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Speaker 1: Hi. I am Daniel Henderson. Hey, I'm Millia Sheriko and

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Speaker 1: this is I Saw What You did. Hi. It's a

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Speaker 1: podcast you're listening to about films and movies and pictures.

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Speaker 1: How are you this week? What you what's on your mind?

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Speaker 1: I am fine.

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Speaker 2: I am currently in my bunker with some family. As

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Speaker 2: we've talked about before. Yeah, I mean really kind of

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Speaker 2: nothing to report other than just hanging out with a

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Speaker 2: bunch of little kids. And I've kind of am now

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Speaker 2: obsessed with this video game that I've been playing with

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Speaker 2: my nephew, which I know has been around.

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Speaker 1: It's very popular. It's called Minecraft. How old is your nephew?

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Speaker 1: It was about to be three, one is about to

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Speaker 1: be six, so I guess maybe three and six. So

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Speaker 1: this is a six year old is playing Minecraft.

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Speaker 2: Yeah, the six year old's playing Minecraft. And like, I

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Speaker 2: gotta be honest, I'm not a gamer. I haven't played

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Speaker 2: video games since I was probably like twelve years old.

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Speaker 2: And my nephew, who is he's very obsessed with with devices,

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Speaker 2: for better or for worse. I mean he's very smart,

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Speaker 2: and I think all kids are probably obsessed with devices

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Speaker 2: at this point.

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Speaker 1: How could you not be?

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Speaker 2: And I keep telling myself like, oh, well, I was

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Speaker 2: like born, the internet only existed for like half of

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Speaker 2: my life. So but he he's basically like wants to

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Speaker 2: play it all the time. And I was kind of

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Speaker 2: getting into it simply because it's like more of like

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Speaker 2: a building game, so I turned off all of the fighting.

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Speaker 2: Like there's like it's basically like a game where you

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Speaker 2: like drop into a world and it's you kind of

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Speaker 2: have to like build a house and you know, fight zombies,

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Speaker 2: but then you have like you know, it's kind of medieval.

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Speaker 2: It's got like some oceans kind of stuff, and like

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Speaker 2: you can.

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Speaker 1: Make it more like six year old friendly, Like you

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Speaker 1: don't want them to know about zombies right now. You

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Speaker 1: can be like, let's take those.

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Speaker 2: Out right, because there's like a survival mode which is

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Speaker 2: like you have to kill you know, creatures, but then

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Speaker 2: you also have to kill animals for food, oh and

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Speaker 2: for wool and stuff like that.

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Speaker 1: So now that I'm looking at the world around us,

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Speaker 1: this might not be the worst game. We'll teach these

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Speaker 1: kids some skills of survival that could be practical in

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Speaker 1: their real lives. Oh for sure.

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Speaker 2: I'm being very like people for the ethical treatment of

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Speaker 2: animals about it. I'm like, I don't want you killing

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Speaker 2: any sheep for anything. You're not going to kill, you know,

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Speaker 2: a pig because you want to eat a pork chop

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Speaker 2: or whatever. I'm like right now, I just am feeling like,

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Speaker 2: don't don't kill anything.

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Speaker 1: So I turned off all that. I turned off all Like.

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Speaker 2: We're playing in creative mode, which is basically like you

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Speaker 2: have endless resources, you never die, you can fly, you

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Speaker 2: don't have to kill anything, and it's just sort of

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Speaker 2: like you just old beach.

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Speaker 1: Houses all day, which is what we do. So this

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Speaker 1: is the Republican version of the game, or it's basically

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Speaker 1: like a choose your own adventure.

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Speaker 2: You're basically like, what if I lived in a world

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Speaker 2: where everything was chill, and I went out to the

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Speaker 2: water and built these like really ostentatious beach houses all

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Speaker 2: day with like fire pits. And my nephew is six

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Speaker 2: and he doesn't know anything about interior decorating right now,

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Speaker 2: but he's getting there, Like he's like, Ooh, I like

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Speaker 2: this terra cotta brick, and you know we should be

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Speaker 2: using this, you know, this type of rug for the

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Speaker 2: indoor space.

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Speaker 1: I'm like, this is excellent I'm like, this is all

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Speaker 1: right up my alley, right, Like I'm like, oh, this

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Speaker 1: is great.

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Speaker 2: So it's super fun. And now I'm like totally obsessed.

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Speaker 2: I've moved into watching YouTube people play the game, which

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Speaker 2: is like a weird thing I never thought I would

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Speaker 2: get into, which is also a thing.

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Speaker 1: Yeah. So there's also the game where the flaws Stance

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Speaker 1: came from. Or is that another game? I don't know,

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Speaker 1: Actually I don't know another game, Like, you've not seen

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Speaker 1: anyone do the floss in this game? No, I probably

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Speaker 1: would have, yeah, making it up.

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Speaker 2: Then well no, no, there's other there's other versions of

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Speaker 2: this thing too that I don't like. There's another game

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Speaker 2: that's sort of like this game, but it's different. And

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Speaker 2: then there's like Fortnite, which is like a whole other thing.

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Speaker 1: I think that's as the one I'm thinking of. Fortnite.

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Speaker 2: Fortnite I've been told is too violent for him, So

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Speaker 2: we're not playing that.

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Speaker 1: Love this idea of you guys just building beach houses

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Speaker 1: and kind of like you know, looking at couches exactly.

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Speaker 1: You know, it's so sweet. Yeah, it's it's so fun.

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Speaker 2: And like I said, it's like we're just sort of

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Speaker 2: like experimenting with like building things, and I'm like, cool,

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Speaker 2: maybe he can, you know, curtail this into like an

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Speaker 2: architecture career and I won't feel as bad spending this

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Speaker 2: much time playing a fucking video game with him.

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Speaker 1: But or maybe he'll just grow up and have a

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Speaker 1: fucking impeccable taste and you'll be like, you're welcome. Listen.

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Speaker 2: I love a guy that hasn't peccable tastes, as we know,

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Speaker 2: and so I'm just hoping that he Yeah, I hope

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Speaker 2: that something positive comes out of this. Although he is

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Speaker 2: he I think at a certain point has figured out

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Speaker 2: that there's no.

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Speaker 1: Uh, there's no villains to fight.

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Speaker 2: Like He's like, hey, how come there's no zombies and

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Speaker 2: no creepers or no Nderman And I'm like, yeah about that?

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Speaker 1: So, uh, You're like, look at the world around you.

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Speaker 1: We don't need this right now? Can we just put

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Speaker 1: up more flowers? Like? Can we just work on our

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Speaker 1: master bathroom in the third beach? Hows? I don't want

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Speaker 1: you to fight, you know, whatever it is, But I

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Speaker 1: play a game on my phone called Design Home. Oh,

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Speaker 1: and it's very similar. Have you played it?

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Speaker 2: No?

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Speaker 1: Oh, it's Sarah, our friend Sarah is the one who's

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Speaker 1: who's also playing it. You I love this game and

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Speaker 1: you're gonna lose all of your money on it. I'm

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Speaker 1: gonna download it right now. It's all Design Home and

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Speaker 1: it's basically a game that's like you get points based

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Speaker 1: on the type of decorations you put in a room,

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Speaker 1: and they use like real furniture and real places that

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Speaker 1: you can kind of it's kind of brilliant marketing because

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Speaker 1: you're like, oh, I can see what this looks like

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Speaker 1: in a game, and then if I want it, I

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Speaker 1: might go get this lamp Ooh really wild. It's wild.

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Speaker 1: I'm sorry in advance for bankrupting you, but you're gonna

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Speaker 1: love it.

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Speaker 2: Yeah, I have nothing but time to think about decoration,

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Speaker 2: So I'm excited by this.

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Speaker 1: I haven't like I need a new game.

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Speaker 2: I feel like Minecraft, like we're there's so much to explore.

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Speaker 1: But I'm also like, all right, what's the next thing? Man?

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Speaker 1: I need the nude Home is Home? Well, what's going

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Speaker 1: on with you? What's up with you? I'm just thinking

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Speaker 1: about death. Oh. I feel I feel like to really

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Speaker 1: get into what it is complete one eighty that we're

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Speaker 1: now taking. We're gonna have. We'll take a tiny trip

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Speaker 1: through my brain, right, just a little trip through my brain.

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Speaker 1: Let go, this all happened, This all started for me

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Speaker 1: when and this is not like a morbid thing, and

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Speaker 1: I'm not thinking about my own death or nobody around

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Speaker 1: me is dying, thankfully, But I was thinking about how

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Speaker 1: how cavalier everyone is right now about posting things from

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Speaker 1: the inside of their house, and like you can see

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Speaker 1: everyone's everything, like nobody is locking it down if they're

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Speaker 1: showing you their living room in the front door and

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Speaker 1: the lock, and like they're posting selfies with like fucking

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Speaker 1: tax forms behind them. Like people are just way too

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Speaker 1: cavaliers right now completely, And it just really makes me

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Speaker 1: nervous because I'm very vigilant about that kind of thing.

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Speaker 1: Like you might see two parts of my house ever

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Speaker 1: on public social media, Like you might see my kitchen

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Speaker 1: and which.

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Speaker 2: Has a sun because there's a sunflare behind you, so

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Speaker 2: you can't even really see your kitchen exactly.

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Speaker 1: You can see the oven meant hanging on the door.

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Speaker 1: And then I usually if I do, if I make

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Speaker 1: a video on purpose, I'll sit on the floor in

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Speaker 1: front of my couch and like there's a little corner

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Speaker 1: of my living rooms. I'm comfortable showing you the rest,

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Speaker 1: absolutely not. You don't need to see at the inside

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Speaker 1: of my house looks like you don't ever need to

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Speaker 1: see it. My bedroom looks like I'm just not cool

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Speaker 1: with it personally, which is weird having been online for

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Speaker 1: so long. But I think that's the reason why I'm

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Speaker 1: not cool with it, because I've been in line for

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Speaker 1: so long. So I was just thinking about, like everyone

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Speaker 1: is so cavalier about what they're showing in their homes,

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Speaker 1: and then my criminal mind kicked in, which I do have,

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Speaker 1: but I'm way too lazy to use, thankfully. Oh yeah,

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Speaker 1: and my criminal mind kicks in and is like, you

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Speaker 1: could rob half the people you know, Like they post

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Speaker 1: their schedule, they're posting links to where they are at

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Speaker 1: the moment. You could rob half the people you follow

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Speaker 1: if you wanted to. And then that made me think

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Speaker 1: about how I went to I took myself to Paris

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Speaker 1: for my fortieth birthday and I was walking down the

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Speaker 1: Champs Lyse near the Arc de Trio, and I saw

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Speaker 1: this group of American tourists just counting money out on

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Speaker 1: the street like they were kind of like trade. It

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Speaker 1: might it might have been a family or something, but

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Speaker 1: they were like kind of counting money and trading it.

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Speaker 1: And I just walked up to them and I in

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Speaker 1: my cheeriest voice and I said, Hi, I could totally

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Speaker 1: rob you right now. And they looked at me and

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Speaker 1: I was like, you might want to count that money

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Speaker 1: somewhere more private. Then that hit me like that has

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Speaker 1: to be a terrible thing for something, And that was

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Speaker 1: an awful thing that I did to walk up and be.

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Speaker 2: Like I could rob Let me tell you, I can

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Speaker 2: guarantee you with like I can guarantee you with probably

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Speaker 2: like one thousand percent certainty that they still talk about

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Speaker 2: that shit to this thing, like those American people were

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Speaker 2: like remember when that woman came up to us and

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Speaker 2: said she could just rob us? Isn't that crazy? France

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Speaker 2: was crazy? France was wild.

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Speaker 1: And then that that got me thinking and honestly, if

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Speaker 1: it did, I hope that it changed their behavior and

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Speaker 1: that every time they went on a vacation as a

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Speaker 1: family they stopped pulling out wads of cash in public.

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Speaker 1: Because is that just kicked something over in my brain room,

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Speaker 1: like get it, get that money, girl, take it, And

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Speaker 1: then I have to like talk myself into like, no,

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Speaker 1: that's not what normal people do. So then that got

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Speaker 1: me thinking about all the moments of my life where

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Speaker 1: I have put myself in abject danger. So this kind

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Speaker 1: of trail of thought has been like, all right, there's

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Speaker 1: a lot of times in your life where you could

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Speaker 1: have died. Yes, And especially as a child of the eighties,

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Speaker 1: where parents helicopter parents were born of eighties kids because

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Speaker 1: nobody was watching anything that we were doing. Oh my god,

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Speaker 1: I know we were. If we went missing, they didn't

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Speaker 1: come looking for us. They were like, oh, it's so sad.

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Speaker 1: We used to have three kids and now we have two.

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Speaker 1: They didn't looking for us, they didn't care. But then

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Speaker 1: also as a teenager, like there, my quests for freedom

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Speaker 1: as a teenager were so intense that I just put

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Speaker 1: myself in some abjectly horrible situations, Like I would just

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Speaker 1: hop on the bus and be walking around New York

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Speaker 1: City by myself when I was thirteen.

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Speaker 2: Yeah, that's a That to me is something that's really

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Speaker 2: fascinating about kids that grew up in New York where

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Speaker 2: they're like, oh, yeah, I just like took the subway

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Speaker 2: when I was like seven years old and went to

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Speaker 2: the museum or like went to school and I was like, wow,

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Speaker 2: that's pretty amazing.

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Speaker 1: Actually yeah, I was wild. Yeah, and thankfully nothing happened.

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Speaker 1: But just thinking about all these things, Like there was

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Speaker 1: one point where my friend Liz and I we had

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Speaker 1: one burger King in our town, one fast food restaurant.

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Speaker 1: It was a Burger King, and my friend Lizz and

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Speaker 1: I in high school went to Burger King after school

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Speaker 1: and we saw this like cute guy there and he's like,

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Speaker 1: we want to go riding around And we were like, yeah,

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Speaker 1: we're together, it's fine, And we just got into the

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Speaker 1: car of the stranger and like rolled around. Listen.

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Speaker 2: We we were free as hell back then. I have

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Speaker 2: a friend that set my friend Holly, who always used

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Speaker 2: to say she's a little older than me, but she

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Speaker 2: was saying that, like kids were basically second class citizens

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Speaker 2: until like yesterday, like exactly for the most part, like

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Speaker 2: when we were growing up, we were completely unsupervised.

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Speaker 1: We had no constant feed of.

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Speaker 2: Like danger that was showing up on a handheld device

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Speaker 2: every second, so there was kind of this like weird

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Speaker 2: disconnect between like what you were doing and then the

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Speaker 2: you know, the fear of the thing, right, So yeah,

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Speaker 2: you were running around like a maniac, running into cars

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Speaker 2: with strange people, and yeah, yeah, And it was.

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Speaker 1: The kind of freedom that let like let us test

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Speaker 1: our boundaries in a good way, but also was a

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Speaker 1: highly dangerous and a terrible way. So I've just been

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Speaker 1: thinking about all this shit, and the kicker this culminates

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Speaker 1: with I did not date in high school at all. Yeah. No,

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Speaker 1: I didn't do it. Nobody wanted me and I didn't

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Speaker 1: want them. And the beautiful part of that is that

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Speaker 1: now when I go home to visit my grandma and

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Speaker 1: I run into people that I knew in high school,

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Speaker 1: I have not seen anyone's dick. We can just have

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Speaker 1: a nice conversation about coffee or whatever they're doing for work.

