Speaker 1: Hey, everybody, welcome to movie crush miny crush a dish.
Speaker 1: It's a lot of shish is in there. It's a
Speaker 1: susters sus. It's a new word I learned the other day. Sure,
Speaker 1: and I'm probably not pronouncing you right. I think you're right.
Speaker 1: It's just s h s h e s h s h.
Speaker 1: I think the word I'm trying to say refers to
Speaker 1: to sort of a general shushy vibe. Yeah. Are you doing.
Speaker 1: I'm doing really well, man, how are you? I'm great?
Speaker 1: So I'm chuck. That's knol uh it is? It is
Speaker 1: morning again. We've kind of knocking these out in the morning.
Speaker 1: I'm digging it, man, It's a good way to start
Speaker 1: the day. M hm. I got my triple latte. I
Speaker 1: have no coffee because I was running late. Do you
Speaker 1: want to go get coffee? Sure? Do you really want
Speaker 1: to step out that? Yeah? Go ahead, So I'll just
Speaker 1: talk while Noel's gone. Actually, you know what, because Nols no,
Speaker 1: I'll just I'll just wait you go. Let's all go
Speaker 1: to the loveyselves a treat. Okay, through the magic of editing,
Speaker 1: Nol's back with coffee. You're opening your sugar, Yes, sir,
Speaker 1: I couldn't waste any time. Actually that was Nol's actually
Speaker 1: not Opening Sugar that we had a fully artists come in.
Speaker 1: We paid them big, big bucks for what you just heard.
Speaker 1: All right, So we're gonna start it off this week.
Speaker 1: Thanks for joining us, by the way, with a another
Speaker 1: Hollywood history Hollywood segment or I teach you alls a
Speaker 1: bit of something, and we're gonna talk this week about
Speaker 1: billing and credits and UM. I went to a few
Speaker 1: different websites for this because I kind of knew a
Speaker 1: lot about it, but I wanted to get it right.
Speaker 1: And this is a loose overview, so if I get
Speaker 1: stuff wrong, then don't be too mad, but hopefully you'll
Speaker 1: learn a thing or two. So UM. From the beginning
Speaker 1: of motion pictures, UM, basically through about the twenties or thirties,
Speaker 1: there was an odd situation where Broadway was the big
Speaker 1: thing and movie producers, I mean, they had an iron
Speaker 1: grip on the system, the studio system through the nineteen fifties.
Speaker 1: And maybe I'll do one in the studio system at
Speaker 1: some point in the collapse of the studio system. That'd
Speaker 1: be pretty interesting. But these moguls manage these studios and
Speaker 1: they didn't want to Uh, they didn't want to build
Speaker 1: actors at all early on because they were afraid of
Speaker 1: a few things. They were afraid that they would want
Speaker 1: more money, and they wanted to keep fees small. Um.
Speaker 1: Sometimes the actors didn't want to be build because at
Speaker 1: the time, believe it or a hut Broadway was the
Speaker 1: biggest deal and and um, going over to movies wasn't
Speaker 1: necessarily a step up. So so early on in movies,
Speaker 1: even people like Charlie Chapman, we're not build. So people
Speaker 1: literally did not know his name Chaplain. Yeah, they didn't
Speaker 1: even know his name, said Chapman. Charlie Chapman, No, Charlie Chaplin,
Speaker 1: but you said Chapman, I swear no. Well, well we'll see, okay,
Speaker 1: we'll let the people decide. But he he was not build,
Speaker 1: so people didn't know his name. He was the funny
Speaker 1: guy in those movies because there weren't trade magazines at
Speaker 1: the time. There was obviously no internet, imagine, can you imagine.
Speaker 1: But so it's just weird to think about a day
Speaker 1: where people go see a movie and say, yeah, the short,
Speaker 1: funny guy with the with the mustache. But of course
Speaker 1: eventually they would start billing, and then during the studio
Speaker 1: system in the like nineteen thirties, forties and fifty is
Speaker 1: on screen billing was at the beginning of the movie.
Speaker 1: So if you ever watch those old films, it's all
Speaker 1: at the beginning. Do you think that came around because
Speaker 1: certain players just established themselves as being more prominent and
Speaker 1: like entertaining than others, and they had to like kind
Speaker 1: of rise above the fray and put their names out
Speaker 1: there and kind of give them a brand. Probably so,
Speaker 1: And I think eventually actors uh fought for it um
Speaker 1: and continue to fight for it. Billing is such a
Speaker 1: contentious issues still, like people drop out of movies even today,
Speaker 1: not as much, but people will drop out of movies
Speaker 1: if there's a billing dispute like why is my name
Speaker 1: not above this person's name or you know, first they
Speaker 1: called it above. Solve it all, just make them in
Speaker 1: alphabetical order, That's what I say. Well, we're getting to that.
