
00:39:52,760 --> 00:39:55,719
Speaker 1: so intense and just like every little thing is the

770
00:39:55,760 --> 00:39:58,040
Speaker 1: biggest thing in the world. And reading it as a

771
00:39:58,080 --> 00:40:01,439
Speaker 1: thirty six year old, I was like, can't get into this. Yeah,

772
00:40:01,440 --> 00:40:03,480
Speaker 1: I'm not there. I'm not there anymore in it. And

773
00:40:03,520 --> 00:40:06,279
Speaker 1: I feel like I let Blankets down because I was like,

774
00:40:06,320 --> 00:40:08,799
Speaker 1: if I had read this in high school, it would

775
00:40:08,800 --> 00:40:11,240
Speaker 1: have been in my world. But I'm just not there anymore.

776
00:40:11,280 --> 00:40:14,440
Speaker 1: And that kind of makes me sad. I guess No, actually,

777
00:40:14,520 --> 00:40:16,400
Speaker 1: I kind of enjoyed it, and I see all the

778
00:40:16,480 --> 00:40:19,239
Speaker 1: issues with it that you pointed out, but still I

779
00:40:19,239 --> 00:40:21,360
Speaker 1: have such a soft spot for it that I was

780
00:40:21,840 --> 00:40:23,160
Speaker 1: able to overlook that a little bit.

781
00:40:23,400 --> 00:40:25,960
Speaker 2: Like and as much like it may seem funny to

782
00:40:26,000 --> 00:40:30,759
Speaker 2: say you let a movie down, I feel like that's okay,

783
00:40:31,640 --> 00:40:35,680
Speaker 2: Like it's okay to age out of a movie that

784
00:40:35,760 --> 00:40:39,280
Speaker 2: you loved, we have kind of the like opposite problem

785
00:40:39,320 --> 00:40:42,520
Speaker 2: happening within popular culture was that people feel so protective

786
00:40:42,800 --> 00:40:45,520
Speaker 2: over things from their childhood that even if they're like,

787
00:40:45,680 --> 00:40:48,440
Speaker 2: I can't even really functionally fuck with this as hard

788
00:40:48,480 --> 00:40:50,400
Speaker 2: as I used to, they'll still protect it to the

789
00:40:50,480 --> 00:40:52,399
Speaker 2: hill because they're just sort of like in it. They've

790
00:40:52,400 --> 00:40:54,960
Speaker 2: invested so much. Yeah, I feel like we should be

791
00:40:55,000 --> 00:40:58,480
Speaker 2: moving away from that instinct. Like art is flexible and

792
00:40:58,520 --> 00:41:01,240
Speaker 2: it's you know, sometimes you really with things, sometimes you don't.

793
00:41:01,520 --> 00:41:05,400
Speaker 2: I mean, I totally understand how this could be somebody's

794
00:41:05,440 --> 00:41:08,320
Speaker 2: everything at one period of life, and also I understand

795
00:41:08,360 --> 00:41:11,279
Speaker 2: how it could still be everyone's someone's everything. I mean,

796
00:41:11,320 --> 00:41:13,279
Speaker 2: this is a question I probably want to ask you then,

797
00:41:14,080 --> 00:41:16,880
Speaker 2: because I feel like maybe this is what's happening for me,

798
00:41:17,400 --> 00:41:20,400
Speaker 2: even though I'm not as strongly tied to this movie

799
00:41:21,120 --> 00:41:25,640
Speaker 2: or this era or anything. Do you feel like watching

800
00:41:25,680 --> 00:41:29,719
Speaker 2: it now because we have moved so much further in

801
00:41:29,840 --> 00:41:33,000
Speaker 2: time twenty years right, Yes? Does it seem like Garden

802
00:41:33,040 --> 00:41:37,280
Speaker 2: State is now almost like a parody of itself because

803
00:41:37,719 --> 00:41:41,000
Speaker 2: we saw the proliferation of these types of films, because

804
00:41:41,040 --> 00:41:43,879
Speaker 2: the Manipixie dreamgirl trope has been beaten to death so much,

805
00:41:44,160 --> 00:41:46,400
Speaker 2: because you know, twenty years past that you're just kind

806
00:41:46,440 --> 00:41:48,600
Speaker 2: of like, oh, this seems a little like corny and

807
00:41:48,640 --> 00:41:52,239
Speaker 2: derivative and not as great because I don't know like

808
00:41:52,320 --> 00:41:54,880
Speaker 2: time has moved forward in that way.

809
00:41:55,040 --> 00:41:56,840
Speaker 1: Honestly watching it this time, I was like, this is

810
00:41:56,880 --> 00:41:59,279
Speaker 1: such a relic. Yes, Like I like, I actually like

811
00:41:59,320 --> 00:42:01,839
Speaker 1: really liked watching for that reason. Like I remember like

812
00:42:02,520 --> 00:42:04,680
Speaker 1: shopping at urban outfitters in two thousand and four and

813
00:42:04,800 --> 00:42:07,520
Speaker 1: like finding the clothes that everyone was that people were

814
00:42:07,560 --> 00:42:10,279
Speaker 1: like wearing in this movie, and so I feel like

815
00:42:10,320 --> 00:42:12,040
Speaker 1: I can honor it in that way a little bit

816
00:42:12,040 --> 00:42:14,400
Speaker 1: more than like my direct emotional connection to it. I

817
00:42:14,440 --> 00:42:16,239
Speaker 1: can be like, this is like a fun thing to

818
00:42:16,400 --> 00:42:18,560
Speaker 1: like watch just to see how people are dressed and

819
00:42:18,600 --> 00:42:22,040
Speaker 1: the music and the just the overall vibe of it.

820
00:42:22,440 --> 00:42:24,800
Speaker 1: So it's hard. I wouldn't say like it's a parody

821
00:42:24,920 --> 00:42:27,680
Speaker 1: necessarily of itself, but I do feel like I'm like,

822
00:42:27,719 --> 00:42:31,000
Speaker 1: this is just like a time capsule of two thousand

823
00:42:31,040 --> 00:42:34,480
Speaker 1: and four, and it's kind of in a fun way.

824
00:42:34,520 --> 00:42:36,520
Speaker 1: And I feel like, you know, in terms of like

825
00:42:36,560 --> 00:42:38,279
Speaker 1: defending it, I feel like I have to kind of

826
00:42:38,280 --> 00:42:41,279
Speaker 1: defend the Garden State in a way because I feel

827
00:42:41,320 --> 00:42:44,640
Speaker 1: like it is such a punchline to this day, you know,

828
00:42:45,040 --> 00:42:46,680
Speaker 1: and I think you're guilty of that. And I think

829
00:42:46,680 --> 00:42:48,480
Speaker 1: you said some really really rude things about this movie,

830
00:42:48,560 --> 00:42:50,920
Speaker 1: and I think that's kind of fucked up.

831
00:42:51,000 --> 00:42:54,879
Speaker 2: So well, allisten, I both apologize and don't apologize.

832
00:42:54,920 --> 00:42:57,160
Speaker 1: I think that's fine. I think that's fine. I'm just

833
00:42:57,200 --> 00:42:58,920
Speaker 1: kidding obviously.

834
00:42:58,719 --> 00:43:02,680
Speaker 2: Like listen, Casey, you have to say maybe maybe not.

835
00:43:02,840 --> 00:43:05,760
Speaker 2: I don't know. I'm dangling this one. Yeah, that ending

836
00:43:06,160 --> 00:43:09,759
Speaker 2: drove me fucking bananas. Where they're in the airport on

837
00:43:09,840 --> 00:43:13,720
Speaker 2: the stairs, he's like cupping her tiny little bird face

838
00:43:13,760 --> 00:43:16,799
Speaker 2: in his hands, and he's just like she's crying her

839
00:43:16,840 --> 00:43:19,480
Speaker 2: fucking eyes out because he's leaving. He's going back to

840
00:43:19,640 --> 00:43:22,799
Speaker 2: lay because she fixed him, and now he's got to

841
00:43:22,880 --> 00:43:26,680
Speaker 2: go off, you know, fly the coop, fly her bird coop,

842
00:43:27,000 --> 00:43:29,919
Speaker 2: and she's fucking beside herself with the idea that they're

843
00:43:29,920 --> 00:43:32,600
Speaker 2: gonna be a part, and he's just like, I gotta go,

844
00:43:32,600 --> 00:43:35,799
Speaker 2: gotta go fucking wipe the tears away, and then he

845
00:43:35,920 --> 00:43:38,319
Speaker 2: just like walks away. She ends up like going into

846
00:43:38,560 --> 00:43:40,279
Speaker 2: a phone both and crying, and of course, you know,

847
00:43:40,440 --> 00:43:41,760
Speaker 2: like we all know what's gonna happen.

848
00:43:41,880 --> 00:43:45,280
Speaker 1: Spoiler alert. I think I think he comes back.

849
00:43:45,320 --> 00:43:48,680
Speaker 2: And realizes he's been an idiot, But that moment felt

850
00:43:48,880 --> 00:43:53,000
Speaker 2: so I wanted to stab him in the fucking eyeball

851
00:43:53,040 --> 00:43:55,479
Speaker 2: for that. Yeah, it felt a little cold. It felt

852
00:43:55,560 --> 00:43:59,160
Speaker 2: very like I'm being cavalier now that you know we've

853
00:43:59,200 --> 00:44:01,840
Speaker 2: had this have to go. It's just what's gonna happen?

854
00:44:01,880 --> 00:44:04,880
Speaker 2: And I was like, fuck that bitch, what the fuck? Like,

855
00:44:05,239 --> 00:44:08,400
Speaker 2: he's not healed, he's just as a cerbic and abrasive

856
00:44:08,400 --> 00:44:09,520
Speaker 2: as he always has been.