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Speaker 1: And I'm like, I don't know, think about what your

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Speaker 1: dick looks like. It's great. Great, But so I didn't date.

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Speaker 1: But then when I was after the summer I graduated

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Speaker 1: high school, I just turned eighteen, and my friend Tim

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Speaker 1: and I were at the the Taco bell near the mall.

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Speaker 1: And this is I mean, fast food joints, just stay away.

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Speaker 1: Not only will the food kill you, but you're ninety

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Speaker 1: nine percent more likely to meet a serial killer there.

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Speaker 2: Oh yeah, I worked in several of them in my

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Speaker 2: life and they're not They're not the move ever.

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Speaker 1: And you've killed five people that we have.

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Speaker 2: This podcast is actually a prisoner release program, so that's great.

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Speaker 1: We're in this Taco Bell parking lot. We're inside the

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Speaker 1: Taco Bell and I'm getting like a chicken miximel or whatever. Yeah,

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Speaker 1: and this guy behind us starts chatting us up and

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Speaker 1: Tim's not interested, and so I'm just talking to this

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Speaker 1: guy and he's kind of tall and kind of cute,

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Speaker 1: and I was like, oh, I'm like very cute. And

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Speaker 1: we went out to the parking lot and as we're

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Speaker 1: getting into our cars, he's like, we'll be back and

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Speaker 1: get your number. And I was like, yeah, this has

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Speaker 1: never happened. Let's try this before I go out into

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Speaker 1: the world. Big du Yeah. So I gave him my number,

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Speaker 1: and long story short, he did call. We did set

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Speaker 1: ourselves up to go out on a date. He lived

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Speaker 1: over the border in New Jersey. I grew up like

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Speaker 1: right on the border of Jersey, and we went for

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Speaker 1: the for the Fourth of July. I drove to his

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Speaker 1: house in Jersey and then we drove into the city

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Speaker 1: together to go to his friend's house for like a

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Speaker 1: Fourth of July thing and like watch fireworks and whatever.

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Speaker 1: I'm eighteen, he's thirty two.

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Speaker 2: Wow.

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Speaker 1: So let it be known first and foremost that if

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Speaker 1: an older man ladies is trying to date you and

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Speaker 1: you're like a teenager, it's not because you're cool. It's

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Speaker 1: because he's a fucking creep. Yeah.

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Speaker 2: I mean he's not twenty two, which is kind of like, okay, there,

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Speaker 2: you would have maybe been in high school together.

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Speaker 1: At the same point. The guy is thirty two, right,

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Speaker 1: like genuinely almost half my age, yes, or a double

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Speaker 1: my age? Should sage?

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Speaker 2: Yeah? Yeah?

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Speaker 1: Age. So we walk into this party and all this

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Speaker 1: friends are like, why did you bring a fucking child

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Speaker 1: to this party? Like and deservedly so yeah, And it

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Speaker 1: was fun. It was fun. We went to the party, left,

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Speaker 1: got my car, came home. His name was so distinctive

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Speaker 1: that as I'm thinking about death and all the dangerous

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Speaker 1: situations I put myself in, like I went to the

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Speaker 1: city with this man I barely knew, and like, you

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Speaker 1: know whatever, he could have brought me to like a

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Speaker 1: sex den. I don't know, sex probably to the limelight

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Speaker 1: and I owed eat on coke. I don't know, and

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Speaker 1: so thinking about this, and his name was very distinctive.

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Speaker 1: So I looked him up for the first time. And

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Speaker 1: the first thing that pops up and the next consecutive

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Speaker 1: thing that pop up are all the news reports about

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Speaker 1: the homicide he committed.

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Speaker 2: Oh, like when in his pastor like before he showed up,

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Speaker 2: or like, how what this is after me?

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Speaker 1: Oh my god? About eight years after we met and

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Speaker 1: we never talked again. But yeah, he is. He was

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Speaker 1: in jail for committing a homicide and he was in

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Speaker 1: jail for about ten years, and he murdered his business partner. Ah, wait,

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Speaker 1: what are you telling me right now? I'll tell you

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Speaker 1: the full story. Also, it was in Florida. I'll tell

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Speaker 1: you the full story. Murdering business partners. Huh huh. They

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Speaker 1: all put a pin in that. But yeah, so that

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Speaker 1: got me thinking about like I I there are several

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Speaker 1: points where I could have died, and I just I

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Speaker 1: don't feel great about that when I look back at

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Speaker 1: my life like it doesn't it doesn't make me feel

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Speaker 1: like adventurous. It makes me feel insanely stupid.

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Speaker 2: Listen, you cannot blame yourself about this, because I'm sure

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Speaker 2: if you went and googled, like everyone used to know

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Speaker 2: from a certain period of time, they were they have

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Speaker 2: all been to jail, like whether or not it was

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Speaker 2: a homicide or like a petty crime or bare minimum.

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Speaker 2: It's like they're writing fake checks like most people I

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Speaker 2: know have have at least, like you know, stolen some

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Speaker 2: checks or you know, a prescription pad or some shit. Right, So,

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Speaker 2: I mean, homicide is a lot. It's a lot to

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Speaker 2: take it.

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Speaker 1: It's a lot. It's a lot, and it's weird because

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Speaker 1: I'm like, did I get a vibe from him or

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Speaker 1: was it like I know, like we didn't talk again.

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Speaker 1: Maybe it was because I was eighteen, But that just

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Speaker 1: was the caper on my thoughts of death and the

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Speaker 1: perilous situations that we tend to put ourselves in. See,

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Speaker 1: this is why I'm glad I'm not young anymore, you know,

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Speaker 1: so careless. All of my advice for kids and teens

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Speaker 1: right now is just don't don't single word. Oh oh

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Speaker 1: what's that? Don't no none of that. Wait it out.

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Speaker 1: Give yourself about twenty years things will be so dental core.

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Speaker 1: But let your preferenteral cortex develop a little bit, like

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Speaker 1: give it a year or two and then go for it.

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Speaker 1: Get that brain right. Yeah, but that does kind of

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Speaker 1: bring us into well, not really, this is a bad

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Speaker 1: segue the first movie.

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Speaker 2: Kin.

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Speaker 1: We love a bad segue here at I Saw What

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Speaker 1: You Did. Yeah, it's a bad segue, but it makes

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Speaker 1: me think about our theme today, at least the first

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Speaker 1: movie in our theme, because our theme today is great

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Speaker 1: seventies apartments, And the first movie we're going to be

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Speaker 1: discussing is Clute, which is a super suspenseful thriller about

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Speaker 1: woman in danger and her job possibly puts her in danger,

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Speaker 1: her lifestyle possibly puts her in danger. So there you go,

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Speaker 1: I save the segway.

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Speaker 2: Well, do you want to talk a little bit about

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Speaker 2: why seventies apartments?

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Speaker 1: I mean I for me, I feel.

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Speaker 2: Like this theme is we love an aesthetic, as we've

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Speaker 2: talked about in the in the beginning of this episode,

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Speaker 2: So the thing about a seventies apartment to me is

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Speaker 2: that it just feels like, for some reason, it feels

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Speaker 2: there's some kind of element of danger, which also ties

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Speaker 2: to the beginning of this podcast, which is like the

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Speaker 2: seventies seemed like a very sad, scary, brown and orange time,

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Speaker 2: where like decor wise, it was kind of like it

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Speaker 2: was real muted tones. It felt like, I mean something

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Speaker 2: you had maybe like a purple there once in a while,

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Speaker 2: and like a yellow and a white, but it wasn't

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Speaker 2: like there was something going on and there was always

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Speaker 2: like half dead house plants and like every place you

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Speaker 2: saw in the seventies, it was like very like you know,

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Speaker 2: there's a lot of like fabrics like like crochet and

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Speaker 2: macro mae and like ratan and wicker and all these

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Speaker 2: like very like dense materials.

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Speaker 1: Look, you weren't in a Sephanese apartment truly, if you

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Speaker 1: did not have the big fork, the big wooden fork

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Speaker 1: and spoon on the wall, or the giant ratan shaped

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Speaker 1: spade shaped fan, yes, a papasan chair something like, you

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Speaker 1: had to have some real lightwood in your life.

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Speaker 2: Yeah, giant stereo or a high five maybe they called

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Speaker 2: it a high fi back then. And I mean when

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Speaker 2: we were thinking about this, we honestly like had several

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Speaker 2: different films that we were gonna pick from. Uh. We

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Speaker 2: definitely loved the apartment from Death Wish with the with

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Speaker 2: the wallpaper.

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Speaker 1: We talked about that that.

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Speaker 2: Was very Yeah, yeah, that was so so close and

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Speaker 2: you know, personally for me, I love Lily Tomlin's apartment

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Speaker 2: in the Late Show like that where she like sells

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Speaker 2: pot and she's got a lot of like, you know,

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Speaker 2: plants all over the place, and like.

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Speaker 1: That's the one with Art Carney, right, yeah, yeah, yeah,

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Speaker 1: that's good. That's a good movie.

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Speaker 2: So we had a lot, a lot of trouble paring

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Speaker 2: it down, but I think, you know, I think we

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Speaker 2: did a good job.

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Speaker 1: I gotta say, pat ourselves on the back. Yeah, yeah,

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Speaker 1: we did the best we can. And the movie that

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Speaker 1: I chose for Great Seventies Apartments is Clute Daniels. One

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Speaker 1: man is missing, two girls like dead, and somebody is

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Speaker 1: on the other end of the phone. So Clute was

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Speaker 1: a film from nineteen seventy one directed by Alan J. Pacula,

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Speaker 1: written by Andy Lewis and Dave Lewis. And this is

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Speaker 1: a movie where Jane Jane Fonda won her first Oscar

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Speaker 1: for this movie, and a brief synopsis is that it's

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Speaker 1: basically a kind of family man in Pennsylvania disappears and

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Speaker 1: that kicks off this connection to a sex worker in

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Speaker 1: New York City played by Jane Fonder. Her name is

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Speaker 1: Bree Daniels. In the movie and one of his friends

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Speaker 1: who also just happens to be a detective. Donald Sutherland

427
00:22:27,560 --> 00:22:29,719
Speaker 1: plays John Clute, who goes to look for him, so

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00:22:29,760 --> 00:22:32,439
Speaker 1: they're brought together by circumstance. He could have been one

429
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Speaker 1: of her John's, they're not sure what the connection is,

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00:22:34,640 --> 00:22:38,320
Speaker 1: et cetera. So it's kind of a suspense thriller. But

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Speaker 1: part of the reason that there are many reasons that

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Speaker 1: I wanted to talk about this as a great seventies apartment,

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Speaker 1: but the primary reason is that it felt like it

434
00:22:49,080 --> 00:22:52,560
Speaker 1: the messiness of the apartment, Mirrord, the messiness of her life,

435
00:22:52,640 --> 00:22:56,600
Speaker 1: oh my god, exactly. We rarely see that anymore. And

436
00:22:56,800 --> 00:22:58,520
Speaker 1: this is kind of one of the last one of

437
00:22:58,560 --> 00:23:02,119
Speaker 1: the last decades where I think it was kind of

438
00:23:02,119 --> 00:23:04,159
Speaker 1: that holdover from the sixties where it was okay to

439
00:23:04,240 --> 00:23:07,200
Speaker 1: not have your shit together. Yeah, and it was before

440
00:23:07,240 --> 00:23:09,280
Speaker 1: the eighties that came in with all the you know,

441
00:23:09,320 --> 00:23:12,600
Speaker 1: capitalist bullshit, and I just felt like when you look

442
00:23:12,600 --> 00:23:15,200
Speaker 1: at so when you look around her apartment, and again,

443
00:23:15,240 --> 00:23:18,640
Speaker 1: this is a small, small apartment. I think it would

444
00:23:18,680 --> 00:23:21,919
Speaker 1: technically be an SRO, like a single resident occupancy in

445
00:23:21,960 --> 00:23:25,200
Speaker 1: New York, So you're looking at like a big room

446
00:23:26,240 --> 00:23:29,600
Speaker 1: that has a bed on one side and what passes

447
00:23:29,600 --> 00:23:30,960
Speaker 1: for a dining room on the other, and then the

448
00:23:31,119 --> 00:23:35,240
Speaker 1: little bathroom, tiny, tiny kitchen, but these little touches all

449
00:23:35,280 --> 00:23:38,560
Speaker 1: over the place, right, so it's like you get to

450
00:23:38,600 --> 00:23:42,760
Speaker 1: see everything in miniature. Her kind of cast iron bed

451
00:23:42,800 --> 00:23:46,320
Speaker 1: that's so childlike, ya, but she's like a she's a

452
00:23:46,359 --> 00:23:48,159
Speaker 1: sex worker and that's kind of interesting. And then the

453
00:23:48,200 --> 00:23:52,760
Speaker 1: bed has these like kind of like like homemade quilts

454
00:23:53,240 --> 00:23:56,320
Speaker 1: on them. Yeah, it's all back to a different time. Yeah,

455
00:23:56,320 --> 00:23:59,040
Speaker 1: And it's really like close to her kitchen.

456
00:23:59,720 --> 00:24:01,679
Speaker 2: It's like you know in those when you live in

457
00:24:01,800 --> 00:24:04,800
Speaker 2: like you know, an efficiency or when you live in

458
00:24:04,880 --> 00:24:07,160
Speaker 2: like a studio, when you have to like creatively put

459
00:24:07,160 --> 00:24:09,560
Speaker 2: a bed like right in front of your kitchen. It felt,

460
00:24:09,680 --> 00:24:12,320
Speaker 2: you know, it was I won't say I think it's

461
00:24:12,680 --> 00:24:17,520
Speaker 2: cozy to a certain degree for her especially, but it

462
00:24:17,600 --> 00:24:19,760
Speaker 2: is a little like, you know, there's a lot going

463
00:24:19,760 --> 00:24:20,600
Speaker 2: on in that apartment.

464
00:24:20,840 --> 00:24:22,960
Speaker 1: Yeah, there's a lot going on in such a small space.

465
00:24:23,000 --> 00:24:25,880
Speaker 1: And it's got a fireplace, which eventually in the movie

466
00:24:25,920 --> 00:24:27,560
Speaker 1: they do a few shots where I'm like, are they

467
00:24:27,560 --> 00:24:30,280
Speaker 1: in a different place, like this is so spacious and no,

468
00:24:30,359 --> 00:24:33,040
Speaker 1: they're just shooting it from a different corner. Yeah, and

469
00:24:33,040 --> 00:24:37,560
Speaker 1: it's wonderful. And then it's like again true seventy style,

470
00:24:37,800 --> 00:24:41,800
Speaker 1: so many overhead lights, so many swinging bald bulbs, which

471
00:24:41,800 --> 00:24:44,679
Speaker 1: when I see that now in catalogs, I'm like, can

472
00:24:44,720 --> 00:24:46,680
Speaker 1: we all stop trying to pretend to be as poor

473
00:24:46,680 --> 00:24:49,239
Speaker 1: as possible? Can we get rid of the bear like

474
00:24:49,840 --> 00:24:53,440
Speaker 1: cave dweller minor bulbs in our home so we don't

475
00:24:53,480 --> 00:24:57,240
Speaker 1: need to do this. We can have lampshades people, it's allowed. Well,

476
00:24:57,280 --> 00:24:58,919
Speaker 1: I have Okay, let me I have a question for

477
00:24:58,960 --> 00:24:59,480
Speaker 1: you real quick.

