WEBVTT - Mini Crush #14 0:00:24.000 --> 0:00:27.040 Hey, everybody, welcome to movie crush miny crush a dish. 0:00:27.800 --> 0:00:30.360 It's a lot of shish is in there. It's a 0:00:30.480 --> 0:00:34.880 susters sus. It's a new word I learned the other day. Sure, 0:00:35.640 --> 0:00:38.239 and I'm probably not pronouncing you right. I think you're right. 0:00:38.720 --> 0:00:41.760 It's just s h s h e s h s h. 0:00:41.840 --> 0:00:44.040 I think the word I'm trying to say refers to 0:00:44.040 --> 0:00:49.000 to sort of a general shushy vibe. Yeah. Are you doing. 0:00:49.120 --> 0:00:51.120 I'm doing really well, man, how are you? I'm great? 0:00:51.240 --> 0:00:55.360 So I'm chuck. That's knol uh it is? It is 0:00:55.360 --> 0:00:57.600 morning again. We've kind of knocking these out in the morning. 0:00:57.680 --> 0:00:59.440 I'm digging it, man, It's a good way to start 0:00:59.480 --> 0:01:02.200 the day. M hm. I got my triple latte. I 0:01:02.280 --> 0:01:04.399 have no coffee because I was running late. Do you 0:01:04.400 --> 0:01:08.039 want to go get coffee? Sure? Do you really want 0:01:08.040 --> 0:01:11.600 to step out that? Yeah? Go ahead, So I'll just 0:01:11.640 --> 0:01:15.360 talk while Noel's gone. Actually, you know what, because Nols no, 0:01:15.400 --> 0:01:19.560 I'll just I'll just wait you go. Let's all go 0:01:19.640 --> 0:01:26.080 to the loveyselves a treat. Okay, through the magic of editing, 0:01:26.680 --> 0:01:30.000 Nol's back with coffee. You're opening your sugar, Yes, sir, 0:01:30.640 --> 0:01:33.440 I couldn't waste any time. Actually that was Nol's actually 0:01:33.440 --> 0:01:35.800 not Opening Sugar that we had a fully artists come in. 0:01:37.319 --> 0:01:39.759 We paid them big, big bucks for what you just heard. 0:01:40.560 --> 0:01:42.800 All right, So we're gonna start it off this week. 0:01:42.800 --> 0:01:46.119 Thanks for joining us, by the way, with a another 0:01:46.600 --> 0:01:53.440 Hollywood history Hollywood segment or I teach you alls a 0:01:53.440 --> 0:01:56.200 bit of something, and we're gonna talk this week about 0:01:56.200 --> 0:02:00.560 billing and credits and UM. I went to a few 0:02:00.600 --> 0:02:03.280 different websites for this because I kind of knew a 0:02:03.280 --> 0:02:05.000 lot about it, but I wanted to get it right. 0:02:05.040 --> 0:02:07.560 And this is a loose overview, so if I get 0:02:07.600 --> 0:02:10.600 stuff wrong, then don't be too mad, but hopefully you'll 0:02:10.680 --> 0:02:14.120 learn a thing or two. So UM. From the beginning 0:02:14.120 --> 0:02:20.040 of motion pictures, UM, basically through about the twenties or thirties, 0:02:20.320 --> 0:02:23.640 there was an odd situation where Broadway was the big 0:02:23.680 --> 0:02:30.280 thing and movie producers, I mean, they had an iron 0:02:30.360 --> 0:02:34.320 grip on the system, the studio system through the nineteen fifties. 0:02:34.520 --> 0:02:36.200 And maybe I'll do one in the studio system at 0:02:36.200 --> 0:02:38.959 some point in the collapse of the studio system. That'd 0:02:39.000 --> 0:02:44.200 be pretty interesting. But these moguls manage these studios and 0:02:44.840 --> 0:02:47.240 they didn't want to Uh, they didn't want to build 0:02:47.280 --> 0:02:50.680 actors at all early on because they were afraid of 0:02:50.720 --> 0:02:52.560 a few things. They were afraid that they would want 0:02:52.600 --> 0:02:56.399 more money, and they wanted to keep fees small. Um. 0:02:56.520 --> 0:02:58.920 Sometimes the actors didn't want to be build because at 0:02:58.919 --> 0:03:01.640 the time, believe it or a hut Broadway was the 0:03:01.639 --> 0:03:05.480 biggest deal and and um, going over to movies wasn't 0:03:05.520 --> 0:03:11.000 necessarily a step up. So so early on in movies, 0:03:11.080 --> 0:03:15.160 even people like Charlie Chapman, we're not build. So people 0:03:15.600 --> 0:03:19.600 literally did not know his name Chaplain. Yeah, they didn't 0:03:19.600 --> 0:03:23.360 even know his name, said Chapman. Charlie Chapman, No, Charlie Chaplin, 0:03:24.040 --> 0:03:27.480 but you said Chapman, I swear no. Well, well we'll see, okay, 0:03:27.760 --> 0:03:32.200 we'll let the people decide. But he he was not build, 0:03:32.240 --> 0:03:35.240 so people didn't know his name. He was the funny 0:03:35.240 --> 0:03:39.880 guy in those movies because there weren't trade magazines at 0:03:39.880 --> 0:03:45.160 the time. There was obviously no internet, imagine, can you imagine. 