857
00:44:09,560 --> 00:44:12,680
Speaker 1: But he comes back, Milly, he came back.

858
00:44:12,960 --> 00:44:14,760
Speaker 2: That felt so stupid.

859
00:44:14,920 --> 00:44:17,920
Speaker 1: I know the ending is I think in my little

860
00:44:18,040 --> 00:44:20,800
Speaker 1: sixteen year old heart, I was kind of like, this ending,

861
00:44:20,960 --> 00:44:23,600
Speaker 1: there is a realization, but we don't see it, and

862
00:44:23,640 --> 00:44:26,319
Speaker 1: it's just kind of like, hey, I'm gonna go, you

863
00:44:26,360 --> 00:44:28,839
Speaker 1: know what, maybe I shouldn't go. That's essentially that's how

864
00:44:28,880 --> 00:44:31,160
Speaker 1: it goes. But there's a lot of cool shots and

865
00:44:31,280 --> 00:44:35,080
Speaker 1: music playing that Fruffrew song really, because I think like

866
00:44:35,280 --> 00:44:40,640
Speaker 1: the trailer is with that Frufrew song. So that was

867
00:44:40,680 --> 00:44:42,279
Speaker 1: so big in the trailer, and then when you heard

868
00:44:42,320 --> 00:44:44,120
Speaker 1: it in the movie, I think I was able to

869
00:44:44,200 --> 00:44:48,440
Speaker 1: just forgive whatever happened. I was like, whatever, God, let's talk.

870
00:44:48,280 --> 00:44:50,080
Speaker 2: About the little bit of the soundtrack, because that was

871
00:44:50,120 --> 00:44:51,720
Speaker 2: like a huge.

872
00:44:51,719 --> 00:44:54,520
Speaker 1: Huge you want a Grammy for it? Who did Zach

873
00:44:54,640 --> 00:44:57,120
Speaker 1: Braff Zack Braff want a Grammy for that movie?

874
00:44:57,440 --> 00:44:58,480
Speaker 2: Oh my gosh.

875
00:44:58,680 --> 00:45:01,440
Speaker 1: Okay, you should see Millie's face right now. She's scowling.

876
00:45:01,760 --> 00:45:03,160
Speaker 2: I know. I think it's just because I want to

877
00:45:03,200 --> 00:45:05,560
Speaker 2: win a Grammy for a soundtrack that I put together

878
00:45:05,800 --> 00:45:07,160
Speaker 2: akia Spotify playlist.

879
00:45:07,200 --> 00:45:08,440
Speaker 1: Maybe you win it for a podcast.

880
00:45:08,520 --> 00:45:12,799
Speaker 2: Yeah, well, okay, so the soundtrack, you know, I just

881
00:45:13,040 --> 00:45:15,400
Speaker 2: like two thousand and four. I was like, actually, I

882
00:45:15,520 --> 00:45:17,960
Speaker 2: started my grown up job in two thousand and four,

883
00:45:18,200 --> 00:45:21,080
Speaker 2: but I was kind of fresh out of undergrad and

884
00:45:21,120 --> 00:45:23,759
Speaker 2: I'd worked at the college radio station when I was

885
00:45:23,880 --> 00:45:28,839
Speaker 2: in school, and so this soundtrack was kind of percolating

886
00:45:28,960 --> 00:45:32,040
Speaker 2: as I was leaving college radio, right, Yeah, certainly all

887
00:45:32,080 --> 00:45:35,960
Speaker 2: these bands were all over college radio. Like. It includes

888
00:45:36,120 --> 00:45:38,520
Speaker 2: a track from the first track off of the very

889
00:45:38,600 --> 00:45:40,799
Speaker 2: first cold Play album, which is pretty much the only

890
00:45:40,880 --> 00:45:43,319
Speaker 2: cold Play album that I fuck with. Yeah, I kind

891
00:45:43,320 --> 00:45:45,840
Speaker 2: of like the second one, but the first one is great.

892
00:45:46,200 --> 00:45:47,759
Speaker 1: That was the only cold Play I've ever listened to.

893
00:45:47,920 --> 00:45:49,520
Speaker 1: Yes two album, and then.

894
00:45:49,440 --> 00:45:51,120
Speaker 2: Of course, you know what happened to cold Play, but

895
00:45:51,200 --> 00:45:52,479
Speaker 2: it's like that thing where I.

896
00:45:52,400 --> 00:45:54,719
Speaker 1: Was like, oh, I was brought back to that like.

897
00:45:54,719 --> 00:45:58,200
Speaker 2: First cold Play album era. Then of course the Shins,

898
00:45:58,239 --> 00:46:01,680
Speaker 2: which I feel like the Shins got super popular because

899
00:46:01,719 --> 00:46:03,000
Speaker 2: of the soundtrack they did.

900
00:46:03,080 --> 00:46:06,399
Speaker 1: Yeah, absolutely, And that's like I'd never heard the Shins before.

901
00:46:06,440 --> 00:46:07,640
Speaker 1: So when she's like, you want to hear a movie

902
00:46:07,760 --> 00:46:10,719
Speaker 1: song that will change your life, oh I heard that,

903
00:46:10,760 --> 00:46:12,560
Speaker 1: I was like, this is changing my life. They really

904
00:46:12,600 --> 00:46:14,719
Speaker 1: picked a song that is changing my life. Yeah, that

905
00:46:15,120 --> 00:46:16,080
Speaker 1: worked for me too well.

906
00:46:16,120 --> 00:46:17,879
Speaker 2: And like here and here's another part of the movie

907
00:46:18,440 --> 00:46:20,520
Speaker 2: that it features a song that I actually really love,

908
00:46:21,280 --> 00:46:22,920
Speaker 2: but the part of the movie that it played in

909
00:46:23,040 --> 00:46:27,200
Speaker 2: drove me bananas. It was the Simon and garvocal song

910
00:46:27,239 --> 00:46:29,200
Speaker 2: The Only Living Boy in New York, which actually think

911
00:46:29,239 --> 00:46:30,319
Speaker 2: is such a sweet song.

912
00:46:30,360 --> 00:46:32,440
Speaker 1: I love, yes, I love that, love that song, But

913
00:46:33,360 --> 00:46:34,120
Speaker 1: the part that.

914
00:46:34,120 --> 00:46:39,200
Speaker 2: It plays in was like the big, sweet, big romantic

915
00:46:39,520 --> 00:46:43,040
Speaker 2: moment thing in the movie because basically, you know, it's

916
00:46:43,120 --> 00:46:47,400
Speaker 2: like there's a section where they're coming out of somebody's

917
00:46:47,440 --> 00:46:50,880
Speaker 2: weird house in a rock quarry and Zach braff Is

918
00:46:50,920 --> 00:46:53,680
Speaker 2: I think finally it's kind of the like manifestation of

919
00:46:53,719 --> 00:46:55,959
Speaker 2: all of his like feelings that he's been feeling since

920
00:46:55,960 --> 00:46:58,400
Speaker 2: he's been back home, and he has this for this

921
00:46:58,520 --> 00:47:01,640
Speaker 2: manic pixie dream girl, and it's like him the Natalie

922
00:47:01,640 --> 00:47:04,200
Speaker 2: Portman character, and then the Peter Sarsar character, who I

923
00:47:04,280 --> 00:47:04,719
Speaker 2: actually love.

924
00:47:04,840 --> 00:47:06,600
Speaker 1: Peter Sarsgard, by the way, he's a great too.

925
00:47:06,640 --> 00:47:09,640
Speaker 2: He's a great dude. They're like standing on top of

926
00:47:09,719 --> 00:47:12,560
Speaker 2: like a like an excavator or something.

927
00:47:12,280 --> 00:47:14,600
Speaker 1: Like yeah, and next to a Corey.

928
00:47:14,520 --> 00:47:16,799
Speaker 2: Yeah Insto Corey and there were in trash bags because

929
00:47:16,800 --> 00:47:18,960
Speaker 2: it's raining, and then all of a sudden, Zach Braff's

930
00:47:19,080 --> 00:47:21,920
Speaker 2: character is like, I gotta kiss this woman. Yeah, and

931
00:47:21,960 --> 00:47:24,719
Speaker 2: I'll do it in front of my friend who was

932
00:47:24,800 --> 00:47:27,040
Speaker 2: just watching us, which is so awkward.

933
00:47:27,200 --> 00:47:27,439
Speaker 3: Mellie.

934
00:47:27,520 --> 00:47:31,520
Speaker 1: This is after they screamed into the quarry emotionally to

935
00:47:31,680 --> 00:47:33,960
Speaker 1: let it out. I mean, that was on it. I

936
00:47:34,000 --> 00:47:37,200
Speaker 1: admittedly a powerful moment for me in twenty four. Twenty

937
00:47:37,280 --> 00:47:40,120
Speaker 1: twenty four, I was like, it'll be Yeah.

938
00:47:40,160 --> 00:47:44,759
Speaker 2: There was a lot of this like dorky excising of emotions,

939
00:47:44,960 --> 00:47:46,800
Speaker 2: but the part where she's in front of the fucking

940
00:47:46,840 --> 00:47:49,480
Speaker 2: fireplace and she's like doing a tap dance.

941
00:47:49,320 --> 00:47:51,120
Speaker 1: Tap dance for you, I'd love for you to tap

942
00:47:51,239 --> 00:47:51,719
Speaker 1: dance for me.

943
00:47:51,840 --> 00:47:54,759
Speaker 2: I was like, Yo, that's her avoiding intimacy. By the way,

944
00:47:54,800 --> 00:47:55,680
Speaker 2: did you know that?

