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Speaker 1: Hello and welcome.

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Speaker 2: My name is Joel Monique and I'm Carmen Lalan.

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Speaker 3: And welcome to x Ray Vision Extras and Xtra Vision series,

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Speaker 3: where we died deep into even more of your favorite shows, movies,

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Speaker 3: comics and pop culture. Every superhero team needs side quest,

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Speaker 3: and our rotating panel of producers and guest hosts will

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Speaker 3: be submitting to help Jason and Rosie cover all of

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Speaker 3: the amazing nerd content out there.

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Speaker 2: We're back today with a new series of extras in

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Speaker 2: preparation for the highly anticipated Nose Fit upo by these

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Speaker 2: two horror girlies, myself and Joelle, and we're going to

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Speaker 2: be recapping the filmography of Robert Eggers and talking about

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Speaker 2: him as a director. Thus and today we're starting with

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Speaker 2: his first feature length film.

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Speaker 1: The Witch. Oh my gosh.

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Speaker 3: The Witch is a film that follows Tomlinson, a girl

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Speaker 3: whose parents traveled to the New World to start over,

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Speaker 3: and as she is kicked out of the community with

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Speaker 3: the rest of her family because their father is a

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Speaker 3: street preacher who is loud and annoying and when they

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Speaker 3: asked him to calm down, he said, I'd rather live alone,

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Speaker 3: and she said, and.

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Speaker 1: So has no choice.

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Speaker 3: They got to the woods to try to conquer nature

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Speaker 3: in the ways of all white men.

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Speaker 1: And it doesn't go well.

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Speaker 3: You know, the crops they don't grow, the animals mean

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Speaker 3: as hell, and then the family starts to turn on

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Speaker 3: each other and that's pretty brutal. And mostly they're angry

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Speaker 3: at Tomlinson for bizarre reasons. You know, the sun is

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Speaker 3: sexually attracted to her, that's weird. The dad he sells

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Speaker 3: his wife's jewelry and then blames it on his daughter,

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Speaker 3: effin coward. And then yeah, the mom is I really

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Speaker 3: think she's jealous of her beauty. And then later her

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Speaker 3: youngest child is stolen by a witch while Thomlinson was

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Speaker 3: watching her, and so now they're mad.

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Speaker 1: The mom's really mad.

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Speaker 3: Okay, then it really just dissolves into atmospheric craziness where

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Speaker 3: they're just picking at each other.

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Speaker 1: Mom breastfeeds a crow. More on that.

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Speaker 3: Later, people start dying, children die, want to stick into

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Speaker 3: the woods by a witch?

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Speaker 1: How does a little sister die?

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Speaker 2: Little sister dies from just like they're praying over oh right, Caleb,

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Speaker 2: and she like tells she's like insisting that they get

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Speaker 2: down on their knees to do their prayers. And they

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Speaker 2: just like fall over. They're just like they just like

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Speaker 2: drop dead.

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Speaker 1: Yeah.

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Speaker 3: Wow, yes, just from the chaos of it all, the

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Speaker 3: twin bond, it was, it's strange. Okay, so that's really spooky.

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Speaker 3: And then Dad tries to fight a goat and it

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Speaker 3: doesn't go well. It does pretty bad.

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Speaker 2: Dad dies from trying to fight the goat. And then yeah,

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Speaker 2: it all ends with a showdown between Mom and thomasin.

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Speaker 3: Yeah, and Thompson wins, thank god, because honestly she deserves

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Speaker 3: We'll get into more. Is this good for her film

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Speaker 3: or not? And then yeah, and then it ends with

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Speaker 3: the devil black the goat on the farm, coming with a.

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Speaker 1: Great question, what is that like to live? Deliciously?

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Speaker 3: Twich Tonson says, oh, yeah, look, yeah, I can't sign

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Speaker 3: my name, but I'm in, and he's like, great, don't

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Speaker 3: worry about it, babe, I got you. And she goes

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Speaker 3: and has the naked rave in the woods with her

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Speaker 3: new witch buddies and learns to fly. Honestly, the best

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Speaker 3: possible ending for this story, and that is a crazy

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Speaker 3: we can't of the witch.