0:03:46.200 --> 0:03:48.240 But so it's just weird to think about a day 0:03:48.240 --> 0:03:50.040 where people go see a movie and say, yeah, the short, 0:03:50.040 --> 0:03:53.120 funny guy with the with the mustache. But of course 0:03:53.160 --> 0:03:57.320 eventually they would start billing, and then during the studio 0:03:57.360 --> 0:04:00.160 system in the like nineteen thirties, forties and fifty is 0:04:00.760 --> 0:04:04.880 on screen billing was at the beginning of the movie. 0:04:05.200 --> 0:04:06.880 So if you ever watch those old films, it's all 0:04:06.920 --> 0:04:09.080 at the beginning. Do you think that came around because 0:04:09.080 --> 0:04:13.000 certain players just established themselves as being more prominent and 0:04:13.040 --> 0:04:15.560 like entertaining than others, and they had to like kind 0:04:15.560 --> 0:04:18.000 of rise above the fray and put their names out 0:04:18.000 --> 0:04:20.240 there and kind of give them a brand. Probably so, 0:04:20.440 --> 0:04:25.120 And I think eventually actors uh fought for it um 0:04:25.160 --> 0:04:28.120 and continue to fight for it. Billing is such a 0:04:28.200 --> 0:04:33.840 contentious issues still, like people drop out of movies even today, 0:04:34.560 --> 0:04:37.000 not as much, but people will drop out of movies 0:04:37.040 --> 0:04:40.640 if there's a billing dispute like why is my name 0:04:40.839 --> 0:04:43.960 not above this person's name or you know, first they 0:04:44.000 --> 0:04:45.760 called it above. Solve it all, just make them in 0:04:45.800 --> 0:04:48.200 alphabetical order, That's what I say. Well, we're getting to that. 0:04:48.240 --> 0:04:52.679 Oh wow. So in the nineteen fifties, Uh, the studio 0:04:52.680 --> 0:04:57.240 system eventually would collapse and agents got involved, and this 0:04:57.320 --> 0:05:00.840 is when they really started to fight for billing as 0:05:00.920 --> 0:05:08.680 actors and stuff like that. So since the nineteen sixties, basically, UM, 0:05:08.720 --> 0:05:12.560 a lot of the billing started moving to the closing 0:05:12.600 --> 0:05:15.640 credits instead of the opening credits, or there would be 0:05:15.680 --> 0:05:17.560 a mix of the two, which you still see today. 0:05:17.880 --> 0:05:23.120 Sometimes you'll see just the you know, the writer, director, producer, 0:05:23.560 --> 0:05:27.680 and maybe the distributor and production company up front. Then 0:05:27.680 --> 0:05:30.000 everything else will be at the at the end. By 0:05:30.040 --> 0:05:33.680 the eighties and nineties it was almost exclusively at the 0:05:33.800 --> 0:05:36.160 end of the film. But there was a thing that 0:05:36.200 --> 0:05:41.400 would happen where like in Ghostbusters and um The Godfather, 0:05:41.920 --> 0:05:45.240 where it would just be a title like Ghostbusters would 0:05:45.279 --> 0:05:47.160 come up and then it would start the movie like 0:05:47.240 --> 0:05:49.960 no writer, no director, no anything. What would be your 0:05:50.040 --> 0:05:53.520 jam as a writer director? Because I think you don't 0:05:53.560 --> 0:06:00.240 get both. I've always thought it's more powerful too. Ind 0:06:00.240 --> 0:06:02.680 a movie on a big, you know, big old full 0:06:02.720 --> 0:06:05.240 screen credit, a big moment and then it cuts to 0:06:05.320 --> 0:06:08.320 black and written and directed by ye I'm kind of 0:06:08.320 --> 0:06:10.159 into that. You know what annoys me is when people 0:06:10.240 --> 0:06:15.200 say Noel Brown's Ghostbusters, I do not care for that. Well, 0:06:15.240 --> 0:06:18.360 that's that's the thing too. That's called the possessory credit. 