Speaker 1: Oh wow. So in the nineteen fifties, Uh, the studio
Speaker 1: system eventually would collapse and agents got involved, and this
Speaker 1: is when they really started to fight for billing as
Speaker 1: actors and stuff like that. So since the nineteen sixties, basically, UM,
Speaker 1: a lot of the billing started moving to the closing
Speaker 1: credits instead of the opening credits, or there would be
Speaker 1: a mix of the two, which you still see today.
Speaker 1: Sometimes you'll see just the you know, the writer, director, producer,
Speaker 1: and maybe the distributor and production company up front. Then
Speaker 1: everything else will be at the at the end. By
Speaker 1: the eighties and nineties it was almost exclusively at the
Speaker 1: end of the film. But there was a thing that
Speaker 1: would happen where like in Ghostbusters and um The Godfather,
Speaker 1: where it would just be a title like Ghostbusters would
Speaker 1: come up and then it would start the movie like
Speaker 1: no writer, no director, no anything. What would be your
Speaker 1: jam as a writer director? Because I think you don't
Speaker 1: get both. I've always thought it's more powerful too. Ind
Speaker 1: a movie on a big, you know, big old full
Speaker 1: screen credit, a big moment and then it cuts to
Speaker 1: black and written and directed by ye I'm kind of
Speaker 1: into that. You know what annoys me is when people
Speaker 1: say Noel Brown's Ghostbusters, I do not care for that. Well,
Speaker 1: that's that's the thing too. That's called the possessory credit.
Speaker 1: So if you've got enough cloud you can um it
Speaker 1: might say a Ridley Scott film at the beginning, or
Speaker 1: Ridley Scott's Blade Runner. I'm I'm I'm okay. I'm more
Speaker 1: okay with a Ridley Scott film than Brown's Noel Brown's
Speaker 1: Ghostbusters just no, thank you. So possessory credits are a thing.
Speaker 1: You gotta have a lot of cloud and all this
Speaker 1: stuff is negotiated behind the scenes with agents and producers
Speaker 1: and production companies and in studios. Uh. Top billing though,
Speaker 1: has always been a matter of contention because like in
Speaker 1: the seventies and eighties, no matter how big of a
Speaker 1: part you played, if you were the biggest name, you
Speaker 1: got top billing. So like Marlon brand is a great example.
Speaker 1: He got top billing in Superman even though he had
Speaker 1: a very small part, negligible, right, Yeah, he was, he
Speaker 1: was at the beginning. He was, he was Pops. Wasn't
Speaker 1: he just a hole like a head, like a floating
Speaker 1: hologram head. No, he had a he was the very
Speaker 1: first he was. He was corporeal. Yeah, that is that
Speaker 1: the word. Um. The Godfather too, he got top billing
Speaker 1: in The Godfather even though al Pacino Bible accounts you
Speaker 1: it was probably the star of that film and actually
Speaker 1: in the Oscars that year, Pacino got a Best Supporting
Speaker 1: Actor nomination and and Brando's was Best Actor, which I
Speaker 1: know was a bone of contention. I'm sure I bet
Speaker 1: Brando was a pill in negotiations though. Yeah, I bet
Speaker 1: he was either a pill or just didn't give a ship.
Speaker 1: It was one of the other. He's wanted to watch
Speaker 1: the world, Barns, just wanted to see what could happen. Uh.
Speaker 1: And then there is if you're not very familiar with
Speaker 1: the actor, the very famous and introducing role. Uh. Credit
Speaker 1: um usually would be at the end, but we typically
Speaker 1: I don't think of that as like kids, but it
Speaker 1: did wasn't always like peter O'Toole got an and introducing
Speaker 1: peter O tool for Lawrence of Arabia interesting because he
Speaker 1: wasn't huge with the kids. I guess that. Yeah, it's
Speaker 1: usually like some fresh faced new youth that they're in
Speaker 1: introducing this potential amazing new talent for the future, right
Speaker 1: and introducing Anna Paquin and the piano, for instance. Uh
Speaker 1: So that's the order. Then there's the size um if
Speaker 1: you if you're on, if you have equal billing is
Speaker 1: what they call it, if you like I can't think
Speaker 1: of a recent example, but where where two big stars
Speaker 1: are in the same movie about Nicholas Cage and John
Speaker 1: Travolta and face off. That might be a pretty good example, actually,
Speaker 1: I think so at the time, um, they may be
Speaker 1: on screen, they may fight to be get equal billing,
Speaker 1: which means they're on the screen at the same time.