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Speaker 1: The witch.

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Speaker 2: Yeah, and the first time we see her smile is

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Speaker 2: when she becomes a witch. Finally, so I say it

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Speaker 2: is yeah, but will with more on that.

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Speaker 3: In the episode she got a peekaboo smile and then

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Speaker 3: right at the end and she's like, I'm actually free.

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Speaker 3: You never have to watch another child ever again in life.

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Speaker 3: I agree, what a choice. Okay, let's get into this movie.

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Speaker 3: I was really excited when we sort of talked about

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Speaker 3: doing this series.

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Speaker 1: Egress is a really interesting new like guy on the scene.

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Speaker 3: He comes along in his early thirties. I think he's

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Speaker 3: thirty one thirty two when The Witch drops in twenty fifteen,

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Speaker 3: and he had done a series of short films that were,

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Speaker 3: you know, in his own words, not good, and then

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Speaker 3: he made a proof of concept with Brothers and that

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Speaker 3: sparks some attention.

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Speaker 1: Brothers becomes the.

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Speaker 3: Witch, and it was such a revelation for me this

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Speaker 3: film because it has all of the things I like

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Speaker 3: in a horror movie and have missed and I don't

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Speaker 3: really think we've been served since a night.

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Speaker 1: Shamalan's The Village.

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Speaker 3: The Village, okay, which is a film I walked away loving,

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Speaker 3: So prepare yourselves for whatever that might mean.

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Speaker 1: I was thirteen. I lo came Village. Also, Phila, I

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Speaker 1: got Carmen's sisters. I love it. Yeah.

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Speaker 3: I was like, listen, it's creepy, it's weird, it's a

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Speaker 3: lot of vibes. I don't think there are a lot

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Speaker 3: of similarities between this film and The Witch and the

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Speaker 3: village other than setting, but I had been missing the vibes,

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Speaker 3: you know, and so to come back to a director who's.

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Speaker 1: All about atmosphere, I was really really excited.

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Speaker 3: Carmen, When did you first see this film and how

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Speaker 3: did you feel after watching it?

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Speaker 2: You know, every October, except for this past October because

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Speaker 2: I was I was on a cruise ship. Every October,

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Speaker 2: I like to do a I like to do a

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Speaker 2: Halloween you know, list of movies every day to challenge

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Speaker 2: myself to watch. So about two years ago, you know,

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Speaker 2: they were like, watch a movie about witches, and I

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Speaker 2: was like, oh, well, I've always wanted to watch The Witch.

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Speaker 2: Finally put it on and I loved it. I didn't

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Speaker 2: fully and I was just saying this before we started recording.

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Speaker 2: I didn't fully understand it on my first watch, but

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Speaker 2: I knew that I loved it. And then when I

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Speaker 2: went back and watched it for the second time in

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Speaker 2: preparation for this I was like, Oh, I fucking love

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Speaker 2: this movie and I need to watch this every year,

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Speaker 2: maybe multiple times a year, because it's so good.

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Speaker 3: What is it that you love about the movie specifically?

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Speaker 2: Oh, my gosh, so first of all vibes. We've been

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Speaker 2: talking about the vibes. Okay, it is, in my opinion,

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Speaker 2: the perfect example of you know, great cinematography, great sound design,

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Speaker 2: great location, and just a perfect, perfect use of such

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Speaker 2: a small budget as well. It blows my mind that

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Speaker 2: this movie only has a four million dollar budget, right, yeah,

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Speaker 2: And it looks as good as it does, and it's

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Speaker 2: as like fully like it feels as fully fleshed out

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Speaker 2: as it does. And I think the other thing I

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Speaker 2: really enjoy about this movie is that it's also a

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Speaker 2: perfect example of why ninety minute movies are the perfect

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Speaker 2: kind of.