0:06:18.880 --> 0:06:24.440 So if you've got enough cloud you can um it 0:06:24.560 --> 0:06:28.000 might say a Ridley Scott film at the beginning, or 0:06:28.160 --> 0:06:31.440 Ridley Scott's Blade Runner. I'm I'm I'm okay. I'm more 0:06:31.480 --> 0:06:34.279 okay with a Ridley Scott film than Brown's Noel Brown's 0:06:34.279 --> 0:06:38.360 Ghostbusters just no, thank you. So possessory credits are a thing. 0:06:38.360 --> 0:06:39.520 You gotta have a lot of cloud and all this 0:06:39.520 --> 0:06:43.000 stuff is negotiated behind the scenes with agents and producers 0:06:43.000 --> 0:06:47.560 and production companies and in studios. Uh. Top billing though, 0:06:47.600 --> 0:06:51.440 has always been a matter of contention because like in 0:06:51.440 --> 0:06:54.680 the seventies and eighties, no matter how big of a 0:06:54.720 --> 0:06:56.960 part you played, if you were the biggest name, you 0:06:57.040 --> 0:07:00.960 got top billing. So like Marlon brand is a great example. 0:07:01.000 --> 0:07:04.000 He got top billing in Superman even though he had 0:07:04.000 --> 0:07:07.200 a very small part, negligible, right, Yeah, he was, he 0:07:07.240 --> 0:07:09.240 was at the beginning. He was, he was Pops. Wasn't 0:07:09.240 --> 0:07:10.800 he just a hole like a head, like a floating 0:07:10.800 --> 0:07:14.160 hologram head. No, he had a he was the very 0:07:14.200 --> 0:07:17.480 first he was. He was corporeal. Yeah, that is that 0:07:17.560 --> 0:07:21.880 the word. Um. The Godfather too, he got top billing 0:07:21.880 --> 0:07:25.080 in The Godfather even though al Pacino Bible accounts you 0:07:25.960 --> 0:07:28.880 it was probably the star of that film and actually 0:07:28.880 --> 0:07:31.960 in the Oscars that year, Pacino got a Best Supporting 0:07:31.960 --> 0:07:35.480 Actor nomination and and Brando's was Best Actor, which I 0:07:35.520 --> 0:07:37.560 know was a bone of contention. I'm sure I bet 0:07:37.560 --> 0:07:41.160 Brando was a pill in negotiations though. Yeah, I bet 0:07:41.200 --> 0:07:43.040 he was either a pill or just didn't give a ship. 0:07:43.440 --> 0:07:45.720 It was one of the other. He's wanted to watch 0:07:45.760 --> 0:07:48.360 the world, Barns, just wanted to see what could happen. Uh. 0:07:48.400 --> 0:07:51.960 And then there is if you're not very familiar with 0:07:52.000 --> 0:07:56.400 the actor, the very famous and introducing role. Uh. Credit 0:07:57.080 --> 0:07:59.840 um usually would be at the end, but we typically 0:08:00.000 --> 0:08:02.600 I don't think of that as like kids, but it 0:08:02.880 --> 0:08:06.600 did wasn't always like peter O'Toole got an and introducing 0:08:06.720 --> 0:08:10.000 peter O tool for Lawrence of Arabia interesting because he 0:08:10.040 --> 0:08:11.800 wasn't huge with the kids. I guess that. Yeah, it's 0:08:11.840 --> 0:08:14.600 usually like some fresh faced new youth that they're in 0:08:14.600 --> 0:08:18.720 introducing this potential amazing new talent for the future, right 0:08:18.840 --> 0:08:23.600 and introducing Anna Paquin and the piano, for instance. Uh 0:08:23.640 --> 0:08:30.880 So that's the order. Then there's the size um if 0:08:30.920 --> 0:08:33.840 you if you're on, if you have equal billing is 0:08:33.840 --> 0:08:36.400 what they call it, if you like I can't think 0:08:36.440 --> 0:08:39.240 of a recent example, but where where two big stars 0:08:39.240 --> 0:08:42.040 are in the same movie about Nicholas Cage and John 0:08:42.080 --> 0:08:45.920 Travolta and face off. That might be a pretty good example, actually, 0:08:45.920 --> 0:08:49.360 I think so at the time, um, they may be 0:08:49.480 --> 0:08:51.960 on screen, they may fight to be get equal billing, 0:08:51.960 --> 0:08:53.679 which means they're on the screen at the same time. 0:08:54.200 --> 0:08:57.520 But it goes then there's still a thing where it 0:08:57.559 --> 0:09:01.719 goes of importance from left to right. So if you're 0:09:01.720 --> 0:09:03.760 the bigger star, you'll be on the left if it 0:09:03.880 --> 0:09:06.760 is truly equal billing. And this hasn't happened much, but 0:09:07.000 --> 0:09:08.920 this one website I went to gave the example of 0:09:09.400 --> 0:09:13.040 nine Towering Inferno. Was Steve McQueen and Paul Newman to 0:09:13.160 --> 0:09:16.080 the biggest stars in the world. For sure equal billing. 