478
00:24:59,520 --> 00:25:02,199
Speaker 2: So, like, I've never lived in New York City and

479
00:25:02,280 --> 00:25:06,080
Speaker 2: you have what do you think she paid for that apartment.

480
00:25:07,240 --> 00:25:11,240
Speaker 1: Back in the day on her own? I would guess

481
00:25:11,280 --> 00:25:13,200
Speaker 1: she paid like one hundred and twenty to two hundred

482
00:25:13,200 --> 00:25:15,960
Speaker 1: dollars a month because it seemed like the apartment was

483
00:25:16,000 --> 00:25:18,399
Speaker 1: in Harlem, just kind of based on the like she

484
00:25:18,920 --> 00:25:20,720
Speaker 1: goes to, uh, there's one point where she's getting on

485
00:25:20,760 --> 00:25:23,000
Speaker 1: the subway and she goes up an escalator and that's

486
00:25:23,000 --> 00:25:27,440
Speaker 1: at one hundred and twenty fifth Street on the Park Side. Okay, yeah,

487
00:25:27,480 --> 00:25:29,640
Speaker 1: so I kind of recognize some parts of it because

488
00:25:29,640 --> 00:25:31,959
Speaker 1: I used to live in Harlem. Oh, and then her

489
00:25:32,000 --> 00:25:34,960
Speaker 1: apartment itself is actually over a funeral home, and I'm

490
00:25:35,040 --> 00:25:37,080
Speaker 1: pretty sure it's the funeral home that was right down

491
00:25:37,080 --> 00:25:39,040
Speaker 1: the street from where I lived. Oh, that's fine. The

492
00:25:39,600 --> 00:25:42,000
Speaker 1: name has changed, but the structures were all the same.

493
00:25:42,440 --> 00:25:43,840
Speaker 1: So yeah, I would say, like back in the day,

494
00:25:43,840 --> 00:25:47,399
Speaker 1: like two hundred, maybe two fifty, because she seemed to

495
00:25:47,480 --> 00:25:51,800
Speaker 1: be she seemed to be totally comfortable with getting like

496
00:25:52,359 --> 00:25:56,480
Speaker 1: fifty dollars per trick or fifty dollars per job. Yeah,

497
00:25:56,840 --> 00:25:59,040
Speaker 1: and that would sustain her. And she talks about this

498
00:25:59,080 --> 00:26:03,280
Speaker 1: life where she used to live on Park Avenue, and

499
00:26:03,320 --> 00:26:05,440
Speaker 1: so I feel like and when she was in it

500
00:26:05,520 --> 00:26:07,800
Speaker 1: full time, she was able to live on Park Avenue

501
00:26:07,840 --> 00:26:09,520
Speaker 1: and that could have been like your thousand dollars a

502
00:26:09,560 --> 00:26:12,600
Speaker 1: month apartment. But she's doing it part time and still

503
00:26:12,600 --> 00:26:15,400
Speaker 1: getting by while she's trying to be a model and actress.

504
00:26:16,320 --> 00:26:18,480
Speaker 1: So yeah, probably like two hundred. Interesting.

505
00:26:18,520 --> 00:26:21,520
Speaker 2: I'm always curious about that, especially in New York.

506
00:26:21,680 --> 00:26:24,080
Speaker 1: I always want to know how about it costs completely

507
00:26:24,080 --> 00:26:26,760
Speaker 1: and it's always going to be something truly heartbreaking, because

508
00:26:26,840 --> 00:26:29,399
Speaker 1: like that apartment now when I live there will be

509
00:26:29,440 --> 00:26:31,520
Speaker 1: like three thousand dollars away. Yeah, exactly. I mean, nothing

510
00:26:31,600 --> 00:26:33,919
Speaker 1: has changed, not a single feat chased.

511
00:26:34,160 --> 00:26:36,760
Speaker 2: They're like, oh yeah, these are the original swinging light

512
00:26:36,800 --> 00:26:41,480
Speaker 2: bulbs from Clute, So four thousand dollars ways, and it's

513
00:26:41,520 --> 00:26:43,680
Speaker 2: a historical monument, so.

514
00:26:43,800 --> 00:26:45,920
Speaker 1: Oh yeah, we get around it that way. Don't you

515
00:26:45,920 --> 00:26:48,720
Speaker 1: feel great living in history? No? I don't. I don't

516
00:26:48,720 --> 00:26:51,359
Speaker 1: want to live in history bad enough to have the

517
00:26:51,400 --> 00:26:55,920
Speaker 1: same refrigerator from nineteen seventy one in my life. Oh

518
00:26:56,000 --> 00:26:58,479
Speaker 1: my god, it's amazing. But it's such a it's a

519
00:26:58,520 --> 00:27:02,240
Speaker 1: great apartment. And she like, you know, just just the

520
00:27:02,240 --> 00:27:04,119
Speaker 1: the it's the really it's really for me, like the

521
00:27:04,200 --> 00:27:06,840
Speaker 1: small moments. So she definitely has the half dead plant

522
00:27:06,840 --> 00:27:10,240
Speaker 1: on the window sill. She definitely has a rotary phone

523
00:27:10,280 --> 00:27:12,639
Speaker 1: that she can stretch across the floor and put on

524
00:27:12,680 --> 00:27:16,040
Speaker 1: the on the floor next to the bed. Yeah, I

525
00:27:16,080 --> 00:27:19,240
Speaker 1: love that. I just the vanity table with that huge

526
00:27:19,480 --> 00:27:23,280
Speaker 1: round mirror that just so glamorous and like it might

527
00:27:23,280 --> 00:27:25,920
Speaker 1: have been one of the only holdovers from her full

528
00:27:25,960 --> 00:27:29,280
Speaker 1: time life as a sex worker. Yeah, and then just

529
00:27:29,359 --> 00:27:32,960
Speaker 1: like this real seventies fringe over the bed like she

530
00:27:33,000 --> 00:27:34,800
Speaker 1: was trying to make herself like a canopy bed, which

531
00:27:34,800 --> 00:27:37,680
Speaker 1: again is kind of a little girlish, but yeah, it

532
00:27:37,840 --> 00:27:39,800
Speaker 1: just really added to who she was and just like

533
00:27:39,840 --> 00:27:43,000
Speaker 1: a mess of clothes and hats and boas and things

534
00:27:43,080 --> 00:27:46,600
Speaker 1: all over the place. Well, yeah, it's a really interesting thing. Yeah,

535
00:27:46,720 --> 00:27:49,479
Speaker 1: I you know, it's funny because I read somewhere.

536
00:27:49,160 --> 00:27:53,679
Speaker 2: That that apartment, the actual interior of the apartment, was

537
00:27:53,680 --> 00:27:56,560
Speaker 2: built on sound stage by the director Ali J. Pecula,

538
00:27:56,600 --> 00:28:01,400
Speaker 2: and he essentially let her Jane Fonda wanted to live

539
00:28:01,440 --> 00:28:04,239
Speaker 2: in that apartment. She wanted to live in there, and

540
00:28:04,280 --> 00:28:07,160
Speaker 2: he actually installed a toilet, a working toilet in there,

541
00:28:07,240 --> 00:28:11,960
Speaker 2: so she actually slept in the fake apartment while she

542
00:28:12,040 --> 00:28:12,879
Speaker 2: was filming the movie.

543
00:28:12,920 --> 00:28:15,400
Speaker 1: I guess she just really slept it like Sunset Studios,

544
00:28:15,440 --> 00:28:17,919
Speaker 1: just like slept on the set. Yeah, and I guess.

545
00:28:18,720 --> 00:28:21,400
Speaker 2: And also, you know, I think that she kind of

546
00:28:21,480 --> 00:28:24,800
Speaker 2: like had a lot of say in decorating it too, Like, uh,

547
00:28:24,840 --> 00:28:28,160
Speaker 2: she suggested like that JFK charcoal drawing on the wall,

548
00:28:28,280 --> 00:28:30,399
Speaker 2: and you know whatever, all these other touches, because you know,

549
00:28:30,480 --> 00:28:33,879
Speaker 2: she was kind of probably like you know, close to

550
00:28:33,920 --> 00:28:36,720
Speaker 2: the age of the actual bri and maybe knew a

551
00:28:36,720 --> 00:28:38,000
Speaker 2: thing or two about like how.

552
00:28:37,960 --> 00:28:40,440
Speaker 1: Did how did set up the decor?

553
00:28:40,680 --> 00:28:43,040
Speaker 2: In a call girl apartment, so she was like, you

554
00:28:43,040 --> 00:28:45,960
Speaker 2: know what, I know exactly what to put here was

555
00:28:46,360 --> 00:28:47,280
Speaker 2: the blankets on it.

556
00:28:47,440 --> 00:28:50,280
Speaker 1: Also, I love how how far we've come in the

557
00:28:50,320 --> 00:28:54,640
Speaker 1: world of diva moves with actresses, where like her diva

558
00:28:54,680 --> 00:28:56,719
Speaker 1: move was I want a working toilet so I can

559
00:28:56,880 --> 00:29:01,600
Speaker 1: live in this mouth infested set. And now it's like,

560
00:29:02,160 --> 00:29:05,480
Speaker 1: my trailer needs to be solid gold and you need

561
00:29:05,520 --> 00:29:07,760
Speaker 1: to buy me a house in Florence and I'll do

562
00:29:07,800 --> 00:29:08,560
Speaker 1: your movie.

563
00:29:09,160 --> 00:29:12,880
Speaker 2: Can you film me laying in my bed in my

564
00:29:12,960 --> 00:29:14,640
Speaker 2: house in Florence because I don't want to come to

565
00:29:14,680 --> 00:29:15,160
Speaker 2: set ever?

566
00:29:15,440 --> 00:29:18,960
Speaker 1: Do I have to move this role? And James Bob

567
00:29:19,120 --> 00:29:20,360
Speaker 1: is like, you know what, I just want to take

568
00:29:20,360 --> 00:29:22,280
Speaker 1: a shit in peace. How about it? Just let me

569
00:29:22,320 --> 00:29:25,360
Speaker 1: take a dump in the beautiful apartment that I helped

570
00:29:25,440 --> 00:29:26,120
Speaker 1: you decorate.

571
00:29:26,760 --> 00:29:28,880
Speaker 2: Yeah exactly, But you know, I want to ask you

572
00:29:28,960 --> 00:29:31,600
Speaker 2: a little bit more about the because.

573
00:29:33,760 --> 00:29:35,360
Speaker 1: Cut that obviously.

574
00:29:37,920 --> 00:29:40,120
Speaker 2: You know, you obviously mentioned like right off the bat

575
00:29:40,120 --> 00:29:44,600
Speaker 2: that you feel like her her interiors in her apartment

576
00:29:44,600 --> 00:29:48,640
Speaker 2: are kind of like mirroring the kind of inner turmoil

577
00:29:48,800 --> 00:29:53,200
Speaker 2: she feels. And like, I think what makes Clue such

578
00:29:53,240 --> 00:29:56,760
Speaker 2: a you know, great movie that we all remember still

579
00:29:56,800 --> 00:29:59,560
Speaker 2: to this day is that. I think this was one

580
00:29:59,600 --> 00:30:03,920
Speaker 2: of the first times where you know, they portrayed a

581
00:30:04,040 --> 00:30:08,800
Speaker 2: prostitute as having like some depth and maybe some thoughts

582
00:30:08,840 --> 00:30:11,000
Speaker 2: about her life and being kind of unsure if she

583
00:30:11,120 --> 00:30:14,640
Speaker 2: was interested, like having that moment where she's like, well,

584
00:30:14,720 --> 00:30:17,160
Speaker 2: I like it. That gives me power, even though I'm

585
00:30:17,200 --> 00:30:20,440
Speaker 2: sort of like over it too, and like that's wrestling

586
00:30:20,920 --> 00:30:23,960
Speaker 2: with me. And you know, she's in therapy and we

587
00:30:24,000 --> 00:30:26,440
Speaker 2: get to see her therapy, and so yeah, I think

588
00:30:26,480 --> 00:30:29,960
Speaker 2: you're totally right about that. Like that apartment is probably

589
00:30:30,000 --> 00:30:33,640
Speaker 2: like the place where she feels the most comfortable, but

590
00:30:33,720 --> 00:30:36,400
Speaker 2: it also is kind of a reflection of how she

591
00:30:36,440 --> 00:30:38,720
Speaker 2: feels about what she does for a living and just

592
00:30:38,720 --> 00:30:41,560
Speaker 2: sort of the you know, the situation she gets herself into.

593
00:30:41,800 --> 00:30:43,880
Speaker 1: You know, it was a powerful movie at the time

594
00:30:44,200 --> 00:30:46,880
Speaker 1: based on what I've read about it for that exact reason,

595
00:30:47,080 --> 00:30:50,120
Speaker 1: and because you know, Jane Fonda ad lived so much

596
00:30:50,480 --> 00:30:53,040
Speaker 1: of the movie, so she was kind of personally in

597
00:30:53,080 --> 00:30:56,440
Speaker 1: her own sexual power in this moment. Yeah, and she

598
00:30:56,600 --> 00:30:58,760
Speaker 1: ad lived like everything that she was talking about with

599
00:30:58,880 --> 00:31:02,560
Speaker 1: the therapist, and she just you know, the actress kind

600
00:31:02,600 --> 00:31:04,920
Speaker 1: of personally added a lot to this. But there wasn't

601
00:31:04,920 --> 00:31:07,600
Speaker 1: an air of sadness to her at all. It was

602
00:31:07,760 --> 00:31:11,280
Speaker 1: very much listening to her talk about being in control

603
00:31:11,920 --> 00:31:14,560
Speaker 1: through her work and the work she was doing and

604
00:31:14,600 --> 00:31:16,680
Speaker 1: wanted to do, and the difference between the power she

605
00:31:16,760 --> 00:31:18,840
Speaker 1: had as an actress versus the power she had as

606
00:31:18,880 --> 00:31:22,440
Speaker 1: a sex worker, and how she saw that she equated

607
00:31:22,480 --> 00:31:24,520
Speaker 1: the two. She's like, well, it is acting. You know,

608
00:31:24,560 --> 00:31:27,080
Speaker 1: I'm doing my best acting when I'm doing my job.

609
00:31:28,600 --> 00:31:31,080
Speaker 1: And that was really interesting to me because I thought

610
00:31:31,120 --> 00:31:34,200
Speaker 1: that I can't think of an example of a movie

611
00:31:34,240 --> 00:31:37,200
Speaker 1: before that from at least from the American perspective, that

612
00:31:37,400 --> 00:31:39,640
Speaker 1: was very much about being in control and power of

613
00:31:39,680 --> 00:31:43,479
Speaker 1: your sexuality that didn't have anything to do with men

614
00:31:43,680 --> 00:31:47,800
Speaker 1: at its core, aside from them being participants in the act.