Speaker 1: But it goes then there's still a thing where it
Speaker 1: goes of importance from left to right. So if you're
Speaker 1: the bigger star, you'll be on the left if it
Speaker 1: is truly equal billing. And this hasn't happened much, but
Speaker 1: this one website I went to gave the example of
Speaker 1: nine Towering Inferno. Was Steve McQueen and Paul Newman to
Speaker 1: the biggest stars in the world. For sure equal billing.
Speaker 1: They were on screen at the same time. But I
Speaker 1: guarantee you I don't know how much Newman really cared,
Speaker 1: but his agents at least cared um about the left
Speaker 1: or right thing because McQueen was on the left. So
Speaker 1: what they did was they offset it. They put McQueen
Speaker 1: on the left, Newman on the right, but Newman's was
Speaker 1: a little bit higher, so it was offset left or right,
Speaker 1: high and low and high it's like not something any
Speaker 1: normal mortal would notice. But it's silly though. You know.
Speaker 1: It's like I'm on the right side, We'll make me
Speaker 1: an inch higher on the screen or well not an inch,
Speaker 1: several feet an inch on your TV screen. Um. But
Speaker 1: it's so interesting how they just fight for this position.
Speaker 1: It makes my brain hurt, dude, just the idea of
Speaker 1: wrangling all of these like egos, oh man, and and
Speaker 1: you know the agents are all involved in um. You
Speaker 1: know now they call it like well above the line
Speaker 1: and below the line is generally like crew crew members
Speaker 1: like an above the line crew members like the writer, director, producer,
Speaker 1: maybe everybody that's above the line and below the line
Speaker 1: cinematographer maybe. UM. I think, so I'm not positive. And
Speaker 1: then I know, I can't remember when it was. I
Speaker 1: think in the nineties if you watch movies uh pre
Speaker 1: that the producer produce oreal credit would be second to last,
Speaker 1: so it would go writer, producer, director, and then the
Speaker 1: w g A fought really hard in one to go producer,
Speaker 1: then writer, then director for the pre uh PRE film
Speaker 1: credits and it was a big deal. Man. That's awesome.
Speaker 1: I hope one day we can demon to find those
Speaker 1: crazy initials that go after certain uh, certain crew members.
Speaker 1: You know I'm talking about where it's like so so
Speaker 1: cinematographer st W C. T F. Yeah, those are the unions. Yeah, yeah,
Speaker 1: I want to know more. Yeah, all right, well we'll
Speaker 1: tackle that one. And then finally though, we will finish
Speaker 1: up with this little note. There is the final um
Speaker 1: uh and or with credit. If you're a big name
Speaker 1: but you have a small part at the end of
Speaker 1: the movie, it might say, you know, it'll list all
Speaker 1: the actors and then I'll say with Samuel L. Jackson
Speaker 1: at the end, and just that little with It's like,
Speaker 1: all right, I'm gonna go at the end. And that
Speaker 1: is a revered special position because of the word with
Speaker 1: or and interesting. So it's almost like a cameo, but
Speaker 1: like a beloved high level actor that kind of does
Speaker 1: a small part. They get that with yeah. And I
Speaker 1: think they call it an and as credit because sometimes
Speaker 1: it will say it's role injection as so and so
Speaker 1: man the egos, no joke, dude. Very interesting. Alright, So
Speaker 1: we're gonna move on now to segment to recommended viewing,
Speaker 1: where I recommend a documentary of foreign film and an
Speaker 1: indie The documentary and recommend is Hero Dreams of Sushi.
Speaker 1: You've seen it, I have not seen it. Um I
Speaker 1: love sushi, and I have been told I should watch
Speaker 1: this movie that it just makes you want to eat
Speaker 1: all the sushi. It really makes you want to eat sushi.
Speaker 1: In fact, I would say the ideal for Hero Dreams
Speaker 1: of Sushi is too order takeout sushi, even though takeout
Speaker 1: sushi is not nearly as good as in restaurant sushi.