945
00:47:55,880 --> 00:47:57,279
Speaker 1: Yes? I mean I think we could do a whole

946
00:47:57,280 --> 00:48:02,000
Speaker 1: section on her, uh being a non sexual entity and

947
00:48:02,080 --> 00:48:05,200
Speaker 1: him being a non sexual entity, and like the infantilizing

948
00:48:05,320 --> 00:48:07,520
Speaker 1: of Natalie Portman, there's a lot to get into there.

949
00:48:07,560 --> 00:48:09,040
Speaker 1: But yeah, anyways, continue.

950
00:48:08,760 --> 00:48:11,359
Speaker 2: It's like when he admits something to her that's any

951
00:48:11,440 --> 00:48:13,680
Speaker 2: kind of real vulnerability, She's like, I'm just gonna do

952
00:48:13,719 --> 00:48:14,640
Speaker 2: a weird dance.

953
00:48:15,320 --> 00:48:15,520
Speaker 3: You know.

954
00:48:15,560 --> 00:48:17,840
Speaker 2: It just fucking drives me crazy. But in that moment,

955
00:48:18,239 --> 00:48:20,239
Speaker 2: there was this moment where I was like, Okay, he

956
00:48:20,360 --> 00:48:22,440
Speaker 2: just decides that he's like swept away. In the moment

957
00:48:22,680 --> 00:48:25,160
Speaker 2: he's on the excavator, the only living boy in New

958
00:48:25,239 --> 00:48:27,160
Speaker 2: York is playing. It's a very romantic scene, and then

959
00:48:27,239 --> 00:48:30,239
Speaker 2: Peter Sarsguard's just looking at them, and I'm like, he

960
00:48:30,320 --> 00:48:32,799
Speaker 2: should have left that excavator. He's like, oh, my friends

961
00:48:32,840 --> 00:48:34,680
Speaker 2: are making out. I gotta go, like I don't want

962
00:48:34,680 --> 00:48:35,360
Speaker 2: to watch them.

963
00:48:35,480 --> 00:48:39,000
Speaker 1: Or if I was directing that scene, and I've directed

964
00:48:39,040 --> 00:48:42,400
Speaker 1: some things so I could say this. If I was

965
00:48:42,400 --> 00:48:45,480
Speaker 1: directing that scene Peter Sar's guard, I would have not

966
00:48:45,560 --> 00:48:48,600
Speaker 1: had that character go up there. Yes, yes, and that

967
00:48:48,640 --> 00:48:50,520
Speaker 1: could have been a motivating he could have you know,

968
00:48:50,600 --> 00:48:52,960
Speaker 1: he's a cigarette smoker. Maybe he's smoking a cigarette down there.

969
00:48:52,960 --> 00:48:54,640
Speaker 1: He doesn't want to climb this thing. Yeah, and then

970
00:48:54,719 --> 00:48:57,680
Speaker 1: Natalie Portman and Zach Braff could scream into the quarry

971
00:48:57,760 --> 00:48:59,520
Speaker 1: and make out and it would be less awkward. Yeah.

972
00:48:59,520 --> 00:49:00,960
Speaker 1: I noticed that when we were watching.

973
00:49:01,080 --> 00:49:04,560
Speaker 2: I would have had the drone fly over the two.

974
00:49:05,080 --> 00:49:10,640
Speaker 2: Peter Sarsgard exits stage wherever, why climbs off the excitator, Like, Yo,

975
00:49:10,719 --> 00:49:13,080
Speaker 2: my friends are in a moment, I'm gonna leave because,

976
00:49:13,360 --> 00:49:16,759
Speaker 2: as a person who has been the third wheel for

977
00:49:16,880 --> 00:49:20,120
Speaker 2: many romantic encounters in my life, I'm like, I ain't

978
00:49:20,120 --> 00:49:22,040
Speaker 2: watching these two. I'm fucking off.

979
00:49:22,200 --> 00:49:24,520
Speaker 1: Yes, I have been in the same situations where I

980
00:49:24,560 --> 00:49:26,879
Speaker 1: think I'm hanging out with two friends and I turn

981
00:49:26,960 --> 00:49:29,719
Speaker 1: around and they are making out and I'm like, WHOA.

982
00:49:29,760 --> 00:49:32,920
Speaker 1: So I have been in that situation where it's been

983
00:49:32,920 --> 00:49:37,080
Speaker 1: a sneak attack makeout that I didn't know was gonna happen. Yeah,

984
00:49:37,080 --> 00:49:39,960
Speaker 1: so I've been there. But it's too silly of a

985
00:49:40,000 --> 00:49:41,880
Speaker 1: moment to have in the movie.

986
00:49:42,000 --> 00:49:44,719
Speaker 2: Yeah. Well, like I said, I could truly go on

987
00:49:45,320 --> 00:49:47,319
Speaker 2: with some of the stuff. But the soundtrack to me,

988
00:49:47,600 --> 00:49:50,120
Speaker 2: I mean it was kind of like a mixed bag

989
00:49:50,200 --> 00:49:51,839
Speaker 2: in terms of how I was feeling at the time

990
00:49:51,840 --> 00:49:53,560
Speaker 2: when I was rewatching it, because I was like, oh,

991
00:49:53,600 --> 00:49:58,240
Speaker 2: this cold Play song still hits, oh through through, Wow, Okay,

992
00:49:58,280 --> 00:50:01,880
Speaker 2: this happening at this really important in time, Like the

993
00:50:01,960 --> 00:50:05,279
Speaker 2: lyrics of it are so appropriate for the scene that

994
00:50:05,320 --> 00:50:08,719
Speaker 2: it's happening in, and you know. Then there was also like,

995
00:50:09,560 --> 00:50:12,840
Speaker 2: I don't know these bands that I remember that I

996
00:50:12,880 --> 00:50:14,719
Speaker 2: haven't heard since this.

997
00:50:15,040 --> 00:50:16,880
Speaker 1: Yeah, like no, totally.

998
00:50:16,480 --> 00:50:21,080
Speaker 2: Remy Zero, I have not heard Remy zero since two

999
00:50:21,120 --> 00:50:21,759
Speaker 2: thousand and four.

1000
00:50:22,040 --> 00:50:24,960
Speaker 1: Yeah, I mean at the time, I was like, every

1001
00:50:25,000 --> 00:50:26,920
Speaker 1: song on this hits so hard, And now when I

1002
00:50:26,960 --> 00:50:29,120
Speaker 1: listened to it, I was like a few of these hits, yeah,

1003
00:50:29,160 --> 00:50:32,520
Speaker 1: the rest of a little bit, Millie, we we kind

1004
00:50:32,520 --> 00:50:34,200
Speaker 1: of got to get moving on here. Is there any

1005
00:50:34,280 --> 00:50:37,279
Speaker 1: last thoughts you have? Yes, I will.

1006
00:50:37,360 --> 00:50:40,080
Speaker 2: I will say this. As much as I've shipped on.

1007
00:50:41,520 --> 00:50:44,920
Speaker 1: Your me as a person, all over me as a.

1008
00:50:44,840 --> 00:50:48,520
Speaker 2: Person, your interior life, your feelings, your childhood, all of that,

1009
00:50:49,800 --> 00:50:54,840
Speaker 2: I actually think it's insanely adorable that you loved this

1010
00:50:54,960 --> 00:50:57,360
Speaker 2: movie as much as you did and could admit to

1011
00:50:57,440 --> 00:51:01,000
Speaker 2: it and can talk about it with no has because

1012
00:51:01,320 --> 00:51:03,960
Speaker 2: we should not be embarrassed by the things. There is

1013
00:51:04,000 --> 00:51:06,840
Speaker 2: no cringe to me. I don't believe in cringe.

1014
00:51:06,960 --> 00:51:09,200
Speaker 1: Yes, I mean you and I have talked off record.

1015
00:51:09,239 --> 00:51:11,319
Speaker 1: We are cringe, but we are free, you know, and

1016
00:51:12,920 --> 00:51:16,640
Speaker 1: there is no cringe. We moved through the cringe. That's right.

1017
00:51:17,080 --> 00:51:20,719
Speaker 2: Like, it's wonderful that you're like this is I was

1018
00:51:20,760 --> 00:51:23,160
Speaker 2: shaped by a film like this, and I know everybody

1019
00:51:23,520 --> 00:51:26,120
Speaker 2: thinks it's lame, but I will defend it.

1020
00:51:26,160 --> 00:51:26,880
Speaker 1: Steah, I don't know.

1021
00:51:26,920 --> 00:51:30,160
Speaker 2: There's something very sweet about that, and I feel like

1022
00:51:30,520 --> 00:51:34,359
Speaker 2: it ends up making me like people more when they

1023
00:51:34,480 --> 00:51:36,360
Speaker 2: can say stuff like that, Like, I don't know, I

1024
00:51:36,440 --> 00:51:39,319
Speaker 2: just I appreciate it as much as I did not

1025
00:51:39,440 --> 00:51:41,920
Speaker 2: have that experience. You know, I was already in my

1026
00:51:42,040 --> 00:51:46,719
Speaker 2: like stupid idiot edge lord, twenty five year old, you know,

1027
00:51:46,760 --> 00:51:50,360
Speaker 2: smoking cigarettes, watching cannibal movies from Italy type of modes.

1028
00:51:51,239 --> 00:51:56,640
Speaker 2: I hold space for you having the passion and the

1029
00:51:56,719 --> 00:51:58,160
Speaker 2: appreciation for Garden State.

1030
00:51:58,320 --> 00:52:03,799
Speaker 1: Well, thank you. I understand all the criticism of it,

1031
00:52:04,320 --> 00:52:08,640
Speaker 1: and even I have grown. I did buy it on

1032
00:52:08,719 --> 00:52:11,480
Speaker 1: blu ray. Oh so I now own this movie. So

1033
00:52:11,560 --> 00:52:13,680
Speaker 1: if the apocalypse comes and I'm having to watch movie

1034
00:52:13,760 --> 00:52:17,240
Speaker 1: via generator in my you know, shack out in the woods,

1035
00:52:17,440 --> 00:52:20,240
Speaker 1: I will be able to watch Garden State Forever.