0:09:16.400 --> 0:09:18.560 They were on screen at the same time. But I 0:09:18.600 --> 0:09:20.880 guarantee you I don't know how much Newman really cared, 0:09:21.160 --> 0:09:26.600 but his agents at least cared um about the left 0:09:26.640 --> 0:09:29.600 or right thing because McQueen was on the left. So 0:09:29.679 --> 0:09:32.240 what they did was they offset it. They put McQueen 0:09:32.280 --> 0:09:35.440 on the left, Newman on the right, but Newman's was 0:09:35.440 --> 0:09:40.280 a little bit higher, so it was offset left or right, 0:09:40.960 --> 0:09:44.000 high and low and high it's like not something any 0:09:44.000 --> 0:09:47.360 normal mortal would notice. But it's silly though. You know. 0:09:48.040 --> 0:09:50.080 It's like I'm on the right side, We'll make me 0:09:50.120 --> 0:09:52.839 an inch higher on the screen or well not an inch, 0:09:53.000 --> 0:09:57.440 several feet an inch on your TV screen. Um. But 0:09:57.480 --> 0:09:59.960 it's so interesting how they just fight for this position. 0:10:00.440 --> 0:10:02.840 It makes my brain hurt, dude, just the idea of 0:10:02.880 --> 0:10:06.120 wrangling all of these like egos, oh man, and and 0:10:06.320 --> 0:10:09.280 you know the agents are all involved in um. You 0:10:09.320 --> 0:10:11.240 know now they call it like well above the line 0:10:11.240 --> 0:10:15.680 and below the line is generally like crew crew members 0:10:15.679 --> 0:10:18.320 like an above the line crew members like the writer, director, producer, 0:10:19.840 --> 0:10:23.319 maybe everybody that's above the line and below the line 0:10:23.360 --> 0:10:28.559 cinematographer maybe. UM. I think, so I'm not positive. And 0:10:28.760 --> 0:10:30.800 then I know, I can't remember when it was. I 0:10:30.920 --> 0:10:36.400 think in the nineties if you watch movies uh pre 0:10:36.600 --> 0:10:42.280 that the producer produce oreal credit would be second to last, 0:10:42.920 --> 0:10:46.080 so it would go writer, producer, director, and then the 0:10:46.240 --> 0:10:50.320 w g A fought really hard in one to go producer, 0:10:50.440 --> 0:10:54.319 then writer, then director for the pre uh PRE film 0:10:54.400 --> 0:10:57.480 credits and it was a big deal. Man. That's awesome. 0:10:58.360 --> 0:11:00.640 I hope one day we can demon to find those 0:11:00.679 --> 0:11:05.000 crazy initials that go after certain uh, certain crew members. 0:11:05.200 --> 0:11:07.320 You know I'm talking about where it's like so so 0:11:07.400 --> 0:11:12.920 cinematographer st W C. T F. Yeah, those are the unions. Yeah, yeah, 0:11:12.960 --> 0:11:14.880 I want to know more. Yeah, all right, well we'll 0:11:14.920 --> 0:11:17.520 tackle that one. And then finally though, we will finish 0:11:17.600 --> 0:11:21.680 up with this little note. There is the final um 0:11:21.920 --> 0:11:25.040 uh and or with credit. If you're a big name 0:11:25.559 --> 0:11:27.920 but you have a small part at the end of 0:11:27.920 --> 0:11:31.640 the movie, it might say, you know, it'll list all 0:11:31.640 --> 0:11:35.679 the actors and then I'll say with Samuel L. Jackson 0:11:36.920 --> 0:11:39.040 at the end, and just that little with It's like, 0:11:39.040 --> 0:11:40.840 all right, I'm gonna go at the end. And that 0:11:41.000 --> 0:11:43.160 is a revered special position because of the word with 0:11:43.360 --> 0:11:46.880 or and interesting. So it's almost like a cameo, but 0:11:47.000 --> 0:11:49.439 like a beloved high level actor that kind of does 0:11:49.440 --> 0:11:51.680 a small part. They get that with yeah. And I 0:11:51.679 --> 0:11:54.760 think they call it an and as credit because sometimes 0:11:54.760 --> 0:11:58.360 it will say it's role injection as so and so 0:11:59.440 --> 0:12:10.920 man the egos, no joke, dude. Very interesting. Alright, So 0:12:10.920 --> 0:12:13.760 we're gonna move on now to segment to recommended viewing, 0:12:14.320 --> 0:12:16.719 where I recommend a documentary of foreign film and an 0:12:16.760 --> 0:12:21.679 indie The documentary and recommend is Hero Dreams of Sushi. 