Speaker 1: But you can't watch a movie in a restaurant. And
Speaker 1: this guy's sushi apparently puts all of that stuff you
Speaker 1: just described to utter shame because this is like sushi
Speaker 1: as high art kind of right. Yeah. So it's from
Speaker 1: about seven years ago, two thousand eleven, directed by David Gelb,
Speaker 1: and the movie follows Hero Oh No, he's now ninety
Speaker 1: two years old, sushi master, and he owns a restaurant
Speaker 1: called Suki uh Suki Yabashi Hero, and it is a
Speaker 1: Michelin three star that is in a Tokyo subway station.
Speaker 1: It has ten seats, that's it, and it serves one
Speaker 1: thing you don't order from a menu. You go in,
Speaker 1: you order his twenty course tasting menu and it's like
Speaker 1: three and something dollars now, I think American for the
Speaker 1: sushi meal. And in the movie, it's not just about sushi,
Speaker 1: although that's obviously a huge part of it. Um. What's
Speaker 1: really kind of compelling about it is that it tells
Speaker 1: the story of his family and his sons, um, which
Speaker 1: is really interesting case. He has the one son. They're
Speaker 1: both sushi chefs, obviously, but his one younger son left
Speaker 1: the restaurant and basically kind of copied his dad's restaurant
Speaker 1: in another city. And then his other son, the eldest son,
Speaker 1: he is going to be like the successor, so he
Speaker 1: was sort of obliged to stay and kind of just
Speaker 1: keep working at his father's side. So it was sort
Speaker 1: of poor form that the one son took off and
Speaker 1: copied the formula, you know. I mean, I saw this
Speaker 1: a few years ago. I don't remember if it was
Speaker 1: poor form. I don't think it was like, hey, he
Speaker 1: ripped me off, so I'm disowning him or anything like that.
Speaker 1: But I think there was definitely a sense of, um,
Speaker 1: the one son feeling beholden to the father and staying
Speaker 1: there to take over the restaurant. By the way, the
Speaker 1: style of sushi dining is called alma cosse, which means
Speaker 1: I'll leave it up to you, right, which is my
Speaker 1: buddy Bennacker, who's been on the show every time we
Speaker 1: go to l A. Every time I go to l A,
Speaker 1: and I'd go about to eat sushi with Ben, which
Speaker 1: is almost all the time. Uh Ben, we'll do that.
Speaker 1: He'll just go in and and he will say what
Speaker 1: is it? Oh yeah, and he would and they just
Speaker 1: bring into him one piece at a time, grat sushi
Speaker 1: in l A. And he well, the great sushi in
Speaker 1: l A is the sushi in a in a in
Speaker 1: a strip mall with like an accountant in a laundrymachanic store.
Speaker 1: Of course, it's really great. I mean there are some
Speaker 1: really super nice restaurants too, But that's the great thing
Speaker 1: about Los Angeles is literally the strip mall sushi on
Speaker 1: Hollywood Boulevard can be some of the best stuff you've
Speaker 1: ever had. And well, you know, here in Atlanta we
Speaker 1: have something akin to that with Buford Highway, where there's
Speaker 1: a lot of like weird little short malls with great
Speaker 1: tacarias and Korean barbecue, and so we're very lucky in
Speaker 1: that respect here. Well, in Atlanta. That's where a lot
Speaker 1: of the immigrant population lived and moved. So the food
Speaker 1: is awesome, like Vietnamese, Middle Eastern, Chinese, Japanese, what else
Speaker 1: it's got it all Mexican, yeah, but also like Salvadorian
Speaker 1: and like all the little offshoots and you know, whatever
Speaker 1: you want, Ethiopian. You can really find anything over there.
Speaker 1: So travel advice, come to Atlanta, head on over to
Speaker 1: Bufford Highway. It doesn't look like much, but man, the
Speaker 1: food is good. All foreign film, um etu mama to ambien.