1036
00:52:20,600 --> 00:52:23,520
Speaker 2: Is there a Zach Braf commentary on that blue ray?

1037
00:52:23,800 --> 00:52:25,720
Speaker 1: I believe there is, and I think I've actually watched

1038
00:52:25,760 --> 00:52:28,839
Speaker 1: the Zach Braff commentary already at some point. I don't

1039
00:52:28,840 --> 00:52:30,440
Speaker 1: really want to like elaborate on this, but it is

1040
00:52:30,480 --> 00:52:34,520
Speaker 1: sort of interesting that Zach Braff didn't become a bigger filmmaker.

1041
00:52:34,560 --> 00:52:37,239
Speaker 1: He didn't make another movie for ten years. Oh wow,

1042
00:52:37,360 --> 00:52:39,160
Speaker 1: this was a hit, yeah, you know, and it's a

1043
00:52:39,160 --> 00:52:41,480
Speaker 1: movie he wrote and directed and started. You'd think he

1044
00:52:41,520 --> 00:52:44,799
Speaker 1: would have had another one lined up in a year

1045
00:52:44,920 --> 00:52:48,759
Speaker 1: or two. But his legacy is odd too, as I

1046
00:52:48,800 --> 00:52:51,840
Speaker 1: see him in commercials for a cell phone company now

1047
00:52:51,880 --> 00:52:55,480
Speaker 1: with the other guy from Scrubs, and it makes me

1048
00:52:55,560 --> 00:52:59,160
Speaker 1: sort of sad, yeah too, because I'm like, you could

1049
00:52:59,200 --> 00:53:03,120
Speaker 1: have been, like, I don't know, A two thousand's Hal

1050
00:53:03,239 --> 00:53:05,759
Speaker 1: Hartley er sure, which I have more to say about

1051
00:53:05,760 --> 00:53:10,120
Speaker 1: Hal Hartley and my recommendation section. I just think there's

1052
00:53:10,600 --> 00:53:16,520
Speaker 1: space for this type of movie, a sensitive, romantic, funny movie,

1053
00:53:16,760 --> 00:53:19,640
Speaker 1: and I don't think we get movies like this anymore,

1054
00:53:19,680 --> 00:53:21,879
Speaker 1: and like you can say what you will about Garden State,

1055
00:53:22,160 --> 00:53:24,319
Speaker 1: I wish there were more movies that were kind of

1056
00:53:24,640 --> 00:53:28,279
Speaker 1: like Garden State. We just don't have those anymore, and

1057
00:53:28,320 --> 00:53:29,160
Speaker 1: that makes me sad.

1058
00:53:29,320 --> 00:53:32,160
Speaker 2: Yeah, I would agree with that. I feel like ernestness

1059
00:53:32,200 --> 00:53:34,480
Speaker 2: is in a weird place right now generally.

1060
00:53:34,239 --> 00:53:48,000
Speaker 1: Yeah, I agree, all right, Moving on to something that

1061
00:53:48,080 --> 00:53:52,440
Speaker 1: I'm interested in. Scared of really presented the idea of

1062
00:53:52,480 --> 00:53:55,160
Speaker 1: doing a sensitive boy as quiz to me, and I'm

1063
00:53:55,480 --> 00:53:57,960
Speaker 1: I feel like I'm the authority on sensitive boys. I

1064
00:53:58,000 --> 00:54:00,360
Speaker 1: am a sensitive boy. Yes, you know, I am a

1065
00:54:00,400 --> 00:54:03,480
Speaker 1: straight white male, but I like to identify as a

1066
00:54:03,560 --> 00:54:09,040
Speaker 1: soft strait however you want. I am a soft straight

1067
00:54:09,200 --> 00:54:12,799
Speaker 1: and you know I mean that in every way of

1068
00:54:12,840 --> 00:54:17,240
Speaker 1: that you know meaning. And so I feel like I'm

1069
00:54:17,280 --> 00:54:20,719
Speaker 1: the authority on this type of stuff. So Millie, take

1070
00:54:20,719 --> 00:54:23,080
Speaker 1: it away. What are we doing today? All right?

1071
00:54:23,120 --> 00:54:25,120
Speaker 2: So we're playing a little game here. It's gonna be

1072
00:54:25,120 --> 00:54:30,920
Speaker 2: five questions. Each question is gonna be basically a synopsis

1073
00:54:31,040 --> 00:54:33,200
Speaker 2: or log line or something about a movie that has

1074
00:54:33,239 --> 00:54:36,080
Speaker 2: come out in the past. I would say thirty to

1075
00:54:36,080 --> 00:54:39,839
Speaker 2: forty years. So nothing, nothing that's super old, I would

1076
00:54:39,880 --> 00:54:43,400
Speaker 2: say keep it in like the seventies, eighties, nineties, and

1077
00:54:43,440 --> 00:54:46,239
Speaker 2: beyond two thousands perhaps. Okay, I'm gonna read you the

1078
00:54:46,239 --> 00:54:48,279
Speaker 2: synopsis of the film, and I need you to name

1079
00:54:48,360 --> 00:54:51,960
Speaker 2: the film. And then if you can remember the character's

1080
00:54:52,040 --> 00:54:55,279
Speaker 2: name or who played the character or characters in some

1081
00:54:55,400 --> 00:54:57,640
Speaker 2: of this, then that'd be great. But just name the

1082
00:54:57,760 --> 00:55:00,640
Speaker 2: name the movie. So this is basically a a game

1083
00:55:00,680 --> 00:55:03,920
Speaker 2: where you have to guess what movie features you know,

1084
00:55:04,000 --> 00:55:08,200
Speaker 2: a sensitive boy, a sensitivevo bro, or a you know,

1085
00:55:08,320 --> 00:55:11,480
Speaker 2: some kind of beautiful male creature in a film.

1086
00:55:11,520 --> 00:55:15,640
Speaker 1: A beautiful male creature. Love that. And so I get

1087
00:55:15,680 --> 00:55:18,480
Speaker 1: a point for naming the movie, and I get a

1088
00:55:18,520 --> 00:55:21,960
Speaker 1: point for naming the actor. Is that right?

1089
00:55:22,120 --> 00:55:24,640
Speaker 2: Yeah, Well, if you just name the movie, you get

1090
00:55:24,640 --> 00:55:26,880
Speaker 2: a point. Okay, if you remember the character name or

1091
00:55:27,000 --> 00:55:30,120
Speaker 2: the person who played them, great, but just name the movie.

1092
00:55:30,160 --> 00:55:32,160
Speaker 2: That's that's the meat of this game.

1093
00:55:32,280 --> 00:55:33,440
Speaker 1: Okay, okay, all right.

1094
00:55:33,520 --> 00:55:35,360
Speaker 2: Question number one in our sensitive Boys.

1095
00:55:35,200 --> 00:55:38,400
Speaker 1: Game, I'm listening. I have my listening face.

1096
00:55:40,040 --> 00:55:45,240
Speaker 2: A group of thoughtful young men attempting a prep school

1097
00:55:45,360 --> 00:55:49,880
Speaker 2: in the late nineteen fifties create a secret club inspired

1098
00:55:49,880 --> 00:55:54,000
Speaker 2: by their favorite teacher, where they explore writing poetry, and

1099
00:55:54,080 --> 00:55:55,839
Speaker 2: the pursuit of their true.

1100
00:55:55,800 --> 00:55:59,600
Speaker 1: Passions dead poet society. Correct. Yeah, lots of sensitive boys.

1101
00:55:59,600 --> 00:56:03,799
Speaker 1: They love the theater, film, and they love making a

1102
00:56:03,840 --> 00:56:06,080
Speaker 1: scene by standing up on a desk and reciting to

1103
00:56:06,120 --> 00:56:08,920
Speaker 1: their favorite teacher. Yes, God, I went, and it's so

1104
00:56:09,040 --> 00:56:11,480
Speaker 1: a tumnal and like East Coast. I really wanted to

1105
00:56:11,520 --> 00:56:12,920
Speaker 1: be on the East Coast as a kid. I mean,

1106
00:56:12,920 --> 00:56:14,319
Speaker 1: maybe that's why I like Garden Stakes. I was like, oh,

1107
00:56:14,360 --> 00:56:15,960
Speaker 1: I want to be a New Jersey. I want to

1108
00:56:15,960 --> 00:56:19,080
Speaker 1: be out of Minneapolis. But yeah, yeah, I would.

1109
00:56:19,400 --> 00:56:22,480
Speaker 2: If you were to say Ethan Hawk or Robert Sean Leonard.

1110
00:56:22,520 --> 00:56:25,600
Speaker 2: He was kind of the most sensitive Sean Leonard.

1111
00:56:25,680 --> 00:56:26,560
Speaker 1: Yes, he was kind of.

1112
00:56:26,520 --> 00:56:29,920
Speaker 2: Like a gay coded character, wouldn't you say? Maybe Ethan

1113
00:56:29,960 --> 00:56:32,480
Speaker 2: Hawk's character too was a little gay coded. So anyway,

1114
00:56:32,719 --> 00:56:34,320
Speaker 2: absolutely right, So you got one.

1115
00:56:34,239 --> 00:56:35,600
Speaker 1: Right, great fabulous fabulus.

1116
00:56:35,760 --> 00:56:42,640
Speaker 2: Number two sensitive boy, a sports agent decides to adopt

1117
00:56:42,760 --> 00:56:46,800
Speaker 2: a more personal, ethical approach to his career after being

1118
00:56:46,920 --> 00:56:51,560
Speaker 2: fired from his job, navigating both professional struggles and a

1119
00:56:51,680 --> 00:56:54,680
Speaker 2: complicated relationship with a single.