0:12:22.320 --> 0:12:24.880 You've seen it, I have not seen it. Um I 0:12:24.920 --> 0:12:27.640 love sushi, and I have been told I should watch 0:12:27.720 --> 0:12:29.360 this movie that it just makes you want to eat 0:12:29.360 --> 0:12:32.640 all the sushi. It really makes you want to eat sushi. 0:12:32.720 --> 0:12:34.720 In fact, I would say the ideal for Hero Dreams 0:12:34.720 --> 0:12:37.640 of Sushi is too order takeout sushi, even though takeout 0:12:37.679 --> 0:12:40.640 sushi is not nearly as good as in restaurant sushi. 0:12:41.080 --> 0:12:43.200 But you can't watch a movie in a restaurant. And 0:12:43.240 --> 0:12:45.400 this guy's sushi apparently puts all of that stuff you 0:12:45.440 --> 0:12:47.840 just described to utter shame because this is like sushi 0:12:47.920 --> 0:12:50.800 as high art kind of right. Yeah. So it's from 0:12:51.400 --> 0:12:55.800 about seven years ago, two thousand eleven, directed by David Gelb, 0:12:56.320 --> 0:12:59.800 and the movie follows Hero Oh No, he's now ninety 0:12:59.840 --> 0:13:03.560 two years old, sushi master, and he owns a restaurant 0:13:03.559 --> 0:13:07.960 called Suki uh Suki Yabashi Hero, and it is a 0:13:08.000 --> 0:13:12.920 Michelin three star that is in a Tokyo subway station. 0:13:13.360 --> 0:13:18.200 It has ten seats, that's it, and it serves one 0:13:18.240 --> 0:13:20.120 thing you don't order from a menu. You go in, 0:13:20.559 --> 0:13:26.960 you order his twenty course tasting menu and it's like 0:13:28.000 --> 0:13:31.880 three and something dollars now, I think American for the 0:13:31.960 --> 0:13:35.959 sushi meal. And in the movie, it's not just about sushi, 0:13:36.040 --> 0:13:39.240 although that's obviously a huge part of it. Um. What's 0:13:39.320 --> 0:13:41.640 really kind of compelling about it is that it tells 0:13:41.640 --> 0:13:45.360 the story of his family and his sons, um, which 0:13:45.400 --> 0:13:48.000 is really interesting case. He has the one son. They're 0:13:48.000 --> 0:13:52.200 both sushi chefs, obviously, but his one younger son left 0:13:52.200 --> 0:13:55.960 the restaurant and basically kind of copied his dad's restaurant 0:13:56.280 --> 0:14:00.680 in another city. And then his other son, the eldest son, 0:14:01.240 --> 0:14:04.480 he is going to be like the successor, so he 0:14:04.520 --> 0:14:07.800 was sort of obliged to stay and kind of just 0:14:07.920 --> 0:14:10.360 keep working at his father's side. So it was sort 0:14:10.360 --> 0:14:12.600 of poor form that the one son took off and 0:14:12.640 --> 0:14:15.160 copied the formula, you know. I mean, I saw this 0:14:15.200 --> 0:14:17.080 a few years ago. I don't remember if it was 0:14:17.240 --> 0:14:19.840 poor form. I don't think it was like, hey, he 0:14:19.960 --> 0:14:23.160 ripped me off, so I'm disowning him or anything like that. 0:14:23.800 --> 0:14:27.440 But I think there was definitely a sense of, um, 0:14:27.480 --> 0:14:30.760 the one son feeling beholden to the father and staying 0:14:30.800 --> 0:14:33.120 there to take over the restaurant. By the way, the 0:14:33.200 --> 0:14:36.120 style of sushi dining is called alma cosse, which means 0:14:36.160 --> 0:14:39.480 I'll leave it up to you, right, which is my 0:14:39.520 --> 0:14:42.040 buddy Bennacker, who's been on the show every time we 0:14:42.080 --> 0:14:43.480 go to l A. Every time I go to l A, 0:14:43.480 --> 0:14:46.000 and I'd go about to eat sushi with Ben, which 0:14:46.040 --> 0:14:49.320 is almost all the time. Uh Ben, we'll do that. 0:14:49.360 --> 0:14:51.600 He'll just go in and and he will say what 0:14:51.720 --> 0:14:54.560 is it? Oh yeah, and he would and they just 0:14:54.640 --> 0:14:56.800 bring into him one piece at a time, grat sushi 0:14:56.800 --> 0:14:59.160 in l A. And he well, the great sushi in 0:14:59.280 --> 0:15:03.000 l A is the sushi in a in a in 0:15:03.080 --> 0:15:06.280 a strip mall with like an accountant in a laundrymachanic store. 