Speaker 1: I have seen this one, yeah, two thousand one. Um,
Speaker 1: kind of one of the great foreign films of the
Speaker 1: two thousand's Mexican movie directed by the great Alfonso uh
Speaker 1: Curon of Harry Potter fame, right, which I you know,
Speaker 1: know nothing about. He directed some of those all right, Okay,
Speaker 1: one of them Prisoner of Alcatraz Acaba okay, close, uh
Speaker 1: col written by he and his brother Carlos. And this
Speaker 1: is a really great film. It's it's a coming of
Speaker 1: age story. Um. It's about these two teenage boys who
Speaker 1: take a road trip to a road trip movie which
Speaker 1: is always great with a woman who is older, older
Speaker 1: meaning like late twenties to their late teens. Um and
Speaker 1: this is the first time I had seen the actor's
Speaker 1: Diego Luna and Gail Garcia bernal Um, who are great
Speaker 1: um Man crushes on both those dudes, and then Spanish
Speaker 1: actress mirabelle verdue Place the the woman in her twenties
Speaker 1: who you know, the almost road trip. They have a
Speaker 1: lot of fun. They don't really know each other. Um,
Speaker 1: it's not like they're like the three oldest friends that
Speaker 1: the guys are friends. The movie is very um how
Speaker 1: do you what do you say? How do you say
Speaker 1: sexual without venistic kind of Oh well, there's you're right exactly.
Speaker 1: There is that vibe where there's a word she's sort
Speaker 1: of erotic, but that sounds even creepy. I don't know, man.
Speaker 1: All I know is that the dynamic, there's like a
Speaker 1: power dynamic that's set up because she's sort of this
Speaker 1: like older, wiser figure and then they're these like young boys,
Speaker 1: and so there's the sense that maybe she's taking advantage
Speaker 1: of them a little bit. But also it's not like
Speaker 1: she's in her forties, so it's I don't know, yeah,
Speaker 1: but I mean they, you know, they're obviously all attracted
Speaker 1: to one another. I don't want to ruin the movie,
Speaker 1: but it culminates in in some uh y uh very
Speaker 1: good sexy time steamy steamy that's the word I was
Speaker 1: looking for. And weird, like a couple of kids in here,
Speaker 1: haven't I'm blushing. I'm blushing. Yeah, No, it's it's it's
Speaker 1: a it's a very powerful movie, but it is um.
Speaker 1: It doesn't lean pretty heavily on the sexual tension and
Speaker 1: that kind of stuff. Yeah. Absolutely, And the end of
Speaker 1: the movie is just so good and and and tragic
Speaker 1: and sad. Um And that's all I'll say about the ending.
Speaker 1: Highly highly recommended. The guy went on to do Karen
Speaker 1: Children of Men, which is like taught in film school
Speaker 1: to this day, and all the crazy camera work and
Speaker 1: he kind of like came up with all these crazy rigs,
Speaker 1: which is interesting for this this kind of simple, um
Speaker 1: coming of age road movie. For him to go from
Speaker 1: this to like this sci fi kind of masterpiece. You know. Yeah,
Speaker 1: Children Men? What a what a rock and good fun time.
Speaker 1: That was talk about a downer of a movie. And
Speaker 1: then finally we're gonna finish up with an indie. Um.
Speaker 1: I didn't want to overthink this one. As I always say,
Speaker 1: so I just kind of went with one of my
Speaker 1: old old favorites, sex lies and videotape. I've seen this
Speaker 1: movie many times and we'll watch it every couple of years.
Speaker 1: Independent drama UM put Steven Soderberg on the map. UM.
Speaker 1: I believe it was his first movie. I think it
Speaker 1: had to be his first movie. I didn't look that up,
Speaker 1: but I think so. And the plot is about a
Speaker 1: man who videotapes women discussing and not surreptitiously. He interviews
Speaker 1: women about their sex lives, UM very frankly in their sexuality,
Speaker 1: and he uh, he rolls into town as James Spader
Speaker 1: h into Louisiana. It's kind of a kind of a
Speaker 1: sleepy Louisiana town. I don't think it's New Orleans, although
Speaker 1: it maybe, but it's not prominent. And he rolls into
Speaker 1: town and UM stays at the house of his old
Speaker 1: college buddy played by Peter Gallagher, who it was first
Speaker 1: time I had seen any of these actors. I believe
Speaker 1: UM's first time I was aware of them at least,
Speaker 1: and they were like old frat buddies. And Peter Gallagher's
Speaker 1: still sort of in that mode. He's a kind of
Speaker 1: a a douchy businessman, and James Spader is now just
Speaker 1: very um intense and brooding and has not gone the
Speaker 1: way of of his old college friend. Andy McDowell plays
Speaker 1: Anne and Bishop Laney, Peter Gallagher's wife. They have a
Speaker 1: very strained marriage and Peter Gallagher is having an affair
Speaker 1: with her sister. Um with a great performance by Laura
Speaker 1: san Jocomo as Cynthia. So he's cheating with with his
Speaker 1: wife's sister. Um it is Andy McDowell is is all
Speaker 1: of a sudden attracted to James Spader, and um, it's
Speaker 1: just a very kind of slow intense fire of a movie.