1120
00:56:54,560 --> 00:56:59,480
Speaker 1: Mother and her child. Jerry maguire. It's interesting you bring

1121
00:56:59,640 --> 00:57:04,080
Speaker 1: up Jerry McGuire because that's another Cameron Chrome movie us

1122
00:57:04,080 --> 00:57:07,920
Speaker 1: a sensitive dude, and I think it's funny. He also

1123
00:57:08,200 --> 00:57:11,600
Speaker 1: it gets name checked, but the ultimate sensitive boy book

1124
00:57:11,800 --> 00:57:15,800
Speaker 1: Catcher in the Rye is name checked in that movie.

1125
00:57:16,360 --> 00:57:19,280
Speaker 1: So anyways, to right, you got that second one, right?

1126
00:57:19,320 --> 00:57:20,040
Speaker 2: How could you not?

1127
00:57:20,400 --> 00:57:25,840
Speaker 1: Tom Cruise, Cuba Gooding, Junior, rene Zel, Wigger, Jonathan Lipnikki.

1128
00:57:27,120 --> 00:57:30,320
Speaker 2: I forgot about that name. Wow, you get bonus for that?

1129
00:57:30,800 --> 00:57:36,640
Speaker 1: Yeah, Nick, my goodness. J Moore Moore, Yeah, man, it's

1130
00:57:36,640 --> 00:57:39,439
Speaker 1: been a while since I've seen that. There's a there's

1131
00:57:39,440 --> 00:57:42,960
Speaker 1: a video collective in La called Everything Is Terrible. Yes,

1132
00:57:43,280 --> 00:57:45,920
Speaker 1: have you seen them? I have? Yeah, they do tours, okay,

1133
00:57:45,960 --> 00:57:49,040
Speaker 1: and they had a thing where they were like collecting

1134
00:57:49,240 --> 00:57:52,400
Speaker 1: every VHS copy of Jerry McGuire. I think they have

1135
00:57:52,480 --> 00:57:55,000
Speaker 1: like thousands of Jerry McGuire because I think it's a

1136
00:57:55,080 --> 00:57:59,640
Speaker 1: frequent one in like a goodwill VHS spin it's like

1137
00:57:59,720 --> 00:58:02,480
Speaker 1: every but he had Jerry mcgarre on VHS. So anyways, that's.

1138
00:58:03,880 --> 00:58:07,200
Speaker 2: Weirdly enough, my family did not. Even though my parents

1139
00:58:07,400 --> 00:58:10,760
Speaker 2: had the weirdest VHS tapes, they only had like twelve

1140
00:58:10,960 --> 00:58:12,880
Speaker 2: or something, ten or twelve and they were all weird

1141
00:58:13,040 --> 00:58:13,360
Speaker 2: as shit.

1142
00:58:13,520 --> 00:58:13,880
Speaker 1: It's so fun.

1143
00:58:13,960 --> 00:58:16,120
Speaker 2: I'm surprised Jerry McGuire wasn't one of them anyway. That's

1144
00:58:16,240 --> 00:58:19,960
Speaker 2: the second one. Great got too right? Number three and

1145
00:58:20,080 --> 00:58:25,560
Speaker 2: our sensitive Boys quiz. In this nineteen eighties coming of

1146
00:58:25,600 --> 00:58:30,400
Speaker 2: age classic, a sensitive and mature young boy from a

1147
00:58:30,440 --> 00:58:34,360
Speaker 2: troubled family becomes the emotional leader of a group of

1148
00:58:34,400 --> 00:58:38,080
Speaker 2: friends who are on a journey to find a dead body.

1149
00:58:39,080 --> 00:58:44,400
Speaker 1: Oh stand by Me, Yes, Oh man, this is a weeper.

1150
00:58:44,640 --> 00:58:48,000
Speaker 1: This isn't just like a sensitive boy. I feel like

1151
00:58:48,080 --> 00:58:50,959
Speaker 1: this is just I can't really even watch this movie anyway. Wow,

1152
00:58:51,000 --> 00:58:54,320
Speaker 1: it's like that monologue of River Phoenix talking about stealing

1153
00:58:54,360 --> 00:58:56,000
Speaker 1: the lunch money. I think you guys covered this song.

1154
00:58:56,040 --> 00:58:56,560
Speaker 2: Oh we did.

1155
00:58:57,040 --> 00:58:59,440
Speaker 1: I saw what you did. I mean, it's so just

1156
00:58:59,480 --> 00:59:03,040
Speaker 1: such a gut punch, And like, I remember being really

1157
00:59:03,080 --> 00:59:06,760
Speaker 1: affected when the epilogue when they're like, this is what

1158
00:59:06,920 --> 00:59:09,120
Speaker 1: happened to the characters? Oh, and you're like.

1159
00:59:09,200 --> 00:59:12,280
Speaker 2: God, spoiler alert, me fucking.

1160
00:59:12,080 --> 00:59:14,040
Speaker 1: Dies And I was like shook.

1161
00:59:14,360 --> 00:59:15,840
Speaker 2: That haunted me forever.

1162
00:59:16,440 --> 00:59:19,160
Speaker 1: Yes, you know, it's kind of similar to the end

1163
00:59:19,400 --> 00:59:24,200
Speaker 1: of American Graffiti where it's like their lives sucked after

1164
00:59:24,240 --> 00:59:26,920
Speaker 1: this kind of yeah, And it's like the main character

1165
00:59:27,240 --> 00:59:29,840
Speaker 1: in Standby Me becomes a successful writer. But it's like

1166
00:59:30,200 --> 00:59:33,919
Speaker 1: one guy lost his mind in Vietnam. One guy. It's

1167
00:59:33,960 --> 00:59:40,560
Speaker 1: just kind of like, man, fuck, that is so fucking depressing.

1168
00:59:40,080 --> 00:59:42,520
Speaker 2: So depressing. I was like, is this why Stephen King

1169
00:59:42,760 --> 00:59:45,919
Speaker 2: is because this horrible fact has been brought in here

1170
00:59:45,960 --> 00:59:47,920
Speaker 2: and now I'm mully it over for the rest of

1171
00:59:47,920 --> 00:59:48,280
Speaker 2: my life.

1172
00:59:48,360 --> 00:59:50,800
Speaker 1: He got stabbed in the neck standing in line, like

1173
00:59:50,880 --> 00:59:53,520
Speaker 1: at a fast food restaurant. There was something like that.

1174
00:59:53,640 --> 00:59:55,760
Speaker 1: It's like, God almighty, yeah.

1175
00:59:55,800 --> 00:59:58,440
Speaker 2: Well, but I would argue that River Phoenix was like

1176
00:59:58,760 --> 01:00:02,040
Speaker 2: one of the og sens of boys from my childhood, So.

1177
01:00:02,040 --> 01:00:05,280
Speaker 1: God would I would have literally I would have killed

1178
01:00:05,280 --> 01:00:08,080
Speaker 1: the person if I could have had his hair. Oh God,

1179
01:00:08,120 --> 01:00:11,120
Speaker 1: I had such a curly hair in the nineties, and

1180
01:00:11,160 --> 01:00:13,640
Speaker 1: it was all about that River Phoenix, cool guy hair.

1181
01:00:13,960 --> 01:00:16,680
Speaker 1: If someone was like one person on earth could die,

1182
01:00:16,720 --> 01:00:18,480
Speaker 1: but you'd have that hair, I would be like, do

1183
01:00:18,520 --> 01:00:20,280
Speaker 1: I have to know that person? And they were like no.

1184
01:00:20,480 --> 01:00:22,520
Speaker 1: I might have said yes because I was like, I

1185
01:00:22,640 --> 01:00:24,240
Speaker 1: wanted that hair so badly.

1186
01:00:24,600 --> 01:00:26,960
Speaker 2: I mean, listen his whole mythology at this point. I mean,

1187
01:00:27,000 --> 01:00:28,880
Speaker 2: it's it's kind of interesting to call it a mythology,

1188
01:00:29,160 --> 01:00:31,160
Speaker 2: but it is. I mean, he was like a famous

1189
01:00:31,280 --> 01:00:33,640
Speaker 2: young actor that died young. So of course there's this

1190
01:00:33,880 --> 01:00:36,439
Speaker 2: like an aura and a mythology around him in his life,

1191
01:00:36,560 --> 01:00:41,160
Speaker 2: right in this era when he became like nineties famous,

1192
01:00:41,840 --> 01:00:45,240
Speaker 2: when he was dating Martha Plimpton, who to me was

1193
01:00:45,320 --> 01:00:48,600
Speaker 2: like she was she symbolized with the actual cool girl

1194
01:00:48,960 --> 01:00:52,040
Speaker 2: because she was kind of like tom boyish. She was

1195
01:00:52,160 --> 01:00:56,280
Speaker 2: like alternative, you know, she wasn't like this. She just

1196
01:00:56,320 --> 01:00:58,720
Speaker 2: seemed like a girl that I would know from my

1197
01:00:58,800 --> 01:01:00,920
Speaker 2: high school and be friends with. So when she was

1198
01:01:01,040 --> 01:01:04,000
Speaker 2: dating River Phoenix, and you know it was like rumored

1199
01:01:04,000 --> 01:01:06,160
Speaker 2: that he was bisexual or whatever, I was like, this

1200
01:01:06,200 --> 01:01:09,240
Speaker 2: is who I want to thrive forever. I wanted to

1201
01:01:09,280 --> 01:01:12,479
Speaker 2: live together in a brownstone in New York and grow

1202
01:01:12,560 --> 01:01:15,120
Speaker 2: old together. Yeah, they were gonna be my you know,

1203
01:01:15,400 --> 01:01:18,800
Speaker 2: the model for my life. It was such a magical

1204
01:01:18,880 --> 01:01:20,760
Speaker 2: time when they were together, and I know that he

1205
01:01:20,840 --> 01:01:23,400
Speaker 2: was probably going through demons and there was a lot

1206
01:01:23,440 --> 01:01:27,120
Speaker 2: of tucked in there, but like, honestly, for my money,

1207
01:01:27,160 --> 01:01:31,600
Speaker 2: that was the eternal couple for me. Fascinating anyway, Okay,

1208
01:01:31,760 --> 01:01:33,959
Speaker 2: moving on, So you got three right, number four.