0:15:06.320 --> 0:15:09.240 Of course, it's really great. I mean there are some 0:15:09.440 --> 0:15:12.400 really super nice restaurants too, But that's the great thing 0:15:12.400 --> 0:15:16.120 about Los Angeles is literally the strip mall sushi on 0:15:16.240 --> 0:15:18.840 Hollywood Boulevard can be some of the best stuff you've 0:15:18.840 --> 0:15:20.400 ever had. And well, you know, here in Atlanta we 0:15:20.440 --> 0:15:22.760 have something akin to that with Buford Highway, where there's 0:15:22.800 --> 0:15:25.600 a lot of like weird little short malls with great 0:15:25.640 --> 0:15:28.920 tacarias and Korean barbecue, and so we're very lucky in 0:15:28.920 --> 0:15:31.440 that respect here. Well, in Atlanta. That's where a lot 0:15:31.480 --> 0:15:34.880 of the immigrant population lived and moved. So the food 0:15:34.920 --> 0:15:43.480 is awesome, like Vietnamese, Middle Eastern, Chinese, Japanese, what else 0:15:43.920 --> 0:15:47.720 it's got it all Mexican, yeah, but also like Salvadorian 0:15:47.800 --> 0:15:50.160 and like all the little offshoots and you know, whatever 0:15:50.200 --> 0:15:52.680 you want, Ethiopian. You can really find anything over there. 0:15:53.680 --> 0:15:55.880 So travel advice, come to Atlanta, head on over to 0:15:55.920 --> 0:15:58.400 Bufford Highway. It doesn't look like much, but man, the 0:15:58.400 --> 0:16:02.640 food is good. All foreign film, um etu mama to ambien. 0:16:03.560 --> 0:16:06.560 I have seen this one, yeah, two thousand one. Um, 0:16:06.640 --> 0:16:09.000 kind of one of the great foreign films of the 0:16:09.000 --> 0:16:14.960 two thousand's Mexican movie directed by the great Alfonso uh 0:16:15.080 --> 0:16:19.080 Curon of Harry Potter fame, right, which I you know, 0:16:19.080 --> 0:16:22.680 know nothing about. He directed some of those all right, Okay, 0:16:22.960 --> 0:16:29.680 one of them Prisoner of Alcatraz Acaba okay, close, uh 0:16:29.840 --> 0:16:32.120 col written by he and his brother Carlos. And this 0:16:32.240 --> 0:16:34.840 is a really great film. It's it's a coming of 0:16:34.880 --> 0:16:38.040 age story. Um. It's about these two teenage boys who 0:16:38.080 --> 0:16:40.600 take a road trip to a road trip movie which 0:16:40.600 --> 0:16:44.280 is always great with a woman who is older, older 0:16:44.320 --> 0:16:48.080 meaning like late twenties to their late teens. Um and 0:16:48.120 --> 0:16:50.520 this is the first time I had seen the actor's 0:16:50.560 --> 0:16:54.320 Diego Luna and Gail Garcia bernal Um, who are great 0:16:55.080 --> 0:16:59.520 um Man crushes on both those dudes, and then Spanish 0:16:59.520 --> 0:17:04.800 actress mirabelle verdue Place the the woman in her twenties 0:17:05.240 --> 0:17:09.399 who you know, the almost road trip. They have a 0:17:09.440 --> 0:17:12.280 lot of fun. They don't really know each other. Um, 0:17:12.320 --> 0:17:14.159 it's not like they're like the three oldest friends that 0:17:14.280 --> 0:17:19.360 the guys are friends. The movie is very um how 0:17:19.359 --> 0:17:20.880 do you what do you say? How do you say 0:17:20.920 --> 0:17:25.160 sexual without venistic kind of Oh well, there's you're right exactly. 