Speaker 1: This slow burn of a movie really really great. It
Speaker 1: won the palm door at door. Yeah. I think that's
Speaker 1: that's or of an appropriate American eyed pronunciation. What's what
Speaker 1: would be the door? But door? I got hear palm
Speaker 1: door all the time. You just kind of just just
Speaker 1: and confidently exactly that, which is the opposite of what
Speaker 1: I just did the palmy di or at lean into
Speaker 1: it Chuck at the Canis Film Festival at con at
Speaker 1: one the big the big awards. So man, if Casey
Speaker 1: Pegram was in here right now, he would be is
Speaker 1: it Pegram Pegram boys said, pegram pegram geez no learned
Speaker 1: something new every day. I'm losing it. So h hugely
Speaker 1: influential independent film, really kind of kick started the independent
Speaker 1: film movement of the nineties. Um and certainly Soderbergh's career.
Speaker 1: Uh and he went on to be one of my
Speaker 1: still one of my favorite filmmings. How would you describe
Speaker 1: the esthetic of the movie. I mean it's pretty simple.
Speaker 1: I mean it's not very flashily shot or edited at all. Yeah,
Speaker 1: and that's sort of been a mainstay for him. But
Speaker 1: you know, his stories I think got more and more complex,
Speaker 1: but he stills a very matter of fact about the
Speaker 1: way he makes a film. And I think that's interesting
Speaker 1: about Soderberg. He got into the heighst thing hard, real hard.
Speaker 1: I mean he did. I think his second movie, actually,
Speaker 1: The Underneath, was a heist movie. Great, great film with
Speaker 1: Peter Gallagher and Elizabeth Schoo. So if you haven't seen
Speaker 1: that early Soderberg, I recommend that, And then of course
Speaker 1: all the Oceans movies. And then this most recent what
Speaker 1: was the one about robbing the NASCAR track? Oh, Logan Lucky, Yeah,
Speaker 1: I watched it on a plane. It was fun. I
Speaker 1: watched it on a plane. Too great plane movie. It
Speaker 1: really is. Yeah, not not great. It's sort of like
Speaker 1: a redneck motions movie. Yeah, I've heard it called Ocean
Speaker 1: seven eleven. That's funny. Yeah, that is funny. All right,
Speaker 1: We're gonna finish up with comic card the mail section.
Speaker 1: I asked you all on Facebook for Nolan Chuck movie questions,
Speaker 1: and here we go with Megan, Carol and Megan. By
Speaker 1: the way, I've seen a bunch of comments. You and
Speaker 1: I are living. I told you on Facebook, we're parking
Speaker 1: our cars in the same garage. Really like your comments.
Speaker 1: She says, what is the best movie you've seen that
Speaker 1: you never wanted to see again? So, in other words, well,
Speaker 1: it could be whatever, but I generally think of this
Speaker 1: as like good movie. But man, once is enough too much?
Speaker 1: You got one? You want to think about it? I've
Speaker 1: got I've got one easily. What's that Requiem for a Dream?
Speaker 1: As I saw that a few times? Dude, I did
Speaker 1: too when I was younger and more nihilistic. But as
Speaker 1: I've gotten older and I can't do it, I just yeah, yeah,
Speaker 1: that that one scene man, with the shot or the
Speaker 1: one sequence where everything is just coming. Thing bad happens
Speaker 1: for everyone out of control. Man. Ellen bursting character is
Speaker 1: the one that really gets me because she reminds me
Speaker 1: of my mom, like diva ish kind of intense person,
Speaker 1: and she lives alone and just that the that's the thing.
Speaker 1: Things get too real, man. Yeah, I'm seeing you know, yeah,
Speaker 1: the way things fall apart, and I don't like it.
Speaker 1: She was so good in that. I'm gonna just throw
Speaker 1: Schindler's List on there, because that's sort of an obvious one.
Speaker 1: I don't know a lot of people that are like, yeah,
Speaker 1: that's all that four times great date movie I mentioned,
Speaker 1: so Dance with the Dark for sure. Uh, and then
Speaker 1: recently The Revenant. I really enjoyed that movie, but I
Speaker 1: had no desire to see that one again. It's like
Speaker 1: an endurance match. Yeah, it's just like done exhausting a nap.