615
00:31:48,000 --> 00:31:51,320
Speaker 1: And it was really and her apartment is just again

616
00:31:51,360 --> 00:31:56,400
Speaker 1: like perfectly to me, It perfectly encapsulates the space of

617
00:31:56,400 --> 00:31:59,000
Speaker 1: someone who's trying to start over. So there aren't very

618
00:31:59,000 --> 00:32:01,160
Speaker 1: many trappings of her life, Like she didn't take her

619
00:32:01,200 --> 00:32:03,280
Speaker 1: leather couch with her, and she didn't. She just kind

620
00:32:03,280 --> 00:32:06,480
Speaker 1: of cut and run and I like that. She's like,

621
00:32:06,520 --> 00:32:07,719
Speaker 1: you know, if I'm going to do this, I'm going

622
00:32:07,760 --> 00:32:09,080
Speaker 1: to do it all the way, and I'm going to

623
00:32:09,120 --> 00:32:10,680
Speaker 1: live in this apartment and I'm going to try to

624
00:32:10,680 --> 00:32:13,719
Speaker 1: be an actress and a model, and I'm not going

625
00:32:13,800 --> 00:32:16,719
Speaker 1: to be doing the sex work full time. Like she's

626
00:32:16,800 --> 00:32:19,960
Speaker 1: kind of you're watching someone kind of change stream, and

627
00:32:20,360 --> 00:32:22,560
Speaker 1: I love that. I love that so much. And it's

628
00:32:22,600 --> 00:32:25,000
Speaker 1: again like it's messy, and it's like the other thing

629
00:32:25,000 --> 00:32:27,440
Speaker 1: I love about this movie though, and the part of

630
00:32:27,440 --> 00:32:29,320
Speaker 1: the reason I chose it is that you get to

631
00:32:29,320 --> 00:32:32,480
Speaker 1: see so many great seventies apartments. She goes to that

632
00:32:32,560 --> 00:32:36,760
Speaker 1: casting director's office and he has that lion table and

633
00:32:36,840 --> 00:32:39,160
Speaker 1: since Burner next to it, I was like, tell me

634
00:32:39,240 --> 00:32:42,720
Speaker 1: more about this. Yeah, oh god, totally like this dude

635
00:32:42,760 --> 00:32:46,440
Speaker 1: totally owns anairrew jacket, has been to Asia ones and

636
00:32:46,480 --> 00:32:47,640
Speaker 1: thinks he's like a scholar.

637
00:32:48,000 --> 00:32:51,720
Speaker 2: Oh yeah, the way his attitude that was you you

638
00:32:51,840 --> 00:32:52,360
Speaker 2: nailed it.

639
00:32:52,520 --> 00:32:55,520
Speaker 1: He's that guy for sure. But then you get to

640
00:32:55,560 --> 00:32:58,840
Speaker 1: go to Roy Scheider's place, like her former pimp, and

641
00:32:58,880 --> 00:33:05,040
Speaker 1: it's that like just standard issue seventies pimp palace. Yeah.

642
00:33:05,080 --> 00:33:06,719
Speaker 1: When it comes to like you know, the kind of

643
00:33:07,040 --> 00:33:11,480
Speaker 1: starkness of it and the colorful gloves in one color

644
00:33:11,600 --> 00:33:13,080
Speaker 1: in one corner and like a piece of like like

645
00:33:13,120 --> 00:33:17,080
Speaker 1: a glitter pole. Yeah, no reason, propping up a counter.

646
00:33:17,440 --> 00:33:19,960
Speaker 1: Like you just get to see so many of these

647
00:33:20,840 --> 00:33:24,040
Speaker 1: great spaces. Yeah, it really was a changing time for

648
00:33:24,120 --> 00:33:25,840
Speaker 1: New York, and it was a changing time for all

649
00:33:25,920 --> 00:33:28,440
Speaker 1: these characters, and I just I loved it. I thought,

650
00:33:28,480 --> 00:33:32,320
Speaker 1: it's really indicative to me that this is just such

651
00:33:32,360 --> 00:33:36,320
Speaker 1: a great seventies movie. And the outfits are also crucial,

652
00:33:36,560 --> 00:33:42,200
Speaker 1: like that whole highwaisted skirt, sweater, big necklace thing. That

653
00:33:42,320 --> 00:33:43,680
Speaker 1: is I could wear that for the rest of my

654
00:33:43,720 --> 00:33:46,320
Speaker 1: life and be fine. Yeah, well, okay, let me let

655
00:33:46,320 --> 00:33:49,440
Speaker 1: me ask you another question. I know.

656
00:33:49,680 --> 00:33:51,840
Speaker 2: It's so interesting to me that this movie is called

657
00:33:52,040 --> 00:33:56,200
Speaker 2: Clute because Clute is the last name of the Donald

658
00:33:56,240 --> 00:33:59,520
Speaker 2: Sutherland character, and he's kind of it's kind of more

659
00:33:59,520 --> 00:34:00,240
Speaker 2: about her.

660
00:34:00,520 --> 00:34:02,160
Speaker 1: Well, it's not kind of more about her. It is

661
00:34:02,200 --> 00:34:02,760
Speaker 1: about her.

662
00:34:03,280 --> 00:34:06,240
Speaker 2: So it's kind of should just be called Brie if anything,

663
00:34:06,720 --> 00:34:08,640
Speaker 2: but yeah, or Daniels.

664
00:34:08,719 --> 00:34:09,680
Speaker 1: Why not Daniels.

665
00:34:09,960 --> 00:34:15,160
Speaker 2: That's a good name for a movie. So the John

666
00:34:15,239 --> 00:34:19,759
Speaker 2: Klude character is interesting because that is what his role is,

667
00:34:19,760 --> 00:34:23,120
Speaker 2: is that he's kind of this I don't know, he's

668
00:34:23,160 --> 00:34:25,399
Speaker 2: this person that kind of comes into her life by

669
00:34:25,440 --> 00:34:30,680
Speaker 2: necessity because he's investigating this case, and he's kind of

670
00:34:30,760 --> 00:34:34,000
Speaker 2: making her have to like have a reckoning with the

671
00:34:34,040 --> 00:34:37,160
Speaker 2: type of work that she does, and because you know what,

672
00:34:37,719 --> 00:34:41,320
Speaker 2: the plain truth about it is that you have horrible

673
00:34:41,800 --> 00:34:45,960
Speaker 2: you know, men that commit horrible things to people that

674
00:34:46,000 --> 00:34:49,680
Speaker 2: do sex work on occasion, and you know there's like

675
00:34:50,120 --> 00:34:53,799
Speaker 2: drugs and you know, violence and everything like that. And

676
00:34:53,840 --> 00:34:57,160
Speaker 2: so she's kind of like kind of having to always

677
00:34:57,160 --> 00:35:00,879
Speaker 2: face herself when he's around. And then he ends up

678
00:35:00,960 --> 00:35:05,280
Speaker 2: having to move below her in that like shitty little apartment,

679
00:35:05,400 --> 00:35:09,759
Speaker 2: which that I never grew up in a place that

680
00:35:09,840 --> 00:35:13,040
Speaker 2: had that like Brownstone bottom apartment, although I have friends

681
00:35:13,040 --> 00:35:15,359
Speaker 2: when I visited them in New York that lived down there,

682
00:35:16,000 --> 00:35:18,360
Speaker 2: but his was extra shitty because it was like you

683
00:35:18,360 --> 00:35:21,520
Speaker 2: could tell it's like as a cops apartment. There's like

684
00:35:21,640 --> 00:35:25,920
Speaker 2: a fan and like, you know, a jailhouse bed.

685
00:35:26,040 --> 00:35:29,120
Speaker 1: And he's like, I just got my plans on the wall,

686
00:35:29,320 --> 00:35:31,200
Speaker 1: my murder boards on the wall.

687
00:35:31,000 --> 00:35:33,000
Speaker 2: And I don't give a shit about anything else, and

688
00:35:33,040 --> 00:35:34,719
Speaker 2: you're like, god, man.

689
00:35:34,719 --> 00:35:37,480
Speaker 1: It is dark. It is dark down there, and he's

690
00:35:37,560 --> 00:35:39,560
Speaker 1: let's not forget he would be on the same level

691
00:35:39,600 --> 00:35:42,520
Speaker 1: as the funeral home stuff, like all the sucking and

692
00:35:43,200 --> 00:35:45,279
Speaker 1: blood and all that, Like he's on that's the level

693
00:35:45,280 --> 00:35:49,640
Speaker 1: that he's living on that he's in it with the bodies.

694
00:35:51,320 --> 00:35:53,640
Speaker 1: Oh my god. So yeah, you know, they're never going

695
00:35:53,719 --> 00:35:55,840
Speaker 1: to upgrade that apartment. They're like, why wouldn't we, Like

696
00:35:55,960 --> 00:35:58,520
Speaker 1: right next door, you've got tube sucking blood and viscera

697
00:35:58,600 --> 00:36:02,440
Speaker 1: out of actual bodies. Just how you live now. Yeah,

698
00:36:02,480 --> 00:36:02,879
Speaker 1: but you.

699
00:36:02,800 --> 00:36:07,399
Speaker 2: Know, and it's so, you know, they they developed kind

700
00:36:07,480 --> 00:36:10,400
Speaker 2: of a little romance, and.

701
00:36:11,760 --> 00:36:14,880
Speaker 1: That part, for me, I think is a little I

702
00:36:14,920 --> 00:36:16,760
Speaker 1: don't really like it as.

703
00:36:16,680 --> 00:36:19,200
Speaker 2: Much as the rest of the movie, although I do

704
00:36:19,280 --> 00:36:22,680
Speaker 2: think Donald Sutherland is so cute in this movie, and

705
00:36:22,719 --> 00:36:24,080
Speaker 2: it was like cute forever.

706
00:36:24,440 --> 00:36:26,799
Speaker 1: I mean, he's still cute, you know, like that part

707
00:36:26,840 --> 00:36:30,400
Speaker 1: where she's like you got a good mouth, or's you

708
00:36:30,440 --> 00:36:34,160
Speaker 1: have a real good mouth. And they dated in real life, Yeah,

709
00:36:34,200 --> 00:36:36,640
Speaker 1: they're filming this movie, and it was apparently like a

710
00:36:36,760 --> 00:36:40,400
Speaker 1: very non exclusive, open kind of thing. I kind of

711
00:36:40,440 --> 00:36:44,360
Speaker 1: love that you have, like the current like, oh, you

712
00:36:44,400 --> 00:36:46,799
Speaker 1: have an open relationship and then your girlfriend starts dating

713
00:36:46,800 --> 00:36:50,160
Speaker 1: Brad Pitt, Like imagine you're like, we have an open relationship.

714
00:36:50,480 --> 00:36:53,880
Speaker 1: She's dating Donald Sutherland's dating Jane Fonda. What did I

715
00:36:53,920 --> 00:36:55,919
Speaker 1: get myself into exactly?

716
00:36:56,440 --> 00:37:00,360
Speaker 2: Well, Yeah, and I get like the role that he's

717
00:37:00,400 --> 00:37:03,200
Speaker 2: though as being sort of this romantic possibility for her

718
00:37:03,320 --> 00:37:06,240
Speaker 2: is obviously I get it. It It makes sense plot

719
00:37:06,239 --> 00:37:08,279
Speaker 2: wise in the film because it's it's just kind of

720
00:37:08,320 --> 00:37:12,720
Speaker 2: adding to her struggle with wanting to keep doing this line.

721
00:37:12,560 --> 00:37:15,160
Speaker 1: Of work because she doesn't want to be vulnerable.

722
00:37:15,320 --> 00:37:19,160
Speaker 2: Yeah, she wants to fall in love maybe, but she's

723
00:37:19,360 --> 00:37:23,640
Speaker 2: very guarded, and he's kind of like saying, you don't

724
00:37:23,719 --> 00:37:24,400
Speaker 2: need to be guarded.

725
00:37:24,480 --> 00:37:27,359
Speaker 1: You feel safe with me. You know, I exactly am

726
00:37:27,400 --> 00:37:28,080
Speaker 1: taking care of you.

727
00:37:28,640 --> 00:37:31,200
Speaker 2: But you know, there's this this scene in my favorite

728
00:37:31,200 --> 00:37:33,920
Speaker 2: scene in the movie, and it's like something that like

729
00:37:34,000 --> 00:37:35,840
Speaker 2: gives me goosebumps every time I watch it. As the

730
00:37:35,840 --> 00:37:38,720
Speaker 2: scene where they're like buying fruit on the streets. Yes,

731
00:37:39,920 --> 00:37:43,520
Speaker 2: And it's like they're such good actors that like you

732
00:37:43,600 --> 00:37:48,680
Speaker 2: can tell that she is like trying to like make

733
00:37:48,719 --> 00:37:49,799
Speaker 2: herself not like him.

734
00:37:49,920 --> 00:37:52,240
Speaker 1: Like she's going like, here's.

735
00:37:52,000 --> 00:37:54,520
Speaker 2: This guy that like knows about fruit, and I want

736
00:37:54,520 --> 00:37:56,960
Speaker 2: to date him so bad, but I've had I can't

737
00:37:57,000 --> 00:38:00,680
Speaker 2: fucking you know, I got a lot of bag and

738
00:38:00,840 --> 00:38:04,080
Speaker 2: but he seems to like me despite this baggage and

739
00:38:04,160 --> 00:38:06,360
Speaker 2: I'm just and when she pulls like the back of

740
00:38:06,400 --> 00:38:07,440
Speaker 2: his jacket, I just.

741
00:38:07,480 --> 00:38:11,080
Speaker 1: Like, yeah, every goddamn time, I'm just like, oh right,

742
00:38:11,200 --> 00:38:14,040
Speaker 1: they like each other for real, for real, I know

743
00:38:14,320 --> 00:38:16,560
Speaker 1: it is. And it is like seeing that turmoil because

744
00:38:16,560 --> 00:38:18,880
Speaker 1: he's got his own set of turmoil as well, Like

745
00:38:18,880 --> 00:38:22,399
Speaker 1: he's a small town cop who's like very rigid. Yeah,

746
00:38:22,480 --> 00:38:25,719
Speaker 1: so they're both breaking down their own boundaries. And that

747
00:38:25,800 --> 00:38:28,440
Speaker 1: scene is kind of like, to me, what exemplifies that

748
00:38:28,520 --> 00:38:31,560
Speaker 1: relationship yecause they're like, we can be vulnerable with each other,

749
00:38:31,600 --> 00:38:33,960
Speaker 1: but we're still kind of, you know, kind of flipping

750
00:38:34,000 --> 00:38:36,200
Speaker 1: our flippers about it and not really wanted to just

751
00:38:36,280 --> 00:38:39,480
Speaker 1: calm down. But I loved it. I love this movie.

752
00:38:39,560 --> 00:38:43,840
Speaker 1: I think it's so fantastic. It's heavily influenced by the patriarchy,

753
00:38:43,840 --> 00:38:47,240
Speaker 1: but you know, nineteen seventy one, it's going to be Yeah,

754
00:38:47,280 --> 00:38:49,239
Speaker 1: And I think that's why maybe their relationship felt so

755
00:38:49,320 --> 00:38:51,400
Speaker 1: strange at points, because I'm like, well, this isn't what

756
00:38:51,440 --> 00:38:54,359
Speaker 1: a regular person would do, but a man probably thinks

757
00:38:54,360 --> 00:38:54,759
Speaker 1: this is what.