1209
01:01:34,120 --> 01:01:35,600
Speaker 1: I thought you're gonna make this hard.

1210
01:01:37,040 --> 01:01:39,080
Speaker 2: I know, listen. I had to softball it because I

1211
01:01:39,120 --> 01:01:40,360
Speaker 2: wasn't sure what you were going to think.

1212
01:01:40,440 --> 01:01:41,880
Speaker 1: Yeah, if I had done badly, I might have gotten

1213
01:01:41,880 --> 01:01:43,640
Speaker 1: too sensitives. Yeah, cried about it.

1214
01:01:43,720 --> 01:01:45,680
Speaker 2: I should I should have pulled in some gudar and

1215
01:01:45,720 --> 01:01:52,240
Speaker 2: really rocked you. Number four, A compassionate, sensitive, and unorthodox

1216
01:01:52,280 --> 01:01:56,400
Speaker 2: therapist helps a troubled young genius working as a jenner

1217
01:01:56,640 --> 01:02:01,560
Speaker 2: at mit his past and realize his full potential.

1218
01:02:02,040 --> 01:02:06,080
Speaker 1: See. I thought, I was like, oh, this is a

1219
01:02:06,120 --> 01:02:10,400
Speaker 1: good one. She's doing ordinary people. Oh but I also

1220
01:02:10,960 --> 01:02:14,080
Speaker 1: I love that movie Sensitive Boy in the Hall of

1221
01:02:14,080 --> 01:02:17,000
Speaker 1: Fame for sensitive boy movies of course. Oh Goodwill Hunting Uh.

1222
01:02:17,440 --> 01:02:20,960
Speaker 1: Speaking of River Phoenix, Gus Fan Sant directed My Own

1223
01:02:21,000 --> 01:02:24,640
Speaker 1: Private Idaho with River Phoenix, and he's kind of a

1224
01:02:24,720 --> 01:02:27,320
Speaker 1: sensitive boy director too. Well.

1225
01:02:27,360 --> 01:02:30,160
Speaker 2: And here's the thing, this is technically the second Robin

1226
01:02:30,200 --> 01:02:32,560
Speaker 2: Williams in this quiz. Yeah, and it's not very long,

1227
01:02:33,080 --> 01:02:36,720
Speaker 2: but his character is the sensitive Yes. As much as

1228
01:02:36,760 --> 01:02:39,040
Speaker 2: like people focus on Matt Damon and sort of his

1229
01:02:39,320 --> 01:02:43,600
Speaker 2: evolution in the movie, No, the therapist is a sensitive boy.

1230
01:02:43,680 --> 01:02:44,640
Speaker 2: He's the soft boy.

1231
01:02:44,800 --> 01:02:47,400
Speaker 1: Yeah, you know, the soft boy. Yeah.

1232
01:02:47,440 --> 01:02:50,080
Speaker 2: His whole speech about talking about his late wife is

1233
01:02:50,120 --> 01:02:53,760
Speaker 2: on TikTok like all the time, and every fucking time

1234
01:02:54,280 --> 01:02:56,080
Speaker 2: I watch it all the way through.

1235
01:02:56,280 --> 01:02:59,080
Speaker 1: We need to do an episode about movies on TikTok.

1236
01:02:59,240 --> 01:03:02,840
Speaker 2: Oh, my god, that would blow the doors off. We

1237
01:03:02,880 --> 01:03:06,320
Speaker 2: would have what two million downloads.

1238
01:03:05,800 --> 01:03:08,160
Speaker 1: Easily, We'd have so many gen Z followers.

1239
01:03:10,160 --> 01:03:13,200
Speaker 2: Put a pin in that casey Jesus. Okay, last one,

1240
01:03:13,280 --> 01:03:15,400
Speaker 2: last one, Okay, bring up the caboose. Here we go,

1241
01:03:15,800 --> 01:03:18,560
Speaker 2: last and the Sensitive Boys Quiz number five. A high

1242
01:03:18,560 --> 01:03:21,840
Speaker 2: school graduate falls deeply in love with a girl from

1243
01:03:21,880 --> 01:03:25,920
Speaker 2: his class, famously holding a boombox above his head while

1244
01:03:25,960 --> 01:03:28,360
Speaker 2: it plays Peter Gabriels in your Eyes outside of her

1245
01:03:28,360 --> 01:03:31,720
Speaker 2: window as the ultimate expression of his true feelings.

1246
01:03:31,920 --> 01:03:33,600
Speaker 1: Say anything, yes?

1247
01:03:33,960 --> 01:03:34,160
Speaker 3: Now?

1248
01:03:35,480 --> 01:03:35,640
Speaker 2: Uh?

1249
01:03:36,640 --> 01:03:42,320
Speaker 1: Lots of sensitive boys in this movie. John Cusack obviously

1250
01:03:42,440 --> 01:03:43,480
Speaker 1: ultimate sensitive boy.

1251
01:03:43,560 --> 01:03:47,600
Speaker 2: Do you think that Lloyd Dobbler is the prototype for

1252
01:03:47,720 --> 01:03:50,920
Speaker 2: the sensitive boy and maybe like the Zach Braff iteration

1253
01:03:51,040 --> 01:03:51,800
Speaker 2: of the sensitive boy?

1254
01:03:52,000 --> 01:03:57,000
Speaker 1: Yeah? Oh, I definitely the prototype for the sensitive boy.

1255
01:03:57,560 --> 01:03:59,840
Speaker 1: I didn't bring this up, but I feel like a

1256
01:04:00,240 --> 01:04:03,760
Speaker 1: could be made for Harold from Harold and Mont. Yes. Absolutely, okay,

1257
01:04:03,920 --> 01:04:07,720
Speaker 1: the graduate, Yes he's a sensitive boy. Sure, but John

1258
01:04:07,800 --> 01:04:13,680
Speaker 1: Cusack is in that lineage. Certainly. I actually know someone

1259
01:04:13,840 --> 01:04:18,400
Speaker 1: who did this sort of unironically and held music outside

1260
01:04:18,400 --> 01:04:21,720
Speaker 1: somebody's window like this. What It's one of those things.

1261
01:04:21,720 --> 01:04:27,200
Speaker 1: It's kind of like Garden State where you're like really really,

1262
01:04:28,520 --> 01:04:31,680
Speaker 1: but it's still touching and it's a it's a good movie.

1263
01:04:32,200 --> 01:04:35,280
Speaker 1: It's a little bit darker than I think. Like the

1264
01:04:35,280 --> 01:04:38,880
Speaker 1: whole thing was like the dad going to jail, yes

1265
01:04:39,240 --> 01:04:40,720
Speaker 1: and saying anything is odd?

1266
01:04:40,920 --> 01:04:44,440
Speaker 2: And is that Cameron Crowe? Oh, I'm just saying I

1267
01:04:44,480 --> 01:04:47,280
Speaker 2: think Camon Crowe was responsible for a lot of this,

1268
01:04:47,680 --> 01:04:48,840
Speaker 2: a lot of this malarkey.

1269
01:04:49,000 --> 01:04:53,080
Speaker 1: The architect, he directed it. He is the architect for

1270
01:04:53,160 --> 01:04:59,240
Speaker 1: the Sensitive Boy Boy. What has Cameron crow done recently?

1271
01:04:59,440 --> 01:05:01,840
Speaker 2: I don't know. Is he still married to the one

1272
01:05:01,880 --> 01:05:03,160
Speaker 2: of the Heart sisters?

1273
01:05:03,280 --> 01:05:04,720
Speaker 1: Oh Nancy Wilson, No?

1274
01:05:05,240 --> 01:05:08,520
Speaker 2: Oh bow No, Well you got all five right, just

1275
01:05:08,560 --> 01:05:09,040
Speaker 2: like I thought.

1276
01:05:09,040 --> 01:05:13,160
Speaker 1: Wowow, thank you Millie, Wow fabulous. Ye, thank you so

1277
01:05:13,280 --> 01:05:15,560
Speaker 1: much for putting that together. Of course I knew I

1278
01:05:15,560 --> 01:05:18,560
Speaker 1: would ace it, but it still feels good to get

1279
01:05:18,600 --> 01:05:19,680
Speaker 1: a good score on that.

1280
01:05:20,080 --> 01:05:30,840
Speaker 3: Yeah.

1281
01:05:31,440 --> 01:05:35,160
Speaker 1: Now it's time for employee picks. This is where we

1282
01:05:35,320 --> 01:05:38,520
Speaker 1: recommend movies based on, you know, the things we talked

1283
01:05:38,520 --> 01:05:41,200
Speaker 1: about in this very episode, Millie, what do you got?

1284
01:05:41,680 --> 01:05:41,880
Speaker 3: You know?

1285
01:05:41,960 --> 01:05:46,200
Speaker 2: I was thinking, what is one of my favorite sensitive boys?