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Speaker 1: Movie king makers.

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Speaker 2: Yes, yes, I love Christopher Nolan, but sometimes he needs

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Speaker 2: to edit, okay, And you know, Robert Eggers really makes

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Speaker 2: a great use out of these ninety minutes. And it

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Speaker 2: really doesn't feel like any moment of the movie is wasted.

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Speaker 2: It doesn't feel like anything is is indulgent or anything

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Speaker 2: at all. It feels like each minute really takes you

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Speaker 2: on a really awesome journey.

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Speaker 3: You know, I agree, and it sort of goes into

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Speaker 3: what I love about this movie, but also a large

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Speaker 3: critique of the film.

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Speaker 1: So yeah, one of the.

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Speaker 3: Biggest critiques of the film is they're like, oh, it

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Speaker 3: feels draggy in points like it there are some and

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Speaker 3: I don't mean like drag performances, I mean like it

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Speaker 3: lags in some spaces. Yeah, like, yeah, there's two at aspheric,

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Speaker 3: there are not there's nothing driving the story forward. I

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Speaker 3: completely disagree. Like that's a really mind boggling statement. It's

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Speaker 3: a feeling a lot of people have. But for me,

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Speaker 3: what I love about the film is like a really

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Speaker 3: character study on a family. Yes, for me, I walk

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Speaker 3: away thinking about a pious father who thinks he knows

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Speaker 3: best for everyone so much so that he shuns society.

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Speaker 3: Has like this very toxic masculine idea of like I

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Speaker 3: will conquer the woods, and if you think about manifestociny

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Speaker 3: in this country and these being like an early settler

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Speaker 3: and sort of embodying that idea, and too, on top

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Speaker 3: of that, you get like the creation of Anya Taylor

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Speaker 3: joy am I that I mean, this is a superstar

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Speaker 3: vehicle that launched a Superstar because it's such a challenging role.

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Speaker 3: Dialogue alone is really really intensely difficult. Eggers pulled a

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Speaker 3: lot of these lines directly from historical texts. You have

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Speaker 3: a lot of great character actors doing some really great work,

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Speaker 3: and then you get this mythos created around the woods.

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Speaker 3: And if you're a person who like it, we both

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Speaker 3: like horror. I mean, American horror really derives from two places.

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Speaker 1: It's everywhere.

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Speaker 3: Like you can come to the Southwest and there's a

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Speaker 3: lot of desert horror stories. There's a lot of mountain

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Speaker 3: horror stories. These are vital. But I think for me,

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Speaker 3: or at least in the way I was educated, I'm

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Speaker 3: leaving a lot of caveats because I'm not a historian.

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Speaker 3: I don't want to claim anything, but I think a

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Speaker 3: lot of really great history comes out of Louisiana and

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Speaker 3: our swamps are deep South spaces and New England and

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Speaker 3: the woods.

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Speaker 1: I grew up in the woods. My backyard was a

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Speaker 1: state park.

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Speaker 2: Oh wow, this is creepy.

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Speaker 3: Maybe making a lot of like cracky noises, things be

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Speaker 3: slithering out, people disappear within, and he cantually embodies all

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Speaker 3: of that, but he does it all of that tonally

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Speaker 3: within the family dynamic, and what you're seeing and experiencing

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Speaker 3: throughout this film is a family rejecting an out broken daughter.

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Speaker 3: Egger said that he selected Anya because at first he

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Speaker 3: was gonna have Tomlinson be really homely, kind of ugly,

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Speaker 3: and he was like, but our main character needed to

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Speaker 3: be somebody who could never be a puritan, right, would

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Speaker 3: absolutely have to be rejected, Like Anya Taylor Joy is gorgeous,

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Speaker 3: so there's going to naturally be a covetous nature around her,

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Speaker 3: whether that's sexual or she's the popular girl or whatever.

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Speaker 3: Like that stirs in humans some kind of conflict immediately.