758
00:38:55,719 --> 00:39:00,160
Speaker 2: Well, yeah, I mean there's obviously the whole Savior you

759
00:39:00,160 --> 00:39:03,560
Speaker 2: know narrative there, which I'm kind of like, you know, obviously,

760
00:39:03,600 --> 00:39:06,440
Speaker 2: I think we're more interested in hearing Brie as a

761
00:39:06,440 --> 00:39:08,879
Speaker 2: woman in her experience, and I mean I could watch

762
00:39:08,880 --> 00:39:10,279
Speaker 2: her be in therapy all day long.

763
00:39:10,320 --> 00:39:12,000
Speaker 1: I hate to say, I'm just like a movie. I

764
00:39:12,080 --> 00:39:12,440
Speaker 1: love it.

765
00:39:12,760 --> 00:39:17,120
Speaker 2: But then like there is this open ended ending almost

766
00:39:17,239 --> 00:39:20,160
Speaker 2: where you know, you're kind of like, well, does it

767
00:39:20,239 --> 00:39:22,680
Speaker 2: happen for them or not? And you don't really know,

768
00:39:23,160 --> 00:39:25,120
Speaker 2: And I mean, I guess that's kind of the best

769
00:39:25,200 --> 00:39:27,920
Speaker 2: we can do with this, you know. But at the

770
00:39:27,960 --> 00:39:29,360
Speaker 2: same time, and that.

771
00:39:29,440 --> 00:39:31,920
Speaker 1: Was freedom and I love that that was freedom back

772
00:39:31,920 --> 00:39:34,440
Speaker 1: then because it was enough, I think, to kind of

773
00:39:34,520 --> 00:39:37,640
Speaker 1: leave that question hanging of what happens to them if

774
00:39:37,640 --> 00:39:41,160
Speaker 1: she moves to Pennsylvania, what happens if he ends up

775
00:39:41,200 --> 00:39:43,640
Speaker 1: moving to the city with her, what happens? Like it

776
00:39:43,719 --> 00:39:46,879
Speaker 1: is such a great it's an ending that is such

777
00:39:46,880 --> 00:39:48,000
Speaker 1: a great beginning.

778
00:39:48,000 --> 00:39:50,879
Speaker 2: Right, I mean I had a point where I was like, man,

779
00:39:50,920 --> 00:39:52,640
Speaker 2: you should not get to that apartment because you know

780
00:39:52,680 --> 00:39:55,239
Speaker 2: what's going to happen. That the rent is going to skyrocket.

781
00:39:55,280 --> 00:39:56,680
Speaker 2: And girl, you are on a gold mine.

782
00:39:56,719 --> 00:39:58,680
Speaker 1: Do you have run? You're ten years and you are

783
00:39:58,800 --> 00:40:01,520
Speaker 1: in control that two hundred that happened to my great aunt.

784
00:40:01,719 --> 00:40:05,719
Speaker 1: My great aunt lived in an apartment in Harlem since

785
00:40:05,880 --> 00:40:09,880
Speaker 1: nineteen it must have been nineteen forty something because she

786
00:40:10,040 --> 00:40:13,120
Speaker 1: used to babysit my grandmother there and so it was

787
00:40:13,120 --> 00:40:15,800
Speaker 1: my great great aunt. And yeah, she had the apartment

788
00:40:15,880 --> 00:40:18,000
Speaker 1: until she died when she was in her nineties. And

789
00:40:18,239 --> 00:40:22,920
Speaker 1: her rent was like two hundred and thirty dollars Geese boys,

790
00:40:23,800 --> 00:40:25,359
Speaker 1: and they kept it in the family as long as

791
00:40:25,400 --> 00:40:28,000
Speaker 1: they could, like her, you know, her grandchildren, and like,

792
00:40:28,040 --> 00:40:29,719
Speaker 1: you know, people kind of kind of kept it up.

793
00:40:29,760 --> 00:40:33,239
Speaker 1: Because I'm at the point right now where I'm like,

794
00:40:33,280 --> 00:40:34,960
Speaker 1: you have to buy me out of anywhere I live,

795
00:40:35,120 --> 00:40:36,440
Speaker 1: Like I've never I don't think I'm ever going to

796
00:40:36,440 --> 00:40:39,520
Speaker 1: be a homeowner. Yeah, but if I'm renting a place

797
00:40:39,560 --> 00:40:42,920
Speaker 1: in a city that is being gentrified or like things

798
00:40:43,160 --> 00:40:45,799
Speaker 1: are changing, I will hold out. I'll be the little

799
00:40:45,800 --> 00:40:48,240
Speaker 1: house and up like, I will hold out for the payout.

800
00:40:48,800 --> 00:40:53,240
Speaker 1: You can build skyscrapers all around me, but keep that apartment, Daniels,

801
00:40:53,320 --> 00:40:57,160
Speaker 1: Keep that apament. Also, the most seventies moment of this

802
00:40:57,239 --> 00:41:00,960
Speaker 1: movie for me is that she was reading Linda Goodman's

803
00:41:01,000 --> 00:41:02,080
Speaker 1: son signs.

804
00:41:02,200 --> 00:41:07,320
Speaker 2: Yeah in bed so good Yeah love I love astrology

805
00:41:07,520 --> 00:41:11,400
Speaker 2: and a joint smoking session, a candle.

806
00:41:11,040 --> 00:41:13,359
Speaker 1: And a joint and astrology, and she was just like,

807
00:41:13,480 --> 00:41:15,759
Speaker 1: this is my night. I'm singing hymns. She was having

808
00:41:15,800 --> 00:41:19,160
Speaker 1: a fucking night. Oh man. I would love to go

809
00:41:19,200 --> 00:41:22,480
Speaker 1: to her apartment sometime, no doubt. Well, we can reconstruct

810
00:41:22,520 --> 00:41:24,279
Speaker 1: one for you, and you can just ship in the in.

811
00:41:24,200 --> 00:41:28,000
Speaker 2: The toilet there, give me a working toilet.

812
00:41:28,000 --> 00:41:30,000
Speaker 1: I'll be fine And to ust Hollywood. We can make

813
00:41:30,000 --> 00:41:39,799
Speaker 1: your dream come true. Right now as we come back

814
00:41:39,880 --> 00:41:42,480
Speaker 1: from break, just want to mention that that we were

815
00:41:42,520 --> 00:41:46,359
Speaker 1: talking and Millie mentioned that she loves a laconic oaf

816
00:41:46,560 --> 00:41:48,520
Speaker 1: like Donald Sutherland in this movie. And I feel like

817
00:41:48,800 --> 00:41:51,680
Speaker 1: that should be the title of this episode. Laconic OAF.

818
00:41:52,640 --> 00:41:55,640
Speaker 1: I mean, I love a big, dumb laconic OAF. I

819
00:41:55,640 --> 00:42:00,440
Speaker 1: can't I can't lie pretty. Do you bring it to

820
00:42:00,480 --> 00:42:02,160
Speaker 1: the table for great seventies apartments?

821
00:42:02,520 --> 00:42:09,799
Speaker 2: So my selection for today is a movie. It's one

822
00:42:09,800 --> 00:42:13,799
Speaker 2: of my favorites, so you'll have to forgive me. I

823
00:42:13,880 --> 00:42:17,840
Speaker 2: love it. It also features an actress who is probably

824
00:42:17,880 --> 00:42:20,560
Speaker 2: my favorite actress of all time, and so I have

825
00:42:20,800 --> 00:42:23,520
Speaker 2: so much love for this movie and I'm I'm so

826
00:42:23,640 --> 00:42:27,360
Speaker 2: glad that it fits this theme. In that movie is

827
00:42:27,400 --> 00:42:30,480
Speaker 2: Three Women from nineteen seventy seven, directed by Robert Altman.

828
00:42:30,680 --> 00:42:33,960
Speaker 1: In a town at the edge of nowhere, I loses

829
00:42:34,280 --> 00:42:40,800
Speaker 1: million flowers, had a dream candle light until Pinky Rose arrived,

830
00:42:41,320 --> 00:42:44,320
Speaker 1: it is Pinky had a different dream began.

831
00:42:45,880 --> 00:42:50,640
Speaker 2: So, first of all, this movie was based on a

832
00:42:50,760 --> 00:42:55,360
Speaker 2: dream that Robert Altman had, which already is kind of like, Okay,

833
00:42:56,680 --> 00:43:01,239
Speaker 2: at that point, he had made like a lot of

834
00:43:01,239 --> 00:43:04,320
Speaker 2: great movies, and he'd made mash He'd made Nashville, so

835
00:43:04,360 --> 00:43:06,919
Speaker 2: he was kind of like one of those like carte

836
00:43:06,960 --> 00:43:09,840
Speaker 2: blanche guys. So like the you know, basically, he comes

837
00:43:09,880 --> 00:43:12,360
Speaker 2: and says, I want to make a movie about a

838
00:43:12,400 --> 00:43:13,879
Speaker 2: dream that I have, and I don't want to write

839
00:43:13,880 --> 00:43:14,520
Speaker 2: a screenplay.

840
00:43:14,719 --> 00:43:17,439
Speaker 1: Can I just film it? And you know, twentieth century Fox,

841
00:43:17,560 --> 00:43:21,760
Speaker 1: like okay, uh, you know, just the level I aspire

842
00:43:21,880 --> 00:43:25,839
Speaker 1: to this, right, Like, I just had this idea. I'm

843
00:43:25,840 --> 00:43:27,400
Speaker 1: not gonna tell you what it's about because it was

844
00:43:27,440 --> 00:43:31,359
Speaker 1: based on a flight of fancy. Let's do it. You're right.

845
00:43:31,880 --> 00:43:33,920
Speaker 2: I just think that's incredible, and I'm like, man, I

846
00:43:33,960 --> 00:43:37,400
Speaker 2: wish I had that like all the time. He so

847
00:43:37,520 --> 00:43:40,239
Speaker 2: basically he ended up writing like a treatment for it

848
00:43:40,320 --> 00:43:44,319
Speaker 2: with another person, another writer, and you know, but he

849
00:43:44,760 --> 00:43:49,240
Speaker 2: his dream included the actual cast, so he he dreamed

850
00:43:49,280 --> 00:43:52,400
Speaker 2: that Sissy Spacek and Shelley Duvall were in the movie.

851
00:43:52,760 --> 00:43:55,360
Speaker 1: So it's it's interesting.

852
00:43:54,920 --> 00:43:58,319
Speaker 2: Because on top of that, this movie was sort of

853
00:43:58,360 --> 00:44:01,520
Speaker 2: influenced by this Igmar Berg movie from the sixties. It's

854
00:44:01,520 --> 00:44:06,440
Speaker 2: called Persona Now Watch. I will assign it as extra credit,

855
00:44:07,120 --> 00:44:11,040
Speaker 2: purely extra credit, but it's it's it's basically like the

856
00:44:11,120 --> 00:44:14,680
Speaker 2: grandmother of all like psychoanalysis films, and like it's a

857
00:44:14,840 --> 00:44:19,360
Speaker 2: lot it's a heavy text, so that's why it's extra credit.

858
00:44:20,960 --> 00:44:25,239
Speaker 2: But I'll tell you, like right off the bat, the

859
00:44:25,280 --> 00:44:27,520
Speaker 2: tone of this movie is something that I'm obsessed with,

860
00:44:27,560 --> 00:44:31,040
Speaker 2: which is this It's just got this like hazy ethereal

861
00:44:31,320 --> 00:44:36,160
Speaker 2: kind of like spooky quality. And it takes place in

862
00:44:36,200 --> 00:44:40,640
Speaker 2: the desert, in the California desert, which is perfect. It's

863
00:44:40,680 --> 00:44:45,640
Speaker 2: like a perfect vibe, perfect landscape for the vibe. And honestly,

864
00:44:45,760 --> 00:44:46,840
Speaker 2: like there's a lot.

865
00:44:46,640 --> 00:44:49,960
Speaker 1: Of movies I mean, I just love I love.

866
00:44:49,880 --> 00:44:54,120
Speaker 2: Nothing more than like an ambient, soaked like nineteen seventies

867
00:44:54,160 --> 00:44:57,880
Speaker 2: movie that's like in a really sparse location, like you know,

868
00:44:57,920 --> 00:45:00,760
Speaker 2: like a picnic at Hanging Rock or like of Heaven

869
00:45:01,000 --> 00:45:04,680
Speaker 2: or something like that. And I mean, honestly, right off

870
00:45:04,719 --> 00:45:07,480
Speaker 2: the bat, it's like if I see like a swirly

871
00:45:07,719 --> 00:45:11,880
Speaker 2: seventies font mixed with like a psychotic flute, I'm like,

872
00:45:12,239 --> 00:45:15,800
Speaker 2: I'm in. So the beginning of this movie is already

873
00:45:15,880 --> 00:45:17,120
Speaker 2: like it's a rap.

874
00:45:17,840 --> 00:45:20,440
Speaker 1: It feels as dreamy as it was, you know, it

875
00:45:20,440 --> 00:45:22,719
Speaker 1: feels like a dream throughout it, which is interesting. And

876
00:45:22,760 --> 00:45:26,160
Speaker 1: I'd never seen this movie before, so oh good, good interest.

877
00:45:26,239 --> 00:45:28,640
Speaker 1: My first my first introduction, which I think most of

878
00:45:28,719 --> 00:45:30,920
Speaker 1: us in our generation can say that our first introduction

879
00:45:30,960 --> 00:45:34,560
Speaker 1: to Robert Altman was Popeye. Yes, and maybe weren't paying

880
00:45:34,560 --> 00:45:37,760
Speaker 1: attention to directors back then, but it was the weirdest

881
00:45:37,760 --> 00:45:40,359
Speaker 1: movie I'd ever seen, and I loved it. So yeah,

882
00:45:40,400 --> 00:45:43,439
Speaker 1: I'm not great on Altman, but I have seen a few.

883
00:45:44,440 --> 00:45:47,560
Speaker 2: Yeah, I mean I think my first was short Cuts.

884
00:45:47,600 --> 00:45:49,480
Speaker 2: I mean I came to him late in the game

885
00:45:49,880 --> 00:45:52,239
Speaker 2: because I you know, at that time.

886
00:45:52,280 --> 00:45:54,080
Speaker 1: I think that came out when I was in high school.

887
00:45:54,400 --> 00:45:55,839
Speaker 1: But yeah, then I watched.

888
00:45:55,560 --> 00:45:58,640
Speaker 2: Popeye probably, and then then you just kind of go

889
00:45:58,760 --> 00:45:59,879
Speaker 2: back and do it and do it all.

890
00:45:59,920 --> 00:46:02,919
Speaker 1: I mean, yeah, i'd seen like the player and shortcuts

891
00:46:02,960 --> 00:46:05,359
Speaker 1: and yeah Popeye and like bib you a couple other

892
00:46:05,440 --> 00:46:07,000
Speaker 1: but I haven't seen this one.