Speaker 1: It was very much exhausting, all right. Number two, Gracie Anne,
Speaker 1: Which is better Terminator or Terminator too? I think this
Speaker 1: is one of those rare cases where the sequels better.
Speaker 1: But it's a hotly debated topic in the action movie
Speaker 1: nerd world. Um, I'm gonna go ahead and go on
Speaker 1: record and say T two because it just feels like
Speaker 1: Terminator one is great, but as it feels a little
Speaker 1: dated now and T two really still kind of holds
Speaker 1: up big time. Yeah. I watch Terminator the first one
Speaker 1: recently and the effects like he's cutting his eye out
Speaker 1: and stuff, and it's just it looks like it looks
Speaker 1: like shit, it's kind of Corney looking now and um,
Speaker 1: but you can appreciate it for its time, Oh big time.
Speaker 1: I also felt like in the first one there was
Speaker 1: a lot less depth of character and fewer characters. It
Speaker 1: was a very kind of a bottle movie almost. In
Speaker 1: the second one, there was just a lot more like
Speaker 1: stuff going on, you know, a lot more motivation, a
Speaker 1: lot of a lot of different things happening, layered kind
Speaker 1: of nuanced stuff. I really like Tea two a lot. Yeah,
Speaker 1: and even the uh the who was it? Was it?
Speaker 1: Robert Patrick was Robert Patrick? His character with the with
Speaker 1: the the the made of the silver flowing goo like
Speaker 1: that still looks pretty good. Yeah, you know, not too
Speaker 1: long ago, no, I know, And I guess he was
Speaker 1: sort of James Cameron was jumping off of the special
Speaker 1: effects that he and his team kind of really you know,
Speaker 1: put themselves on the map with the abyss and that
Speaker 1: whole blob of he kind of had that, you know already,
Speaker 1: He's like, well, how can we use this? We already
Speaker 1: came up with this, but it worked. What can we
Speaker 1: do with this group? It really worked? Alright? Great question.
Speaker 1: So that's where we we we go with T two.
Speaker 1: H Lauren Hanks. What movie do you most want to
Speaker 1: share with your child? Um? And how old will they
Speaker 1: have to be before that can happen? So, Noel, your
Speaker 1: daughter is eight nine nine, so you're already doing this.
Speaker 1: I am, Yeah, what movie was? What was the first
Speaker 1: one you really wanted to show her that you showed her?
Speaker 1: I mean, I definitely haven't been able to get into
Speaker 1: any of the more adult movies that I would like
Speaker 1: to show like a pal, you know, the kind of
Speaker 1: thing you would want to show like a friend who
Speaker 1: hadn't seen it, you know, like reco for a Dream. Yeah, exactly.
Speaker 1: List No, we're we're waiting on that till her sixteenth birthday. Um,
Speaker 1: but I did. We did go see Isle of Dogs.
Speaker 1: Not that that's like a movie that I'm you know,
Speaker 1: it's a new movie, but it's a it's a it's
Speaker 1: a I like Wes Anderson very much, and I really
Speaker 1: wanted her to appreciate the Wes Anderson I nous into
Speaker 1: that world. Yeah, other than it just being like a
Speaker 1: badass stop motion film, which she she loves, like Nightmare
Speaker 1: before Christmas. That was a big one. I wanted to
Speaker 1: show a Nightmare before Christmas, and then I did and
Speaker 1: she loved it. Um. But the fact that she laughed
Speaker 1: a lot during I Love Dogs really made me feel
Speaker 1: good because it's a pretty dark movie, but she got
Speaker 1: the humor of it, and that made me feel okay,
Speaker 1: like we're we're on the right track. That's great. Uh
Speaker 1: for Ruby, I would say, um, you know the classics
Speaker 1: like the Goonies, e t Um, Raiders of the Lost Dark,
Speaker 1: certainly the Star Wars movies. Like the movies that meant
Speaker 1: the most to me as a kid, for sure, like
Speaker 1: the Goonies. That's way up there. I cannot wait to
Speaker 1: show her that movie. We watched the GOONI she liked
Speaker 1: it a lot, but I forgot how raunchy it is.
Speaker 1: Yeah that was back when p G there was a
Speaker 1: sliding scale. Yeah, there's a lot of I think it
Speaker 1: was Prettyeah, you can have some stuff in there. She
Speaker 1: liked it she's my kid. Has also gott into a
Speaker 1: place where she understands all the curse words, but she
Speaker 1: knows she's not she can't say them, and she sensors,
Speaker 1: Like when she hears the song and there's a bad
Speaker 1: word it, she'll like kind of tune it out. So
Speaker 1: she's very pretty cool. Yeah, and you know what, it's
Speaker 1: just words. At the end of the day. If if
Speaker 1: my daughter is the one that curses in the third grade, uh,
Speaker 1: I'm not too worried about. It's not a big deal.