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Speaker 3: Nothing needs to happen, It just naturally occurs within us, right,

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Speaker 3: and when you brace it against a fanatical father and

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Speaker 3: then isolate them.

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Speaker 1: He said that a big inspiration was, uh, the shining. Yeah,

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Speaker 1: the shining.

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Speaker 2: He said he's embarrassed how much he sees the shining

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Speaker 2: in this movie when he goes back and watches it, and.

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Speaker 1: Don't be embarrassed. Bro, Yeah, I don't you made it

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Speaker 1: much cooler.

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Speaker 3: I don't want to say cooler, but yeah, like the

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Speaker 3: choices you made to build on again, if you're a

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Speaker 3: person who's costantly building a narrative.

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Speaker 1: I guess is I don't see any reason that taking.

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Speaker 3: From the best and yeah, yeah, twisting it in a

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Speaker 3: way that makes it interesting and fun in a new

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Speaker 3: way for your audience.

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Speaker 1: I think that's just storytelling.

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Speaker 2: Because I would have never have if I had not

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Speaker 2: watched the interview where he talks about how much the

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Speaker 2: Shining inspired him for this, I would have never really

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Speaker 2: pieced that together myself.

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Speaker 1: It's not the first thing that comes to mind.

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Speaker 2: Yeah, because it's not even in the same sort of setting.

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Speaker 1: But yeah, not Yeah, the setting is different.

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Speaker 3: Your father, while a fanatic, is not necessarily a villain, right,

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Speaker 3: And that's really interesting, Like he's really.

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Speaker 2: Trying to hold the family together, but also right the

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Speaker 2: reason that they're out there.

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Speaker 3: Yeah, through a flawed pretense, Like he really believes if

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Speaker 3: I love God enough and I am devout enough, then

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Speaker 3: I will be able to do the thing that's been

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Speaker 3: promised to me by my culture, the thing I left

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Speaker 3: my home country to do, which is to establish this

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Speaker 3: new land as a free space God. Okay, that totally

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Speaker 3: makes sense for this character. And I think knowing that

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Speaker 3: having a pious wife on top of that, who's clearly

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Speaker 3: so jealous of her daughter. Watching the two younger siblings

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Speaker 3: completely one has a creepy, weird sexual obsession with his sister,

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Speaker 3: and the other it's kind of like she's a child,

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Speaker 3: but she's kind of bratty. Can we call out baby

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Speaker 3: girl for this? She's a little bratty. She's not a wind, yes,

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Speaker 3: but she's a little bratty. Boy creepy needs to see

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Speaker 3: a therapist. Not gonna find one out in these woods.

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Speaker 3: And so I think just as a woman in America

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Speaker 3: and the very idea of like, okay, this is early

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Speaker 3: settlers were really looking at an American story really tainted

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Speaker 3: by a Christian belief to the point of complete isolation.

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Speaker 3: And then you have a young woman who's she's just

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Speaker 3: trying to free think and like eat and have nice things,

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Speaker 3: and people are like, you're bad. Her father lies on her.

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Speaker 3: I says, wasn't going to be a recap. Let me

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Speaker 3: tighten this up. I think that I really connect with

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Speaker 3: Tominson as a character as somebody who's like, I don't

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Speaker 3: understand why who and what I am is so offensive

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Speaker 3: to everyone? Yes, and her journey it's why Okay, to

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Speaker 3: conclude on this part, do you think this is a good.

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Speaker 1: For her movie kind of I think it is.

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Speaker 2: And then there's like two ways that I think you

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Speaker 2: could interpret, like the ending of the movie, and there's

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Speaker 2: a lot of foreshadowing throughout the movie. So the first

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Speaker 2: way that I want to interpret it is that she

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Speaker 2: is actually being led to becoming a witch the entire

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Speaker 2: throughout the entire movie.

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Speaker 1: Oh yeah, and it's just.