1286
01:05:46,600 --> 01:05:48,960
Speaker 2: And maybe this is a bit dark. I'm taking it

1287
01:05:48,920 --> 01:05:51,760
Speaker 2: in the darker direction. I would have to say that

1288
01:05:51,800 --> 01:05:54,280
Speaker 2: my film recommendation for this week would have to be

1289
01:05:54,800 --> 01:05:58,680
Speaker 2: a Psycho from nineteen sixty because Norman Bates Wow is

1290
01:05:58,720 --> 01:06:00,760
Speaker 2: a sensitive boy.

1291
01:06:00,200 --> 01:06:03,800
Speaker 1: Yes, certainly, I would say too sensitive.

1292
01:06:03,640 --> 01:06:06,200
Speaker 2: Very much, very much. So here's the thing.

1293
01:06:06,280 --> 01:06:06,520
Speaker 3: I mean.

1294
01:06:06,960 --> 01:06:10,960
Speaker 2: Recommending Psycho is like recommending that you drink water every day.

1295
01:06:11,040 --> 01:06:13,160
Speaker 2: I know it's such a layup.

1296
01:06:13,160 --> 01:06:16,200
Speaker 1: But it's so good. I've watched it in the last

1297
01:06:16,240 --> 01:06:18,440
Speaker 1: two years and it's so I went through a bit

1298
01:06:18,440 --> 01:06:21,160
Speaker 1: of a Hitchcock thing, yes, a little while back, but

1299
01:06:21,240 --> 01:06:23,440
Speaker 1: Psycho is so good.

1300
01:06:23,840 --> 01:06:26,919
Speaker 2: I think so too. If you're a person who sort

1301
01:06:26,920 --> 01:06:29,200
Speaker 2: of like again like feels a little suss about the

1302
01:06:29,280 --> 01:06:32,120
Speaker 2: kind of Cannon film Cannon, classic film Cannon, and you

1303
01:06:32,160 --> 01:06:37,600
Speaker 2: think Alfred Hitchcock, why what, I he seems like such

1304
01:06:37,600 --> 01:06:40,520
Speaker 2: a dude or whatever. I think Psycho is one of

1305
01:06:40,560 --> 01:06:44,919
Speaker 2: his best and feels like a slightly different take than

1306
01:06:45,160 --> 01:06:48,960
Speaker 2: certain things. I mean, honestly, it's great. It's like a

1307
01:06:49,000 --> 01:06:52,480
Speaker 2: great character study. I think Norman Bates as a character

1308
01:06:52,600 --> 01:06:55,520
Speaker 2: is super fascinating obviously for many reasons. Yeah, but I

1309
01:06:55,560 --> 01:06:59,000
Speaker 2: also think, like if you ever read about Anthony Perkins

1310
01:06:59,080 --> 01:07:01,840
Speaker 2: and the actor who played Norman Bates obviously and sort

1311
01:07:01,880 --> 01:07:05,440
Speaker 2: of his life before and after he played Norman Bates

1312
01:07:05,480 --> 01:07:07,880
Speaker 2: is really fascinating, Like he really couldn't shake it.

1313
01:07:08,000 --> 01:07:09,919
Speaker 1: Yeah, and he tried a lot.

1314
01:07:10,320 --> 01:07:12,280
Speaker 2: He actually tried and then didn't try because then he

1315
01:07:12,360 --> 01:07:14,960
Speaker 2: started the Psycho remakes. We did all of them.

1316
01:07:14,960 --> 01:07:16,680
Speaker 1: I think I have not seen these movies.

1317
01:07:16,720 --> 01:07:19,240
Speaker 2: A Psycho four is kind of great, dude, Like it's

1318
01:07:19,560 --> 01:07:22,840
Speaker 2: weird it out. So it's like there's something to the

1319
01:07:23,280 --> 01:07:28,320
Speaker 2: idea of like him remaining tied to a film as

1320
01:07:28,480 --> 01:07:32,880
Speaker 2: the franchise destroys the original legacy of the film. Like

1321
01:07:32,960 --> 01:07:35,320
Speaker 2: it's that funny thing of like that's a person who

1322
01:07:35,360 --> 01:07:37,560
Speaker 2: just wants to keep going and keep making worse and

1323
01:07:37,600 --> 01:07:39,360
Speaker 2: worse iterations of this classic.

1324
01:07:39,520 --> 01:07:41,720
Speaker 1: Yeah, I love that, But I also think.

1325
01:07:41,560 --> 01:07:43,919
Speaker 2: That he did try to do some interesting stuff after,

1326
01:07:43,960 --> 01:07:45,680
Speaker 2: and I think people just thought he was creepy for

1327
01:07:45,720 --> 01:07:46,520
Speaker 2: the rest of his life.

1328
01:07:46,600 --> 01:07:48,439
Speaker 1: I think it's sad because I feel like it's much

1329
01:07:48,480 --> 01:07:51,560
Speaker 1: easier to pivot to a different type of thing now.

1330
01:07:52,040 --> 01:07:54,040
Speaker 1: Like people are much more forgiving of Like there was

1331
01:07:54,080 --> 01:07:56,080
Speaker 1: a time not too long ago when it was like, oh,

1332
01:07:56,080 --> 01:07:58,200
Speaker 1: you're on TV, you can't be in movies. Yeah, you'd

1333
01:07:58,200 --> 01:08:00,240
Speaker 1: never be a movie star. And it's like people are

1334
01:08:00,320 --> 01:08:03,960
Speaker 1: much more accepting of that now, or like, oh, you

1335
01:08:04,040 --> 01:08:06,080
Speaker 1: started off as this one specific thing and now you

1336
01:08:06,120 --> 01:08:09,560
Speaker 1: do something else. But like back then, if you're like

1337
01:08:09,720 --> 01:08:13,200
Speaker 1: known as Norman Bates, you're Norman Bates. There's no way

1338
01:08:13,400 --> 01:08:15,600
Speaker 1: to get away from that.

1339
01:08:15,920 --> 01:08:16,480
Speaker 3: Yeah.

1340
01:08:16,520 --> 01:08:19,200
Speaker 2: And also I mean his son, Oz Perkins, who's out

1341
01:08:19,240 --> 01:08:21,200
Speaker 2: here making a shit ton of horror movies. He did

1342
01:08:21,240 --> 01:08:24,120
Speaker 2: Long Legs. Yeah, the movie The Monkey is about to

1343
01:08:24,160 --> 01:08:24,519
Speaker 2: come out.

1344
01:08:24,720 --> 01:08:28,799
Speaker 1: He did the Pretty Little Thing in the House. I think, yeah, yeah, yeah,

1345
01:08:28,840 --> 01:08:31,160
Speaker 1: So I like his movies. He's good.

1346
01:08:31,320 --> 01:08:33,439
Speaker 2: So it's kind of cool that his son is a

1347
01:08:33,640 --> 01:08:35,000
Speaker 2: kind of a horror director now.

1348
01:08:35,080 --> 01:08:39,759
Speaker 1: Anthony Perkins also wrote a great who done it called

1349
01:08:39,840 --> 01:08:44,080
Speaker 1: The Last of Sheila, which he co wrote with Stephen Sondheu. Yeah,

1350
01:08:44,160 --> 01:08:45,080
Speaker 1: which is a great movie.

1351
01:08:45,200 --> 01:08:45,880
Speaker 2: Love that movie.

1352
01:08:45,920 --> 01:08:48,120
Speaker 1: That's not my wreck, not my wreck, but it's good.

1353
01:08:48,200 --> 01:08:49,240
Speaker 2: Well what is your wreck?

1354
01:08:49,280 --> 01:08:54,240
Speaker 1: Then? Smarty Pants, sensitive Boy, smarty pants sky over here.

1355
01:08:55,640 --> 01:08:58,519
Speaker 1: So I brought this guy up already There's a filmmaker

1356
01:08:58,560 --> 01:09:02,760
Speaker 1: named Hal Hartley and he is kind of a nineties

1357
01:09:02,920 --> 01:09:07,200
Speaker 1: indie king. I would say his most famous movie is

1358
01:09:08,040 --> 01:09:12,160
Speaker 1: what would you say, Henry, Henry Fool. He's made a

1359
01:09:12,200 --> 01:09:16,240
Speaker 1: ton of movies, but he is a very independent filmmaker,

1360
01:09:16,360 --> 01:09:20,240
Speaker 1: Like he owns his own movies, and he like distributed

1361
01:09:20,280 --> 01:09:22,320
Speaker 1: his own movies. I think he like funded his own movies.

1362
01:09:22,960 --> 01:09:25,519
Speaker 1: And he's just like a really interesting guy. And I

1363
01:09:25,560 --> 01:09:28,439
Speaker 1: don't think he's celebrated enough because a lot of his

1364
01:09:28,520 --> 01:09:32,800
Speaker 1: movies are about sensitive boys, yes, and they're romantic, and

1365
01:09:32,840 --> 01:09:36,400
Speaker 1: they're kind of silly and cute, but also kind of dark.

1366
01:09:37,160 --> 01:09:39,120
Speaker 1: And he made a lot of his stuff just like

1367
01:09:39,240 --> 01:09:43,400
Speaker 1: on Long Island, and he's great. I haven't seen all

1368
01:09:43,439 --> 01:09:46,120
Speaker 1: of his movies. Some of them are a bit eye rolly,

1369
01:09:46,439 --> 01:09:50,200
Speaker 1: you might say, a little bit like just they're earnest

1370
01:09:50,600 --> 01:09:54,720
Speaker 1: and they're sincere, and that can sometimes come across as cringey,

1371
01:09:54,760 --> 01:09:58,320
Speaker 1: as Millie said. But I'm gonna recommend one of his

1372
01:09:58,320 --> 01:10:00,000
Speaker 1: first movies, Trust. Yeah.

1373
01:10:00,240 --> 01:10:01,360
Speaker 2: I love that movie.