893
00:46:07,480 --> 00:46:09,440
Speaker 2: Just to give a little bit of a synopsis. So

894
00:46:09,480 --> 00:46:12,680
Speaker 2: this movie is essentially about a young woman named Pinky

895
00:46:12,760 --> 00:46:16,480
Speaker 2: Rose who's played by Sissy Spacek, and she basically starts

896
00:46:16,480 --> 00:46:20,440
Speaker 2: a job at like this rehab center for elderly people

897
00:46:20,440 --> 00:46:22,800
Speaker 2: that's like in the desert somewhere in California, which I

898
00:46:22,800 --> 00:46:25,600
Speaker 2: think is like desert hot springs, like palm springs. But

899
00:46:25,640 --> 00:46:28,879
Speaker 2: it's basically like you know, old people and old people

900
00:46:28,960 --> 00:46:31,399
Speaker 2: bathing suits, like soaking in a mineral bath for ten

901
00:46:31,440 --> 00:46:33,960
Speaker 2: minutes and then they get out and sit in a chair.

902
00:46:35,239 --> 00:46:36,240
Speaker 1: It sounds amazing.

903
00:46:36,320 --> 00:46:39,319
Speaker 2: I'd love to go to that that's there tomorrow, I know.

904
00:46:39,360 --> 00:46:40,960
Speaker 1: I was like, I don't need to wait until I'm old.

905
00:46:40,960 --> 00:46:41,600
Speaker 1: I could do it now.

906
00:46:42,880 --> 00:46:45,880
Speaker 2: So basically it's like her first day and you know,

907
00:46:46,000 --> 00:46:49,239
Speaker 2: she gets shown the ropes by one of the other

908
00:46:49,280 --> 00:46:51,960
Speaker 2: women who are working there, and it's Shelley Devall's character.

909
00:46:52,800 --> 00:46:57,920
Speaker 1: Her character is named Millie Lamuro, which I love a

910
00:46:58,000 --> 00:46:59,560
Speaker 1: movie Millie. I'm not gonna.

911
00:46:59,280 --> 00:47:02,080
Speaker 2: Lie in films, I figured out that like the name

912
00:47:02,120 --> 00:47:05,520
Speaker 2: Millie is is usually reserved for like three types of characters.

913
00:47:05,719 --> 00:47:11,080
Speaker 2: So it's either like an uptight older woman, a annoying

914
00:47:11,160 --> 00:47:13,600
Speaker 2: little sister, or a dog.

915
00:47:14,360 --> 00:47:17,080
Speaker 1: So anytime you see a Milli character.

916
00:47:16,880 --> 00:47:20,560
Speaker 2: In a film that it's one of those three things.

917
00:47:20,680 --> 00:47:26,040
Speaker 2: So anyway, Pinky Rose is almost like immediately obsessed with

918
00:47:26,120 --> 00:47:30,359
Speaker 2: Milly and she's like following her around. She just kind

919
00:47:30,400 --> 00:47:33,520
Speaker 2: of is fascinated by her look and her vibe and everything.

920
00:47:33,920 --> 00:47:38,719
Speaker 2: And the thing about Pinky is that it's unclear kind

921
00:47:38,760 --> 00:47:43,000
Speaker 2: of how old she is, right, So at times you're going,

922
00:47:43,239 --> 00:47:46,840
Speaker 2: is she like twelve years old because she's a spaz

923
00:47:47,040 --> 00:47:49,440
Speaker 2: and she kind of dresses like these little girl dresses,

924
00:47:49,560 --> 00:47:51,719
Speaker 2: and you know, she just kind of looks like a

925
00:47:51,760 --> 00:47:53,640
Speaker 2: twelve year old girl. But then you're like, at some

926
00:47:53,760 --> 00:47:56,399
Speaker 2: point a couple of minutes later, you realize, oh, she's

927
00:47:56,400 --> 00:47:59,319
Speaker 2: like living in a hotel by herself, so maybe she's

928
00:47:59,360 --> 00:47:59,960
Speaker 2: a grown up.

929
00:48:00,080 --> 00:48:02,400
Speaker 1: I can't figure this out. But also, did they just

930
00:48:02,480 --> 00:48:05,560
Speaker 1: let children live in hotels better themselves, because that's also

931
00:48:05,640 --> 00:48:06,480
Speaker 1: a possibility.

932
00:48:07,120 --> 00:48:09,279
Speaker 2: I know. I was like, is she the kid from

933
00:48:09,320 --> 00:48:11,120
Speaker 2: Alice doesn't live here anymore? Who just like is on

934
00:48:11,200 --> 00:48:12,960
Speaker 2: his own all the time, like in a hotel?

935
00:48:13,040 --> 00:48:16,160
Speaker 1: Who knows they're like, Oh, you're a toddler, but you

936
00:48:16,239 --> 00:48:19,719
Speaker 1: have the money. Come on it now, Millie.

937
00:48:20,200 --> 00:48:22,080
Speaker 2: And am I just saying this because she has my name,

938
00:48:22,360 --> 00:48:27,320
Speaker 2: But I'm just saying she is probably the most interesting

939
00:48:27,440 --> 00:48:30,680
Speaker 2: character in film history completely.

940
00:48:30,880 --> 00:48:31,480
Speaker 1: She's so.

941
00:48:33,200 --> 00:48:36,319
Speaker 2: Insane and textured and I just can't wait to talk

942
00:48:36,360 --> 00:48:40,680
Speaker 2: about her because Okay, so if Pinky is like this immature,

943
00:48:40,920 --> 00:48:43,520
Speaker 2: kind of like uncouth little girl type, Millie is like

944
00:48:43,560 --> 00:48:45,600
Speaker 2: this opposite type of woman. And I think that's why

945
00:48:45,680 --> 00:48:47,520
Speaker 2: Pinky is obsessed with her. If you think about her

946
00:48:47,560 --> 00:48:50,840
Speaker 2: like this, she's basically like the woman who is clipping

947
00:48:50,960 --> 00:48:53,799
Speaker 2: the article in Cosmo about like how to satisfy your

948
00:48:53,800 --> 00:48:55,880
Speaker 2: man and like putting it on her refrigerator, being like

949
00:48:55,920 --> 00:49:00,240
Speaker 2: these are tips that I need. She's like totally upseess

950
00:49:00,320 --> 00:49:05,480
Speaker 2: with homemaking and you know, cooking, and is always sort

951
00:49:05,520 --> 00:49:09,640
Speaker 2: of perfectly dressed, like she's constantly like brushing her hair

952
00:49:09,719 --> 00:49:11,160
Speaker 2: to make sure there's like nothing.

953
00:49:10,920 --> 00:49:13,560
Speaker 1: Out of place and like, and the other thing.

954
00:49:13,440 --> 00:49:16,200
Speaker 2: Is that she's just like as she's developing a friendship

955
00:49:16,200 --> 00:49:19,759
Speaker 2: with Pinky, she's just constantly reminding Pinky of how to

956
00:49:19,760 --> 00:49:22,280
Speaker 2: do things and how to act. And she's like easily

957
00:49:22,280 --> 00:49:24,239
Speaker 2: embarrassed by her, and she's just kind of like, ugh,

958
00:49:24,320 --> 00:49:26,000
Speaker 2: let me teach you how to be a woman type thing.

959
00:49:26,440 --> 00:49:29,960
Speaker 1: And she also like never stops talking, okay, which is

960
00:49:30,320 --> 00:49:33,240
Speaker 1: fascinating to me because in a landscape where you rarely

961
00:49:33,280 --> 00:49:37,560
Speaker 1: hear women's voices. Yes, she is a motor she is

962
00:49:37,719 --> 00:49:39,640
Speaker 1: not talking.

963
00:49:39,800 --> 00:49:46,560
Speaker 2: She talks constantly to anyone and about anything and no one,

964
00:49:47,080 --> 00:49:47,399
Speaker 2: no one.

965
00:49:47,840 --> 00:49:50,520
Speaker 1: She's walking behind people talking and they are literally having

966
00:49:50,560 --> 00:49:52,120
Speaker 1: another conversation, right.

967
00:49:52,200 --> 00:49:55,439
Speaker 2: And it's funny because it's clear that everyone has had

968
00:49:55,520 --> 00:50:00,720
Speaker 2: it because every person blows her off. Every one blows

969
00:50:00,719 --> 00:50:05,120
Speaker 2: her off, Like her neighbors hate her fucking guts, like

970
00:50:05,200 --> 00:50:09,279
Speaker 2: they are like they're feigning illnesses to like get out

971
00:50:09,320 --> 00:50:12,439
Speaker 2: of talking to her, Like they're like muttering shit about

972
00:50:12,440 --> 00:50:15,600
Speaker 2: her breath. They're like, get away from me, like they

973
00:50:16,400 --> 00:50:18,840
Speaker 2: have had it.

974
00:50:18,719 --> 00:50:21,600
Speaker 1: It's incredible that scene where she comes down in her

975
00:50:21,680 --> 00:50:24,719
Speaker 1: like bathroom to sit by the pool because all of

976
00:50:24,760 --> 00:50:26,680
Speaker 1: her neighbors are out there, they're all her age, we're

977
00:50:26,680 --> 00:50:29,000
Speaker 1: all having a good time and they're like, oh God,

978
00:50:29,040 --> 00:50:31,600
Speaker 1: here comes this bitch, and she's just kind of saunters down,

979
00:50:31,719 --> 00:50:33,400
Speaker 1: is like would anybody like to get in the pool

980
00:50:33,440 --> 00:50:35,280
Speaker 1: and They're like, we don't even want to say hello

981
00:50:35,320 --> 00:50:38,319
Speaker 1: to you. What do you think? We hope you fucking die?

982
00:50:38,440 --> 00:50:43,160
Speaker 1: Basically so wild So okay.

983
00:50:42,840 --> 00:50:46,000
Speaker 2: So eventually Pinky and Milly become roommates, and that's why

984
00:50:46,080 --> 00:50:49,000
Speaker 2: we're going to move into this insane apartment.

985
00:50:49,040 --> 00:50:51,440
Speaker 1: Now this is now three seventy's apartment. Yeah.

986
00:50:51,480 --> 00:50:55,320
Speaker 2: She so her apartment building, which we just kind of

987
00:50:55,360 --> 00:50:58,920
Speaker 2: spoke about, is kind of this like perfect California style,

988
00:50:59,040 --> 00:51:01,920
Speaker 2: like two stories. There's a pool in the courtyard and

989
00:51:01,960 --> 00:51:05,000
Speaker 2: it's called like the fucking Purple Sage Apartments or something.

990
00:51:05,040 --> 00:51:07,399
Speaker 1: It's like real desert dusty, right.

991
00:51:07,960 --> 00:51:13,759
Speaker 2: And when the scene when she first takes Pinky to

992
00:51:13,880 --> 00:51:16,680
Speaker 2: the apartment that she will now be living in, you're like,

993
00:51:17,560 --> 00:51:23,920
Speaker 2: holy fucking shit, right, because it's this like blowed out,

994
00:51:24,120 --> 00:51:31,719
Speaker 2: all white and yellow seventies monstrosity. There's like it's completely

995
00:51:32,080 --> 00:51:36,760
Speaker 2: spotless and it's all white and yellow, like white ratan,

996
00:51:37,200 --> 00:51:41,520
Speaker 2: white wicker, yellow curtains, yellow ash trays, like it is

997
00:51:41,680 --> 00:51:46,120
Speaker 2: like definitely a seventies apartment.

998
00:51:46,200 --> 00:51:50,000
Speaker 1: Fake fake flowers and white and yellow. Yep. And I

999
00:51:50,040 --> 00:51:54,200
Speaker 1: also love this apartment building. It reminds me before I

1000
00:51:54,280 --> 00:51:56,839
Speaker 1: moved here, I thought that every la apartment was like

1001
00:51:56,880 --> 00:52:02,000
Speaker 1: the Richard Marks Don't mean Nothing video, Shut up. So

1002
00:52:02,040 --> 00:52:04,080
Speaker 1: I kind of love that this apartment was like that.

1003
00:52:04,160 --> 00:52:06,880
Speaker 1: In this building in the middle of nowhere, it was

1004
00:52:06,960 --> 00:52:09,640
Speaker 1: like somebody could be shooting. You come out here with

1005
00:52:09,719 --> 00:52:13,360
Speaker 1: big dreams and you end up shooting porn. Okay.

1006
00:52:13,880 --> 00:52:16,239
Speaker 2: I love that you referenced that Richard marksong because that's

1007
00:52:16,280 --> 00:52:18,000
Speaker 2: literally all I thought California was.

1008
00:52:18,520 --> 00:52:21,640
Speaker 1: Yeah, when I was a kid, Like, that's what it is.

1009
00:52:21,760 --> 00:52:23,319
Speaker 1: We just find in that apartment building.

1010
00:52:23,000 --> 00:52:25,240
Speaker 2: You're going to sign a bad contract and that's a wrap.

1011
00:52:25,280 --> 00:52:27,800
Speaker 2: That's your la life.

1012
00:52:28,680 --> 00:52:31,279
Speaker 1: So this interior, this interior is wild.

1013
00:52:31,280 --> 00:52:35,600
Speaker 2: And like Pinky Pinky being at this point sort of

1014
00:52:35,640 --> 00:52:37,880
Speaker 2: just sort of obsessed with Milly and is like so

1015
00:52:38,000 --> 00:52:40,000
Speaker 2: eager to be around her and be in her space.

1016
00:52:40,600 --> 00:52:43,520
Speaker 1: She's like orgasmic. When she enters his apartment, she's just

1017
00:52:43,560 --> 00:52:46,200
Speaker 1: like I mean, she actually says to her, You're the

1018
00:52:46,200 --> 00:52:50,640
Speaker 1: most perfect person I ever met. Right, Millie has to

1019
00:52:50,800 --> 00:52:54,239
Speaker 1: ask her do you want to see the bedroom? She's like,

1020
00:52:54,280 --> 00:52:56,719
Speaker 1: I'm cool on this couch forever. She's like, I just

1021
00:52:56,719 --> 00:52:58,200
Speaker 1: want to sit here and look at you all day.

1022
00:52:58,239 --> 00:53:01,080
Speaker 1: That's my that's my all my wants in life is that.

1023
00:53:01,600 --> 00:53:04,560
Speaker 1: And then the other thing too, which is so wild,

1024
00:53:04,719 --> 00:53:06,520
Speaker 1: which is that is that their roommates, but then they

1025
00:53:06,560 --> 00:53:09,359
Speaker 1: sleep in the same bedroom in twin beds. Is all

1026
00:53:09,400 --> 00:53:12,759
Speaker 1: I want to talk about. Okay, all I want to

1027
00:53:12,800 --> 00:53:16,239
Speaker 1: talk about. Because she said, do you want to be roommates?

1028
00:53:16,440 --> 00:53:19,959
Speaker 1: I did not think it was litobral roommates. I thought

1029
00:53:19,960 --> 00:53:22,200
Speaker 1: we'll share an apartment, not we'll share a bedroom. And

1030
00:53:22,200 --> 00:53:24,520
Speaker 1: then the whole setup was like we have a roll

1031
00:53:24,560 --> 00:53:27,799
Speaker 1: away bed for when we have company, meaning like if

1032
00:53:27,840 --> 00:53:30,319
Speaker 1: either one of us wants to bone the other, one's

1033
00:53:30,320 --> 00:53:33,960
Speaker 1: going to be out on this roll away couch. And

1034
00:53:34,000 --> 00:53:36,160
Speaker 1: I'm like, what is actually And then they're sleeping in

1035
00:53:36,239 --> 00:53:38,799
Speaker 1: twin beds with like the night standing between them, like

1036
00:53:38,920 --> 00:53:40,879
Speaker 1: you would see a setup in like a regular little

1037
00:53:40,960 --> 00:53:44,080
Speaker 1: kids room. And I think that led to the vibe here, right.