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Speaker 2: Kind of like she's not even aware of it, but

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Speaker 2: her fam what her family is accusing her of and

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Speaker 2: all of this, She's subconsciously being led to becoming a

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Speaker 2: witch by this witch in the woods, because there's the

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Speaker 2: whole conversation where she like jokes about being the witch

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Speaker 2: in the woods. We get all these familiars that are

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Speaker 2: showing up to the house and seemingly trying to connect

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Speaker 2: with her. But then the other mind, you know, the

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Speaker 2: other way I think of it, or I interpret it

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Speaker 2: is her family rejects her so much, which is something

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Speaker 2: that I also relate a lot to of course in

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Speaker 2: this movie when I watch it as like being villainized

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Speaker 2: by your family, being rejected by your family, and they

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Speaker 2: reject her so much that she is forced to becoming

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Speaker 2: a witch as her only other way forward.

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Speaker 1: You know, and like and.

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Speaker 2: All of the bad things that they've said about her,

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Speaker 2: and all of these things become true because they've given

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Speaker 2: her no other other option to explore.

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Speaker 1: I completely agree, And let's we'll pick up.

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Speaker 3: More on that when we come back, and we'll talk

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Speaker 3: about Robert Edgars at the start of his career after

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Speaker 3: this commercial break.

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Speaker 1: And when we're back. Okay, here we are.

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Speaker 3: Okay, So Mariger is really interesting kind of dude. I

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Speaker 3: watched a ton of energies in preparation for our discussion,

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Speaker 3: and something that kept coming up is people wanted to

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Speaker 3: understand if I remember, this is before we have the Lighthouse,

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Speaker 3: before we understand really more intently, the obsession with history

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Speaker 3: with the Northmen. They were like, do you believe in witches?

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Speaker 3: It is so like what which literature are you reading?

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Speaker 3: And what about God? Like, what's your relationship with God?

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Speaker 2: Like?

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Speaker 3: And he was very fervent upfront, like I'm not going

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Speaker 3: to talk about my faith, Like I'm keeping that private.

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Speaker 1: That's a choice I'm making.

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Speaker 3: It's a thing I think we'll come back to again

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Speaker 3: and again in this series as we examine his films.

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Speaker 3: I think people kind of can't help but want to

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Speaker 3: know the artists behind the art. Particularly if you're struck

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Speaker 3: by this, I will say what I I find really

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Speaker 3: interesting about Edgar's the stuff that he does choose to reveal.

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Speaker 1: So one I watched a lot of interviews.

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Speaker 3: My favorite was an interview speech combo from BAFTA that

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Speaker 3: he did in.

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Speaker 1: Like I think twenty nineteen.

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Speaker 3: It's after the Lighthouse but before the Northman, and in

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Speaker 3: it he says that he's really happy that people view

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Speaker 3: The Witch as a feminist film, despite the fact that

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Speaker 3: he didn't set out to make a feminist film. He

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Speaker 3: actually set out to make a film about literally the

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Speaker 3: Witch in the woods. He said, early drafts mostly featured

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Speaker 3: her and how she was coming after the family, but

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Speaker 3: as investors and producers were around, they had suggested sort

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Speaker 3: of flipping that angle and making Tomlinson the main character

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Speaker 3: and allowing.

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Speaker 1: The Witch to be this sort of secret thing.

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Speaker 3: So when you understand like that really opened up my

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Speaker 3: head a little bit about how much impact because I

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Speaker 3: didn't think the witches were having a lot of impact

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Speaker 3: to you know, before we went to break, you were

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Speaker 3: talking about how much she felt that Tomlinson had no

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Speaker 3: other choice, she had to become a witch.

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Speaker 1: It's much more sinister to I think view film.

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Speaker 3: Oh, there's a plan happening behind all of this and

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Speaker 3: it's working. Yes, How did you feel about like, if

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Speaker 3: you walk away from this film, do you think there

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Speaker 3: is and how do I want to I was gonna

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Speaker 3: ask you if you think there's a villain, But I

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Speaker 3: think that's a silly question.

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Speaker 1: I guess.