1374
01:10:01,760 --> 01:10:06,360
Speaker 1: I love Trust, And I mentioned he's independent. Stream it

1375
01:10:06,560 --> 01:10:10,680
Speaker 1: on his website go to Halhartley dot com. You can

1376
01:10:10,760 --> 01:10:13,479
Speaker 1: stream it there. Don't rent it from Amazon if you can,

1377
01:10:14,000 --> 01:10:17,360
Speaker 1: just to support the filmmaker. And a quick story about

1378
01:10:17,360 --> 01:10:20,080
Speaker 1: Hal Hartley. I'm in the midst of making an independent

1379
01:10:20,120 --> 01:10:21,840
Speaker 1: film right now and I was trying to raise money

1380
01:10:21,840 --> 01:10:24,760
Speaker 1: and it was really hard. And I wrote to him

1381
01:10:24,800 --> 01:10:28,360
Speaker 1: on his website what and he wrote me back what

1382
01:10:28,680 --> 01:10:31,879
Speaker 1: with a very thoughtful email.

1383
01:10:32,040 --> 01:10:32,640
Speaker 2: Wow.

1384
01:10:32,720 --> 01:10:36,000
Speaker 1: Now, I was basically like, how do you do this?

1385
01:10:36,240 --> 01:10:38,519
Speaker 1: I'm in hell? This sucks. I don't think you'll ever

1386
01:10:38,520 --> 01:10:40,400
Speaker 1: write me back, but I just had to like express

1387
01:10:40,439 --> 01:10:42,559
Speaker 1: that to somebody, you know, trying to raise money for this.

1388
01:10:42,920 --> 01:10:44,840
Speaker 1: He wrote me back the sweetest email, and he was

1389
01:10:44,880 --> 01:10:49,240
Speaker 1: laying basically was like, yep, raising money even now a

1390
01:10:49,280 --> 01:10:52,080
Speaker 1: successful filmmaker as I am. It is hell and it sucks,

1391
01:10:53,720 --> 01:10:56,800
Speaker 1: and it was really sweet. Now I don't know if

1392
01:10:56,800 --> 01:10:58,439
Speaker 1: I would if I ever wrote him back, he'd write

1393
01:10:58,479 --> 01:11:00,479
Speaker 1: me back. It was just like maybe I just caught

1394
01:11:00,520 --> 01:11:02,720
Speaker 1: him on the right day. Yes, it made me like

1395
01:11:02,800 --> 01:11:05,880
Speaker 1: him even more. And so he's like my sensitive boy

1396
01:11:06,200 --> 01:11:10,160
Speaker 1: king watch trust Yeah. On his website Hal Hartley dot com.

1397
01:11:10,200 --> 01:11:10,719
Speaker 1: He's awesome.

1398
01:11:10,760 --> 01:11:13,120
Speaker 2: You know what I love about Hal Hartley. One of

1399
01:11:13,160 --> 01:11:18,200
Speaker 2: the things of many things is that his like muse

1400
01:11:18,439 --> 01:11:20,439
Speaker 2: or something was Martin Donovan who.

1401
01:11:20,280 --> 01:11:21,559
Speaker 1: Was like this cool actor.

1402
01:11:21,920 --> 01:11:24,360
Speaker 2: You know what, I what. I kind of think it's

1403
01:11:24,360 --> 01:11:28,479
Speaker 2: in the same way. It's kind of like Hal Hartley

1404
01:11:28,920 --> 01:11:32,240
Speaker 2: used Martin Donovan in the same way that with Stillman

1405
01:11:32,680 --> 01:11:34,479
Speaker 2: uses Chris Eigman for his films.

1406
01:11:34,560 --> 01:11:37,160
Speaker 1: Yeah, it's kind of like this, you know actor.

1407
01:11:36,880 --> 01:11:39,000
Speaker 2: That they work with in many movies, but that that

1408
01:11:39,479 --> 01:11:43,719
Speaker 2: actor becomes kind of the archetype for that director's movie.

1409
01:11:43,760 --> 01:11:47,160
Speaker 2: Totally like the Martin Donovan characters that are in the

1410
01:11:47,200 --> 01:11:50,720
Speaker 2: Hall Hartley movies, becomes a guy that you just associate

1411
01:11:50,720 --> 01:11:52,639
Speaker 2: with Hal Hartley and the same thing I feel with

1412
01:11:52,640 --> 01:11:54,960
Speaker 2: with Stillman and Chris Agman, same vibe.

1413
01:11:55,240 --> 01:11:55,679
Speaker 1: Yeah.

1414
01:11:55,760 --> 01:11:58,920
Speaker 2: All this is to say I missed the nineties so

1415
01:11:59,120 --> 01:12:01,719
Speaker 2: much because this was like a thing that I felt

1416
01:12:01,720 --> 01:12:05,640
Speaker 2: like happened a lot in nineties movies, and I just

1417
01:12:05,640 --> 01:12:06,719
Speaker 2: wish it would happen more.

1418
01:12:07,000 --> 01:12:11,439
Speaker 1: Yes, So yeah, that's my recommendation. Trust God to hell

1419
01:12:11,479 --> 01:12:14,559
Speaker 1: Heartley dot com and support him. He had a Kickstarter

1420
01:12:14,720 --> 01:12:16,880
Speaker 1: like a year ago for his newest movie. I mean

1421
01:12:16,960 --> 01:12:19,360
Speaker 1: it's hard out there, even for someone who's made a

1422
01:12:19,360 --> 01:12:19,920
Speaker 1: bunch of movies.

1423
01:12:20,000 --> 01:12:21,839
Speaker 2: Yeah, Wow, what a cool dude.

1424
01:12:22,200 --> 01:12:24,920
Speaker 1: Well, that's our show in the future. We would love

1425
01:12:25,000 --> 01:12:26,800
Speaker 1: to be giving out film advice at the end of

1426
01:12:26,800 --> 01:12:28,680
Speaker 1: our show, sort of a mail bag of sorts, but

1427
01:12:28,760 --> 01:12:31,840
Speaker 1: to give you all advice. If you need a specific recommendation,

1428
01:12:31,960 --> 01:12:35,479
Speaker 1: if you need help navigating a director's filmography, or if

1429
01:12:35,520 --> 01:12:39,240
Speaker 1: you need a film gripe resolved, please write in. You

1430
01:12:39,280 --> 01:12:45,000
Speaker 1: can email us at Dear Movies at exactly rightmedia dot com.

1431
01:12:45,280 --> 01:12:47,759
Speaker 2: Yes, and for some reason you want to do it

1432
01:12:47,800 --> 01:12:49,840
Speaker 2: with a voicemail. Even if you want to ask for

1433
01:12:49,920 --> 01:12:52,400
Speaker 2: advice or if you just want to say something to us,

1434
01:12:53,120 --> 01:12:55,880
Speaker 2: you can do a voicemail and all I gotta do

1435
01:12:56,000 --> 01:12:59,000
Speaker 2: is record it on your phone. Make sure it's under

1436
01:12:59,280 --> 01:13:02,599
Speaker 2: one minute, law please and email it to us at

1437
01:13:02,600 --> 01:13:05,360
Speaker 2: Dearmovies at exactlyrightmedia dot com.

1438
01:13:05,680 --> 01:13:08,559
Speaker 1: You can follow us on our socials at dear Movies,

1439
01:13:08,600 --> 01:13:12,519
Speaker 1: I love you on Instagram and Facebook. Yes, and if you.

1440
01:13:12,520 --> 01:13:15,599
Speaker 2: Are a letterboxed user and you want to follow us,

1441
01:13:15,800 --> 01:13:20,240
Speaker 2: we are at Casey Lee O'Brien and at M de Jericho.

1442
01:13:20,840 --> 01:13:24,000
Speaker 1: Well, Millie, thank you so much for letting me talk

1443
01:13:24,040 --> 01:13:27,559
Speaker 1: about the most important movie of the twenty first century,

1444
01:13:27,600 --> 01:13:32,080
Speaker 1: Garden State, and being patient with me, and you know,

1445
01:13:32,120 --> 01:13:34,479
Speaker 1: being patient rewatching a movie. I don't know if you

1446
01:13:34,640 --> 01:13:38,880
Speaker 1: necessarily absolutely loved upon your first viewing, So I appreciate that.

1447
01:13:39,160 --> 01:13:42,680
Speaker 2: Listen, I appreciate that you appreciate it, and I appreciate you,

1448
01:13:42,960 --> 01:13:44,040
Speaker 2: and that's all that matters.

1449
01:13:44,439 --> 01:13:47,040
Speaker 1: Thank you, Millie, Bye, everybody, goodbye.

1450
01:13:49,120 --> 01:13:52,280
Speaker 2: This has been an exactly right production hosted by me

1451
01:13:52,720 --> 01:13:56,360
Speaker 2: Millie to Cherico and produced by my co host, Casey O'Brien.

1452
01:13:56,560 --> 01:14:00,479
Speaker 1: This episode was mixed by Tom Bryfogle. Our associate is

1453
01:14:00,520 --> 01:14:03,960
Speaker 1: Christina Chamberlain, our guest booker is Patrick Cottner, and our

1454
01:14:04,080 --> 01:14:05,679
Speaker 1: artwork is by Vanessa Lilac.

1455
01:14:05,840 --> 01:14:08,760
Speaker 2: Our incredible theme music is by the best band in

1456
01:14:08,800 --> 01:14:10,680
Speaker 2: the entire world, The Softies.

1457
01:14:10,920 --> 01:14:14,840
Speaker 1: Thank you to our executive producers Karen Kilgareff, Georgia hart Stark,

1458
01:14:15,000 --> 01:14:19,400
Speaker 1: Daniel Kramer and Millie to Jerico, we love you. Goodbye,

1459
01:14:20,120 --> 01:14:21,080
Speaker 1: Beker