1038
00:53:44,120 --> 00:53:47,680
Speaker 1: It was like, yes, like Sissy's like the Pinky sees

1039
00:53:47,719 --> 00:53:52,400
Speaker 1: her as this like kind of ethereal character. Then when

1040
00:53:52,440 --> 00:53:55,719
Speaker 1: you go into her life, you're like she is very childlike.

1041
00:53:56,120 --> 00:53:59,359
Speaker 1: Oh yeah, every every meal is a melt, and she'll

1042
00:53:59,360 --> 00:54:01,759
Speaker 1: do like a bird. I love that. That's like one

1043
00:54:01,760 --> 00:54:05,480
Speaker 1: of my favorite parts. Every feels and melt her decorations,

1044
00:54:05,680 --> 00:54:08,560
Speaker 1: and then the one bedroom thing, like you're gonna get

1045
00:54:08,680 --> 00:54:11,320
Speaker 1: single white female that we're sleeping in a bedroom with somebody.

1046
00:54:11,719 --> 00:54:15,440
Speaker 2: Yeah, it's like, first of all, like as a grown up,

1047
00:54:15,560 --> 00:54:17,719
Speaker 2: if I had agreed to run an apartment and then

1048
00:54:17,760 --> 00:54:19,520
Speaker 2: I saw that we were gonna have to sleep like

1049
00:54:20,840 --> 00:54:23,400
Speaker 2: the couple from the Thin Man movies, like next to

1050
00:54:23,440 --> 00:54:24,399
Speaker 2: each other, I would be.

1051
00:54:24,360 --> 00:54:27,960
Speaker 1: Like, uh, I gotta move out. You're right.

1052
00:54:28,080 --> 00:54:31,960
Speaker 2: It's that thing where like it's complete, Like Millie is

1053
00:54:32,000 --> 00:54:35,040
Speaker 2: completely like childlike, she's like almost like a teenage girl.

1054
00:54:35,080 --> 00:54:38,000
Speaker 2: I mean they sleep with stuffed animals. She writes in

1055
00:54:38,040 --> 00:54:41,440
Speaker 2: a diary that she puts a lock on. I'm like, girl,

1056
00:54:41,520 --> 00:54:44,440
Speaker 2: what in the hell? And it's crazy because you're just

1057
00:54:44,480 --> 00:54:44,879
Speaker 2: sort of.

1058
00:54:44,800 --> 00:54:48,799
Speaker 1: Like, you know, it's wild. It is wild. It is Yeah.

1059
00:54:48,800 --> 00:54:51,600
Speaker 1: That is the thing that threw me the most was

1060
00:54:51,680 --> 00:54:53,920
Speaker 1: that whole situation. Yeah, And I was like, well, of

1061
00:54:53,920 --> 00:54:57,040
Speaker 1: course it's gonna pop off. Look at how you're living. Well, right,

1062
00:54:57,080 --> 00:54:59,080
Speaker 1: it's like a like a best friend or somebody that

1063
00:54:59,120 --> 00:55:00,399
Speaker 1: you like, you have been close with your whole life.

1064
00:55:00,440 --> 00:55:02,080
Speaker 1: It would still be weird to kind of be like

1065
00:55:02,120 --> 00:55:04,080
Speaker 1: I want to bow and can you sleep on the couch? Yeah,

1066
00:55:04,120 --> 00:55:06,200
Speaker 1: but it would be make more sense to me, yeah

1067
00:55:06,280 --> 00:55:08,719
Speaker 1: than instead of bringing like a total stranger into your house,

1068
00:55:08,880 --> 00:55:12,080
Speaker 1: a coworker essentially, which is all dicey. It best let's

1069
00:55:12,480 --> 00:55:16,319
Speaker 1: be honest and like the thing about it.

1070
00:55:16,520 --> 00:55:21,080
Speaker 2: So like, Okay, you're like, first of all, Millie, you

1071
00:55:21,120 --> 00:55:23,280
Speaker 2: need to live alone because you were way too goddamn

1072
00:55:23,320 --> 00:55:26,799
Speaker 2: fussy about like, you know, the first day, she's like,

1073
00:55:26,800 --> 00:55:28,719
Speaker 2: you're leaving your shoes in the living room.

1074
00:55:28,760 --> 00:55:30,560
Speaker 1: What are you doing? Why you were in my robe?

1075
00:55:30,640 --> 00:55:32,800
Speaker 2: Why are you doing this? I'm like, what did you expect?

1076
00:55:32,800 --> 00:55:35,680
Speaker 2: This is like a five hundred square foot apartment and

1077
00:55:35,680 --> 00:55:37,360
Speaker 2: you're trying to live here with two people in the

1078
00:55:37,400 --> 00:55:40,120
Speaker 2: same room. Okay, But that's the thing was that, like,

1079
00:55:40,200 --> 00:55:42,560
Speaker 2: you know, Pinky is starting to like grain on her

1080
00:55:42,600 --> 00:55:45,239
Speaker 2: nerves because she's kind of ruining her whole like perfect

1081
00:55:45,280 --> 00:55:47,280
Speaker 2: apartment and perfect life.

1082
00:55:47,840 --> 00:55:51,080
Speaker 1: And so my favorite scene in the movie is.

1083
00:55:51,080 --> 00:55:54,920
Speaker 2: The the part where Milli announces that she's going to

1084
00:55:54,960 --> 00:55:55,760
Speaker 2: give one of her.

1085
00:55:55,719 --> 00:56:03,120
Speaker 1: Famous dinner parties. Okay, man, oh I don't know the

1086
00:56:03,239 --> 00:56:05,959
Speaker 1: meal made in Heaven. I have to say, oh my god,

1087
00:56:06,120 --> 00:56:07,440
Speaker 1: I mean it's incredible.

1088
00:56:08,760 --> 00:56:13,680
Speaker 2: The whole sequence of them preparing for it explodes my

1089
00:56:13,800 --> 00:56:16,080
Speaker 2: fucking brain every time I see it.

1090
00:56:16,120 --> 00:56:17,800
Speaker 1: And I've seen this movie like thirty times.

1091
00:56:17,840 --> 00:56:22,319
Speaker 2: Okay, First of all, you're right about Millie only knowing

1092
00:56:22,440 --> 00:56:22,839
Speaker 2: how to.

1093
00:56:22,719 --> 00:56:24,080
Speaker 1: Make like weird kid foods.

1094
00:56:24,120 --> 00:56:25,799
Speaker 2: So she's like, we're making pigs in a blanket and

1095
00:56:25,840 --> 00:56:30,520
Speaker 2: pudding cups and uh, Sissy Spacek is like cool. You know.

1096
00:56:30,840 --> 00:56:34,080
Speaker 1: Favorite line, possibly in the whole movie, but definitely in

1097
00:56:34,120 --> 00:56:37,759
Speaker 1: this whole scene is can you spray some cheese on

1098
00:56:37,800 --> 00:56:38,560
Speaker 1: the sociables?

1099
00:56:38,600 --> 00:56:41,560
Speaker 2: Oh my god, you can't see my face, people, but

1100
00:56:41,800 --> 00:56:43,040
Speaker 2: look at my face.

1101
00:56:44,239 --> 00:56:44,799
Speaker 1: First of all.

1102
00:56:44,920 --> 00:56:50,520
Speaker 2: Associables is like I am instantly like my First of all,

1103
00:56:50,640 --> 00:56:53,279
Speaker 2: I only remember them from when my mom would have

1104
00:56:53,360 --> 00:56:57,799
Speaker 2: like neighbors over and serve those shitty ass crackers. And

1105
00:56:58,120 --> 00:57:00,719
Speaker 2: she's like so happy to be squirting. She's like, oh,

1106
00:57:00,800 --> 00:57:04,440
Speaker 2: squirt the squeeze cheese on the sociable and then putting

1107
00:57:04,520 --> 00:57:05,239
Speaker 2: olive there.

1108
00:57:06,200 --> 00:57:10,839
Speaker 1: And I'm just like, why easy easy cheese is? It

1109
00:57:11,000 --> 00:57:14,560
Speaker 1: was the culinary height when I was a kid. You

1110
00:57:14,600 --> 00:57:18,680
Speaker 1: could just sneak a Cannis easy cheese to yourself, fuck

1111
00:57:18,920 --> 00:57:21,400
Speaker 1: everyone else. I would be spraining it on my palm

1112
00:57:21,440 --> 00:57:24,120
Speaker 1: and licking it off like a dog like I that

1113
00:57:24,240 --> 00:57:27,360
Speaker 1: just really floored me how crucial this was to her

1114
00:57:27,400 --> 00:57:28,280
Speaker 1: dinner party planning.

1115
00:57:28,520 --> 00:57:32,040
Speaker 2: Yeah, my after school routine was coming home and taking

1116
00:57:32,080 --> 00:57:34,080
Speaker 2: that easy cheese and putting it on a chicken on

1117
00:57:34,120 --> 00:57:37,160
Speaker 2: a biscuit cracker. Yeah, my mom was all about the

1118
00:57:37,200 --> 00:57:39,200
Speaker 2: old Lady crackers, but I was like, I'm putting I

1119
00:57:39,320 --> 00:57:41,680
Speaker 2: would make a little tray for myself and put like

1120
00:57:41,760 --> 00:57:44,120
Speaker 2: chicken on biscuit crackers and then squeeze that cheese on

1121
00:57:44,200 --> 00:57:46,560
Speaker 2: top of me like I'm gonna watch ThunderCats.

1122
00:57:46,040 --> 00:57:48,520
Speaker 1: Or whatever the fuck. Oh my god.

1123
00:57:49,280 --> 00:57:52,080
Speaker 2: And it's just funny because this whole the whole sequence,

1124
00:57:52,120 --> 00:57:55,560
Speaker 2: I think, really talks and speaks to the Millie character

1125
00:57:55,600 --> 00:57:58,360
Speaker 2: where you're right, she like, you know, she clipped all

1126
00:57:58,360 --> 00:58:03,479
Speaker 2: these recipes from like some women's magazine, and then she's

1127
00:58:03,560 --> 00:58:06,440
Speaker 2: just so obsessed with everything being perfect, perfect, perfect, and

1128
00:58:06,440 --> 00:58:09,240
Speaker 2: she's like getting pissed off at Pinky for like spilling things.

1129
00:58:09,280 --> 00:58:14,560
Speaker 1: And then the end of it is that the dinner

1130
00:58:14,600 --> 00:58:16,200
Speaker 1: party gets bail on her.

1131
00:58:17,120 --> 00:58:20,600
Speaker 2: So it just sort of like collapses her whole dream

1132
00:58:20,840 --> 00:58:22,120
Speaker 2: and she takes it out on Pinky.

1133
00:58:22,160 --> 00:58:24,440
Speaker 1: Of course, as you probably guess by this point. So

1134
00:58:24,880 --> 00:58:26,800
Speaker 1: and I thought Pinky had a great idea where she's like,

1135
00:58:26,840 --> 00:58:29,160
Speaker 1: we could just eat it, yeah, and Millie's like no,

1136
00:58:29,200 --> 00:58:31,760
Speaker 1: and I'm like, that is the best idea of all time.

1137
00:58:31,880 --> 00:58:35,000
Speaker 1: Just eat all your food together. Yeah, I have a

1138
00:58:35,040 --> 00:58:37,920
Speaker 1: good night with your friend. I feel like me and

1139
00:58:37,960 --> 00:58:38,960
Speaker 1: you are famous.

1140
00:58:39,000 --> 00:58:41,840
Speaker 2: Dinner parties consist of us sitting around ordering like one

1141
00:58:41,920 --> 00:58:44,320
Speaker 2: hundred dollars in Postmates and just calling it today.

1142
00:58:44,760 --> 00:58:49,040
Speaker 1: That's a famous dinner party. That's a real famous dinner party. Yeah.

1143
00:58:49,080 --> 00:58:52,400
Speaker 2: I missed them terribly, So like, yeah, over the course

1144
00:58:52,440 --> 00:58:55,040
Speaker 2: of the movie, I think you, like you start understanding

1145
00:58:55,080 --> 00:58:57,960
Speaker 2: like Pinky is like melding into her life in all

1146
00:58:57,960 --> 00:59:00,520
Speaker 2: these really disturbing ways, and she's like where her clothes

1147
00:59:00,560 --> 00:59:05,040
Speaker 2: and stealing her diary and her Social Security number and

1148
00:59:05,200 --> 00:59:09,360
Speaker 2: just sort of like inserting herself. There's this she's inserting

1149
00:59:09,360 --> 00:59:12,160
Speaker 2: herself into this weird relationship that Milly kind of already

1150
00:59:12,280 --> 00:59:16,880
Speaker 2: established with the landlord of the building and his wife.

1151
00:59:17,280 --> 00:59:21,440
Speaker 2: So the wife is named Willie and Edgar is the

1152
00:59:22,280 --> 00:59:27,520
Speaker 2: is the landlord. Now Willie is essentially the woman in

1153
00:59:27,560 --> 00:59:29,720
Speaker 2: the pool. I know a lot of people remember like

1154
00:59:29,840 --> 00:59:32,640
Speaker 2: the art from the movie, and she's the kind of

1155
00:59:32,760 --> 00:59:36,560
Speaker 2: silent woman who is pregnant and she's painting all these

1156
00:59:36,600 --> 00:59:39,320
Speaker 2: like really crazy paintings in the in the bottoms of

1157
00:59:39,320 --> 00:59:44,160
Speaker 2: the pools. And her husband runs like a bar and

1158
00:59:44,240 --> 00:59:48,560
Speaker 2: this purple stage apartment complex or whatever, and he's like

1159
00:59:49,680 --> 00:59:52,240
Speaker 2: kind of like a cat. He's like an old he

1160
00:59:52,280 --> 00:59:55,400
Speaker 2: apparently used to star in westerns, according to you know

1161
00:59:55,560 --> 00:59:58,400
Speaker 2: what Millie says about him, and he's just like a

1162
00:59:58,520 --> 01:00:00,200
Speaker 2: cheeseball old guy.

1163
01:00:00,680 --> 01:00:02,000
Speaker 1: And Millie is.

1164
01:00:02,160 --> 01:00:04,600
Speaker 2: Sort of having an affair with him, and then Pinky

1165
01:00:04,960 --> 01:00:07,160
Speaker 2: eventually kind of starts moving into.

1166
01:00:06,880 --> 01:00:09,040
Speaker 1: It too, and it's just very bizarre.

1167
01:00:09,600 --> 01:00:12,000
Speaker 2: So over time you're kind of going like, man, is

1168
01:00:12,040 --> 01:00:14,280
Speaker 2: Pinky like this weird grifter? And is she just gonna

1169
01:00:14,320 --> 01:00:16,880
Speaker 2: like bump Milly off or something? Because what's her what's

1170
01:00:16,880 --> 01:00:19,720
Speaker 2: her deal? And she's like totally obsessed.

1171
01:00:19,360 --> 01:00:22,920
Speaker 1: With her, and it's it's I don't know.