0:17:25.200 --> 0:17:27.840 There is that vibe where there's a word she's sort 0:17:27.880 --> 0:17:30.440 of erotic, but that sounds even creepy. I don't know, man. 0:17:31.040 --> 0:17:33.399 All I know is that the dynamic, there's like a 0:17:33.440 --> 0:17:35.840 power dynamic that's set up because she's sort of this 0:17:35.920 --> 0:17:40.280 like older, wiser figure and then they're these like young boys, 0:17:40.359 --> 0:17:43.840 and so there's the sense that maybe she's taking advantage 0:17:43.840 --> 0:17:47.040 of them a little bit. But also it's not like 0:17:47.080 --> 0:17:50.560 she's in her forties, so it's I don't know, yeah, 0:17:50.600 --> 0:17:53.320 but I mean they, you know, they're obviously all attracted 0:17:53.359 --> 0:17:55.680 to one another. I don't want to ruin the movie, 0:17:55.720 --> 0:18:02.040 but it culminates in in some uh y uh very 0:18:02.040 --> 0:18:06.320 good sexy time steamy steamy that's the word I was 0:18:06.320 --> 0:18:08.919 looking for. And weird, like a couple of kids in here, 0:18:09.000 --> 0:18:12.600 haven't I'm blushing. I'm blushing. Yeah, No, it's it's it's 0:18:12.600 --> 0:18:14.720 a it's a very powerful movie, but it is um. 0:18:14.760 --> 0:18:17.840 It doesn't lean pretty heavily on the sexual tension and 0:18:17.880 --> 0:18:20.760 that kind of stuff. Yeah. Absolutely, And the end of 0:18:20.760 --> 0:18:24.560 the movie is just so good and and and tragic 0:18:24.640 --> 0:18:28.200 and sad. Um And that's all I'll say about the ending. 0:18:28.560 --> 0:18:31.480 Highly highly recommended. The guy went on to do Karen 0:18:31.680 --> 0:18:34.359 Children of Men, which is like taught in film school 0:18:34.480 --> 0:18:36.960 to this day, and all the crazy camera work and 0:18:36.960 --> 0:18:39.320 he kind of like came up with all these crazy rigs, 0:18:39.400 --> 0:18:42.320 which is interesting for this this kind of simple, um 0:18:42.359 --> 0:18:44.879 coming of age road movie. For him to go from 0:18:44.960 --> 0:18:48.280 this to like this sci fi kind of masterpiece. You know. Yeah, 0:18:48.400 --> 0:18:51.160 Children Men? What a what a rock and good fun time. 0:18:51.160 --> 0:18:56.000 That was talk about a downer of a movie. And 0:18:56.000 --> 0:18:59.000 then finally we're gonna finish up with an indie. Um. 0:18:59.080 --> 0:19:01.359 I didn't want to overthink this one. As I always say, 0:19:01.440 --> 0:19:02.720 so I just kind of went with one of my 0:19:02.760 --> 0:19:06.679 old old favorites, sex lies and videotape. I've seen this 0:19:06.720 --> 0:19:09.879 movie many times and we'll watch it every couple of years. 0:19:11.560 --> 0:19:16.640 Independent drama UM put Steven Soderberg on the map. UM. 0:19:17.960 --> 0:19:21.119 I believe it was his first movie. I think it 0:19:21.160 --> 0:19:23.119 had to be his first movie. I didn't look that up, 0:19:23.119 --> 0:19:26.439 but I think so. And the plot is about a 0:19:26.560 --> 0:19:32.320 man who videotapes women discussing and not surreptitiously. He interviews 0:19:32.320 --> 0:19:36.880 women about their sex lives, UM very frankly in their sexuality, 0:19:37.560 --> 0:19:41.040 and he uh, he rolls into town as James Spader 0:19:41.760 --> 0:19:44.480 h into Louisiana. It's kind of a kind of a 0:19:44.480 --> 0:19:47.960 sleepy Louisiana town. I don't think it's New Orleans, although 0:19:47.960 --> 0:19:51.080 it maybe, but it's not prominent. And he rolls into 0:19:51.119 --> 0:19:53.920 town and UM stays at the house of his old 0:19:53.960 --> 0:19:57.440 college buddy played by Peter Gallagher, who it was first 0:19:57.440 --> 0:19:59.480 time I had seen any of these actors. I believe 0:20:00.240 --> 0:20:03.280 UM's first time I was aware of them at least, 0:20:03.840 --> 0:20:06.640 and they were like old frat buddies. And Peter Gallagher's 0:20:06.680 --> 0:20:09.199 still sort of in that mode. He's a kind of 0:20:09.240 --> 0:20:13.560 a a douchy businessman, and James Spader is now just 0:20:13.800 --> 0:20:19.639 very um intense and brooding and has not gone the 0:20:19.640 --> 0:20:24.080 way of of his old college friend. Andy McDowell plays 0:20:24.520 --> 0:20:28.359 Anne and Bishop Laney, Peter Gallagher's wife. They have a 0:20:28.440 --> 0:20:31.960 very strained marriage and Peter Gallagher is having an affair 0:20:32.440 --> 0:20:36.879 with her sister. Um with a great performance by Laura 0:20:37.080 --> 0:20:41.879 san Jocomo as Cynthia. So he's cheating with with his 0:20:41.920 --> 0:20:46.760 wife's sister. Um it is Andy McDowell is is all 0:20:46.800 --> 0:20:50.800 of a sudden attracted to James Spader, and um, it's 0:20:51.000 --> 0:20:57.000 just a very kind of slow intense fire of a movie. 