Speaker 1: Lillian Rolf says, has watching movies change for you after
Speaker 1: becoming a parent? Are there genres that are more troublesome? Well,
Speaker 1: for sure, I mean in any stuff involving kids in
Speaker 1: harm's way is I mean, that's that's that was tough
Speaker 1: before just as a living, breathing human with a soul,
Speaker 1: I think that's troubling to see on screen. But once
Speaker 1: you have a kid, for sure, it really is just
Speaker 1: devastating to see stuff like that. I'm very, very tough
Speaker 1: to watch things like that. So, yeah, movies have changed
Speaker 1: for me a bit. You it's just the same thing.
Speaker 1: That's I've just got a lot more anxiety and and
Speaker 1: things on my mind, and so I gravitate away from
Speaker 1: sometimes the real heavy stuff. I want to I want
Speaker 1: to be transported to somewhere where I can, you know,
Speaker 1: forget about all those crazy responsibilities. You know. I'm with you,
Speaker 1: all right. And final question here from Simon Workman. Simon's
Speaker 1: very involved with us on Facebook, so I appreciate that
Speaker 1: I know Simon as a human person. We had I
Speaker 1: think I said this before we had dinner with Simon
Speaker 1: in Ohio. Right, we went through with the car stuff, guys, right,
Speaker 1: He's a lovely dude. Simon is a man. You're getting
Speaker 1: a lot of press, Buddy, needed to take advantage of that.
Speaker 1: What is your favorite Monty Python film and why you
Speaker 1: got an answer? Mind's Meaning of Life because it's just
Speaker 1: like all over the place and it gives it's got
Speaker 1: a nice variety. I know that's probably not the most
Speaker 1: popular one for most. Um the obvious answer is Holy
Speaker 1: Grail because it's perfect and amazing. But I just really
Speaker 1: love Meaning of Life. Yeah, I mean I want to
Speaker 1: I want to say Life of Ryan, but it's Holy Grail.
Speaker 1: I mean, it's it is just joke for joke, pound
Speaker 1: for pound, minute to minute. One of the funniest movies
Speaker 1: ever made. It's amazing and it holds up on repeat viewings,
Speaker 1: so solid stuff every time that you never noticed life.
Speaker 1: Brian's right behind it. I really really love that film.
Speaker 1: But uh yeah, Holy Grail just doesn't get any better.
Speaker 1: You almost might say Holy Grail is the Holy Grail.
Speaker 1: Yeah of comedy film. Yeah, I mean, I really have comedy.
Speaker 1: It's just and it's it is the perfect satire too,
Speaker 1: because it it's just it's so self aware. It's got
Speaker 1: all this great meta stuff where it's like, you know,
Speaker 1: the the crew appears and like you know, like you know,
Speaker 1: they recognize that they're making a film silly. Oh I
Speaker 1: love it. I love it. I'm pretty happy. All Right.
Speaker 1: That's it for this mini crush, Thanks Bud. Yeah, man,
Speaker 1: that's a good one. Alright, So your homework for this
Speaker 1: week everybody is to watch the movie Rumble Fish. I've
Speaker 1: had some some singers and songwriters in here, but got
Speaker 1: my first drummer coming in. Mr John Combertino of one
Speaker 1: of my favorite groups, Calexico As coming in today. He's
Speaker 1: stopping through on tour and was super nice to agree
Speaker 1: to do this. After a late night performance last night
Speaker 1: at Preservation Hall in New Orleans, and they're swinging by
Speaker 1: in the tour of us dropping them off, and we're
Speaker 1: gonna sit and talk about rumble Fish, which, uh, which
Speaker 1: I got to watch last night again, first time I've
Speaker 1: seen it in a long time, and scored by Stuart Copeland,
Speaker 1: which I think sneakily is why John is a drummer
Speaker 1: might have picked this thing out. But a really good movie,
Speaker 1: very interesting artsy film. So give that a watch from
Speaker 1: the great Francis Ford Coppola. And thanks for joining us.
Speaker 1: We'll see you next week. Say goodbye, Noel. All Right,
Speaker 1: Nol's not talking.