1172
01:00:23,080 --> 01:00:27,840
Speaker 2: Eventually it starts seeing kind of events happen where the

1173
01:00:27,960 --> 01:00:30,720
Speaker 2: women in the movie are kind of switching roles and

1174
01:00:30,760 --> 01:00:34,040
Speaker 2: they're kind of becoming each other and adopting each other's personalities,

1175
01:00:34,120 --> 01:00:37,800
Speaker 2: and there's times where like someone's kind of being.

1176
01:00:37,600 --> 01:00:39,959
Speaker 1: A mother figure to another character, and.

1177
01:00:40,640 --> 01:00:43,800
Speaker 2: It's just very bizarre and it's it's spooky.

1178
01:00:43,960 --> 01:00:46,280
Speaker 1: There's like a bunch of spooky music in it.

1179
01:00:46,520 --> 01:00:50,280
Speaker 2: The paintings keep showing up like they're just kind of

1180
01:00:50,840 --> 01:00:53,800
Speaker 2: you know, cut into these scenes and the paintings are

1181
01:00:53,920 --> 01:00:56,400
Speaker 2: very kind of violent and disturbing, and it's just it's

1182
01:00:56,520 --> 01:00:57,000
Speaker 2: just weird.

1183
01:00:57,080 --> 01:01:00,440
Speaker 1: And and let me ask you something. Yeah, if I can,

1184
01:01:00,520 --> 01:01:04,400
Speaker 1: I'm gonna ask you a question. Okay. Not being a

1185
01:01:04,440 --> 01:01:08,920
Speaker 1: scholar is part of the reason why people jizz all

1186
01:01:08,960 --> 01:01:13,280
Speaker 1: over Robert Altman, the fact that he like does those long,

1187
01:01:13,520 --> 01:01:16,920
Speaker 1: lingering shots on things, because you know how like he'll

1188
01:01:17,000 --> 01:01:20,080
Speaker 1: kind of be far away and then as he's pulling

1189
01:01:20,120 --> 01:01:22,800
Speaker 1: in and you're like, okay, he's just fully getting closer

1190
01:01:22,840 --> 01:01:26,400
Speaker 1: to this cannabi cream for apparently no reason. Yeah, And

1191
01:01:26,480 --> 01:01:28,200
Speaker 1: like he does that with the paintings, and he does

1192
01:01:28,240 --> 01:01:30,200
Speaker 1: that with the women, and I'm like, this is the

1193
01:01:30,280 --> 01:01:33,439
Speaker 1: jiz moment right where people are like, it's fucking a genius, man,

1194
01:01:33,760 --> 01:01:37,160
Speaker 1: fucking genius. Like I'm just looking at a cannopi with

1195
01:01:37,240 --> 01:01:39,440
Speaker 1: cream for twenty seconds. What's going on? Listen?

1196
01:01:40,200 --> 01:01:45,360
Speaker 2: Kubrick did it. And these are two guys Altman and Kubrick.

1197
01:01:45,440 --> 01:01:49,880
Speaker 2: Where you will walk into a graduate film program and

1198
01:01:50,000 --> 01:01:53,560
Speaker 2: any school in the world and people are like going

1199
01:01:53,680 --> 01:01:56,360
Speaker 2: five hours long on these dudes movies, Like.

1200
01:01:56,320 --> 01:01:58,840
Speaker 1: It's just right, you know, and I don't dislike it.

1201
01:01:58,840 --> 01:02:02,320
Speaker 1: It's just like this all that you need to make

1202
01:02:02,360 --> 01:02:04,920
Speaker 1: this like put this guy in the cannon.

1203
01:02:07,800 --> 01:02:12,520
Speaker 2: No, I understand what you're saying completely, And as a

1204
01:02:12,840 --> 01:02:13,919
Speaker 2: film person, I.

1205
01:02:13,960 --> 01:02:16,560
Speaker 1: Even go, Okay, what's going on here? Like what does

1206
01:02:16,600 --> 01:02:19,480
Speaker 1: this mean? What is the meaning behind this? And why

1207
01:02:19,520 --> 01:02:22,600
Speaker 1: do I because like, the women were so fascinating to

1208
01:02:22,640 --> 01:02:25,920
Speaker 1: me in that the way that their relationships worked and

1209
01:02:25,960 --> 01:02:28,840
Speaker 1: the fact that Willie was mostly silent throughout most of

1210
01:02:28,840 --> 01:02:33,240
Speaker 1: the movie and only speaks at like these two crucial moments,

1211
01:02:34,080 --> 01:02:36,200
Speaker 1: one of them being at the very end, and so

1212
01:02:36,280 --> 01:02:38,080
Speaker 1: you're kind of like that to me is way more

1213
01:02:38,120 --> 01:02:40,760
Speaker 1: interesting than the lingering shot on the whip creams, Like

1214
01:02:40,800 --> 01:02:44,800
Speaker 1: I love what he's doing with kind of inadvertently discussing

1215
01:02:44,960 --> 01:02:49,400
Speaker 1: the ways that these women are infiltrating each other's lives.

1216
01:02:49,840 --> 01:02:52,880
Speaker 2: Yeah, and I think that, you know, there's something to

1217
01:02:52,920 --> 01:02:55,800
Speaker 2: be said about how each of the women kind of

1218
01:02:55,880 --> 01:03:01,440
Speaker 2: performs a version of femininity, like where there's like a

1219
01:03:01,840 --> 01:03:07,320
Speaker 2: silent mother, like a strong silent mom character, and then

1220
01:03:07,320 --> 01:03:10,200
Speaker 2: there's like a little girl. Then there's like a modern

1221
01:03:11,080 --> 01:03:13,800
Speaker 2: you know, sex craze like party chick. The weirdest thing

1222
01:03:13,880 --> 01:03:15,920
Speaker 2: is I think the Edgar character is not even fully

1223
01:03:15,920 --> 01:03:18,960
Speaker 2: fleshed out, which I like to a certain degree, But

1224
01:03:19,000 --> 01:03:22,040
Speaker 2: I also think that he is a connective tissue to

1225
01:03:22,160 --> 01:03:27,600
Speaker 2: the three of them. The ambiguousness of Three Women is

1226
01:03:27,880 --> 01:03:30,560
Speaker 2: fun to think about a lot of times for me

1227
01:03:30,680 --> 01:03:34,440
Speaker 2: and then there, but there are moments too where I'm like, Okay,

1228
01:03:34,480 --> 01:03:36,440
Speaker 2: maybe I'm like thinking about this too hard. Like I

1229
01:03:36,440 --> 01:03:38,600
Speaker 2: definitely didn't smoke it a weed for this movie right now.

1230
01:03:38,720 --> 01:03:40,480
Speaker 2: So if I was like back in grad school, right

1231
01:03:40,520 --> 01:03:43,400
Speaker 2: and I was writing a paper on like semiotics or something,

1232
01:03:43,480 --> 01:03:47,440
Speaker 2: I would say that the apartment, much like in Clute,

1233
01:03:48,760 --> 01:03:52,040
Speaker 2: I feel like the apartment in Three Women is this

1234
01:03:52,120 --> 01:03:56,840
Speaker 2: kind of like manifestation of this like personality that like

1235
01:03:56,920 --> 01:03:59,760
Speaker 2: Pinky and Milly sort of aspire to, which is that

1236
01:03:59,800 --> 01:04:02,480
Speaker 2: they want to be this like put together modern woman

1237
01:04:02,880 --> 01:04:05,240
Speaker 2: who like has it all and she's like cooking and

1238
01:04:05,280 --> 01:04:09,400
Speaker 2: she's entertaining, and she has gentlemen callers and and a

1239
01:04:09,520 --> 01:04:12,760
Speaker 2: rollaway bed for when they get to sleep with guys.

1240
01:04:12,840 --> 01:04:16,520
Speaker 2: And I just think that over time through this movie,

1241
01:04:16,520 --> 01:04:20,240
Speaker 2: you're seeing like Pinky and Milly constantly like asserting their

1242
01:04:20,280 --> 01:04:23,560
Speaker 2: dominance over each other in this apartment, right.

1243
01:04:23,440 --> 01:04:28,520
Speaker 1: And this apartment is is the space of abnormality for

1244
01:04:28,560 --> 01:04:32,480
Speaker 1: their friendship, but it's also a space of complete discord

1245
01:04:32,600 --> 01:04:33,200
Speaker 1: for their Lila.

1246
01:04:33,760 --> 01:04:36,840
Speaker 2: Yeah, and like they're just you know, towards the end,

1247
01:04:37,000 --> 01:04:42,120
Speaker 2: when you know, the Milli character and the Pinky character

1248
01:04:42,320 --> 01:04:46,280
Speaker 2: are sort of like evolving and changing, and Pinky becomes

1249
01:04:46,360 --> 01:04:49,840
Speaker 2: more like Millie. She's becoming more assertive. She's like drinking

1250
01:04:49,960 --> 01:04:52,760
Speaker 2: beer and you know, shooting guns out back of the bar,

1251
01:04:52,920 --> 01:04:56,400
Speaker 2: and she's like essentially like, wouldn't it be great if

1252
01:04:56,400 --> 01:04:58,200
Speaker 2: you just moved out and I just lived here and

1253
01:04:58,560 --> 01:05:00,800
Speaker 2: you know, and.

1254
01:05:00,760 --> 01:05:03,680
Speaker 1: You're kind of like, oh damn, Like have I kept

1255
01:05:03,680 --> 01:05:04,960
Speaker 1: your sales security number?

1256
01:05:05,400 --> 01:05:11,680
Speaker 2: Yeah, it's like you know what, Actually this place is dope.

1257
01:05:12,240 --> 01:05:16,960
Speaker 2: I love all the yellow. It really you know, doesn't

1258
01:05:17,000 --> 01:05:19,520
Speaker 2: disturb me in any way. And I want you who

1259
01:05:19,600 --> 01:05:20,440
Speaker 2: created it to.

1260
01:05:20,480 --> 01:05:25,600
Speaker 1: Leave so I can live there. So it's creating the esthetic. Yeah.

1261
01:05:25,760 --> 01:05:28,520
Speaker 2: So it's it's so crazy, but I love I love

1262
01:05:28,560 --> 01:05:32,120
Speaker 2: this movie so much. I feel like, yeah, it's so

1263
01:05:32,280 --> 01:05:37,160
Speaker 2: textured and interesting and and actually is very spooky and

1264
01:05:37,200 --> 01:05:40,640
Speaker 2: creepy and kind of is a horror movie when it

1265
01:05:40,640 --> 01:05:43,280
Speaker 2: comes down to it, and maybe should be seen as

1266
01:05:43,280 --> 01:05:45,200
Speaker 2: a horror movie and and maybe that's why I like

1267
01:05:45,240 --> 01:05:49,520
Speaker 2: it so much. But you know, that apartment is unforgettable,

1268
01:05:50,080 --> 01:05:51,600
Speaker 2: and I am believable.

1269
01:05:52,080 --> 01:05:56,200
Speaker 1: I just can't get enough. So I love those flower

1270
01:05:56,320 --> 01:06:00,560
Speaker 1: cushions of the pool, the big seventies flower past, and

1271
01:06:00,680 --> 01:06:03,760
Speaker 1: like there's just such everywhere they go. There's so many touching,

1272
01:06:04,680 --> 01:06:07,560
Speaker 1: really sentimental things that were very seventies to be.

1273
01:06:08,000 --> 01:06:13,680
Speaker 2: Yeah, I think it's like, honestly the opposite of breeze apartment,

1274
01:06:13,760 --> 01:06:16,520
Speaker 2: which is that Bree's apartment is really lived in and

1275
01:06:17,400 --> 01:06:20,400
Speaker 2: cool and hip and like, yeah, we're gonna read astrology

1276
01:06:20,400 --> 01:06:23,960
Speaker 2: and smoke joints, and like Millie's apartment is like, don't

1277
01:06:23,960 --> 01:06:27,280
Speaker 2: touch anything, take your shoes off when you come in,

1278
01:06:28,600 --> 01:06:33,280
Speaker 2: don't fucking look at any of my statuettes, or you can't.

1279
01:06:33,320 --> 01:06:35,080
Speaker 2: You will have to drink out of a plastic cup.

1280
01:06:36,320 --> 01:06:42,400
Speaker 1: Don't touch my precious moments, figurine. If Bree's apartment is like,

1281
01:06:42,640 --> 01:06:46,880
Speaker 1: come on in, make yourself comfortable, Millie's apartment is how

1282
01:06:47,040 --> 01:06:54,520
Speaker 1: dare you? That is the full vibe beginning to completely

1283
01:06:57,200 --> 01:06:59,560
Speaker 1: Oh my god, Well, thank you guys so much for

1284
01:06:59,640 --> 01:07:03,400
Speaker 1: joining us. Should we give the movies for next week

1285
01:07:03,400 --> 01:07:06,040
Speaker 1: and let people guess the theme. Yes, I will be

1286
01:07:06,080 --> 01:07:10,400
Speaker 1: happy to give you these movies. The films for next

1287
01:07:10,440 --> 01:07:17,920
Speaker 1: week's episode are Hood from nineteen sixty three and Nobody's

1288
01:07:18,040 --> 01:07:22,760
Speaker 1: Full from nineteen ninety four. So that's your homework. Get

1289
01:07:22,800 --> 01:07:24,080
Speaker 1: on that team, y'all.

1290
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Speaker 2: Yeah, And so just a quick shout out for our

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Speaker 2: social media. We're on Instagram and Twitter at I Saw

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Speaker 2: pod and if you want to email us, which is

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01:07:38,000 --> 01:07:39,560
Speaker 2: the best way to get a hold of us, if

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01:07:39,560 --> 01:07:42,640
Speaker 2: you want to like talk about movies or ask about

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01:07:42,680 --> 01:07:47,200
Speaker 2: a movie, or like suggest the theme. Suggest the theme

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01:07:47,320 --> 01:07:49,800
Speaker 2: of course is I Saw What you did pod at

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Speaker 2: gmail dot.

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01:07:50,760 --> 01:07:53,320
Speaker 1: Com and just suggest the theme. We don't need the

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Speaker 1: movie suggestions. We're already overlooked.

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Speaker 2: We're literally like cutting things down to the minute before

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Speaker 2: we record.

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Speaker 1: So we got a lot. But we get it. We

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Speaker 1: see you, we get it, we see you, we see you. Oh,

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01:08:07,440 --> 01:08:10,880
Speaker 1: this is great. Thanks Milly, Thanks Danielle. I'll talk to

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01:08:10,920 --> 01:08:19,559
Speaker 1: you later. Bye bye. This has been an exactly right production.

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Speaker 1: Our producer is Lauren Elizabeth Brown. Our engineers Analise Nelson.

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01:08:23,640 --> 01:08:26,719
Speaker 1: Our social media assistant is Taren Matza. Our theme songs

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01:08:26,720 --> 01:08:30,200
Speaker 1: by Tom bry Fogel, artwork by Garrett Ross. Our executive

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Speaker 1: producers are Georgia Hartstark, Karen Cooke, Gareth and Danielle Kramer.

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Speaker 1: You can follow us on Instagram and Twitter at I

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01:08:36,000 --> 01:08:39,000
Speaker 1: saw Pod and please listen, subscribe, and leave us a

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01:08:39,000 --> 01:08:42,400
Speaker 1: review on Apple Podcast, Stitcher, or wherever you listen