0:20:57.119 --> 0:21:00.879 This slow burn of a movie really really great. It 0:21:00.960 --> 0:21:04.960 won the palm door at door. Yeah. I think that's 0:21:04.960 --> 0:21:08.919 that's or of an appropriate American eyed pronunciation. What's what 0:21:08.960 --> 0:21:11.320 would be the door? But door? I got hear palm 0:21:11.320 --> 0:21:12.720 door all the time. You just kind of just just 0:21:13.840 --> 0:21:16.600 and confidently exactly that, which is the opposite of what 0:21:16.680 --> 0:21:20.720 I just did the palmy di or at lean into 0:21:20.760 --> 0:21:25.160 it Chuck at the Canis Film Festival at con at 0:21:25.200 --> 0:21:28.080 one the big the big awards. So man, if Casey 0:21:28.119 --> 0:21:30.359 Pegram was in here right now, he would be is 0:21:30.400 --> 0:21:34.760 it Pegram Pegram boys said, pegram pegram geez no learned 0:21:34.800 --> 0:21:39.680 something new every day. I'm losing it. So h hugely 0:21:39.840 --> 0:21:46.560 influential independent film, really kind of kick started the independent 0:21:46.600 --> 0:21:50.760 film movement of the nineties. Um and certainly Soderbergh's career. 0:21:51.480 --> 0:21:53.199 Uh and he went on to be one of my 0:21:53.359 --> 0:21:55.440 still one of my favorite filmmings. How would you describe 0:21:55.440 --> 0:21:57.920 the esthetic of the movie. I mean it's pretty simple. 0:21:58.080 --> 0:22:01.520 I mean it's not very flashily shot or edited at all. Yeah, 0:22:01.600 --> 0:22:04.400 and that's sort of been a mainstay for him. But 0:22:04.520 --> 0:22:06.720 you know, his stories I think got more and more complex, 0:22:06.720 --> 0:22:08.359 but he stills a very matter of fact about the 0:22:08.359 --> 0:22:10.720 way he makes a film. And I think that's interesting 0:22:10.760 --> 0:22:14.160 about Soderberg. He got into the heighst thing hard, real hard. 0:22:14.400 --> 0:22:16.560 I mean he did. I think his second movie, actually, 0:22:16.600 --> 0:22:20.959 The Underneath, was a heist movie. Great, great film with 0:22:21.000 --> 0:22:23.760 Peter Gallagher and Elizabeth Schoo. So if you haven't seen 0:22:23.760 --> 0:22:26.080 that early Soderberg, I recommend that, And then of course 0:22:26.080 --> 0:22:29.439 all the Oceans movies. And then this most recent what 0:22:29.520 --> 0:22:33.720 was the one about robbing the NASCAR track? Oh, Logan Lucky, Yeah, 0:22:33.760 --> 0:22:35.240 I watched it on a plane. It was fun. I 0:22:35.280 --> 0:22:37.359 watched it on a plane. Too great plane movie. It 0:22:37.359 --> 0:22:40.479 really is. Yeah, not not great. It's sort of like 0:22:40.520 --> 0:22:44.000 a redneck motions movie. Yeah, I've heard it called Ocean 0:22:44.119 --> 0:22:53.840 seven eleven. That's funny. Yeah, that is funny. All right, 0:22:53.880 --> 0:22:55.919 We're gonna finish up with comic card the mail section. 0:22:56.680 --> 0:23:00.520 I asked you all on Facebook for Nolan Chuck movie questions, 0:23:00.520 --> 0:23:03.639 and here we go with Megan, Carol and Megan. By 0:23:03.680 --> 0:23:05.800 the way, I've seen a bunch of comments. You and 0:23:05.800 --> 0:23:08.520 I are living. I told you on Facebook, we're parking 0:23:08.520 --> 0:23:11.320 our cars in the same garage. Really like your comments. 0:23:11.720 --> 0:23:14.399 She says, what is the best movie you've seen that 0:23:14.520 --> 0:23:18.240 you never wanted to see again? So, in other words, well, 0:23:18.280 --> 0:23:20.240 it could be whatever, but I generally think of this 0:23:20.320 --> 0:23:23.320 as like good movie. But man, once is enough too much? 0:23:24.080 --> 0:23:25.760 You got one? You want to think about it? I've 0:23:25.760 --> 0:23:28.480 got I've got one easily. What's that Requiem for a Dream? 0:23:28.920 --> 0:23:31.160 As I saw that a few times? Dude, I did 0:23:31.160 --> 0:23:33.400