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Speaker 3: Here's the other thing that a lot of folks were

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Speaker 3: sort of debating, is is this a horror film or not?

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Speaker 1: Right?

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Speaker 3: Is it a psychological thriller or a horror film? Is

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Speaker 3: there something that's driving this in either direction?

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Speaker 1: For you? I see it as kind of both.

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Speaker 2: I feel like there it truly is in my opinion,

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Speaker 2: it's like a good old classic horror film. But it

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Speaker 2: does have those elements of psychological thriller in the sense

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Speaker 2: that like the family's heads are constantly being fucked with,

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Speaker 2: and and the mom is being messed with because of

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Speaker 2: the death of her, her children, Thomasin is being messed

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Speaker 2: with because of the being blamed for all of these

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Speaker 2: deaths of the children and the family. But the horror

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Speaker 2: elements for me are the creepy, just like atmospheric things

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Speaker 2: that are going on, like I love all of the

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Speaker 2: different appearances of the familiars. I love when we go

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Speaker 2: into the woods and we really see like one of

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Speaker 2: the most chilling scenes is when we see the Witch

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Speaker 2: in her young form and yes.

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Speaker 3: She she snatches donning, Yes she's sunnying. I too would

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Speaker 3: follow Caleb Calees, Caleb, the eldest brother, Caleb. Yes, I

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Speaker 3: would absolutely follow this gorgeh beauty into the woods as

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Speaker 3: she were to promise me literally anything.

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Speaker 2: Yeah, it's it's very chilling. So I think it has

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Speaker 2: elements of both. And then of course, like I didn't

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Speaker 2: mention this at the top, but like people say, you know,

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Speaker 2: you were talking about how people talk about how this

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Speaker 2: is a slow burn and the movie doesn't really start

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Speaker 2: until until Black Phillips shows up. And I disagree, because

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Speaker 2: the movie within the first ten minutes, we kill a baby,

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Speaker 2: we crush up the baby, and we're we're bathing our body.

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Speaker 1: Sound is horrible. Yes, the carbon the baby bones crushing

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Speaker 1: in the being mashed into a pulp. Oh my god.

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Speaker 2: And so that just sticks with you. That sticks with

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Speaker 2: you the whole rest of the time you're watching the movie.

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Speaker 2: It's so creepy, like it's so scary yeah, the image

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Speaker 2: of the witch like bathing herself in the blood, like

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Speaker 2: it's scary.

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Speaker 1: Yeah, it's genuinely scary.

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Speaker 3: I think there's two key moments to me that's really

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Speaker 3: set this up as a horror film. So one is

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Speaker 3: the opening which Edgar's actually said that he did not

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Speaker 3: want to do the introduction to the film. He fuck

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Speaker 3: it really really hard. But they were like, we need

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Speaker 3: to know what they left behind. We need to understand.

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Speaker 3: This is for me a very key element. You understand

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Speaker 3: who the father is, You understand what is being taken

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Speaker 3: from Tomlinson. In this moment where she's like, I would

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Speaker 3: really like to say, you have the community. You know,

378
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Speaker 3: there's a lot of options for her here. You understand

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Speaker 3: the abject horror of there's no one around like you

380
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Speaker 3: really there's not a lot of people here. At one

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Speaker 3: point you see like like a crew of Indigenous people

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Speaker 3: just like walking by, Like there's a tentative peace in

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Speaker 3: this space that both your knowledge of American history and

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Speaker 3: the closing of that gate really solidify as being like

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Speaker 3: this is all tentative, but you want to be withinside

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Speaker 3: this gate. It's safer inside the gates, right, stupid, don't

387
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Speaker 3: leave especially because they give him so many chances to stay.

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Speaker 3: They're like, bruh, just like repent and don't do that,

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Speaker 3: Like you can't be yelling in the streets about your God.

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Speaker 3: And he's like, no, you're all crazy, you're forgetting why

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Speaker 3: we came, and which I.

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Speaker 1: Meant kind of agrees with him.

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Speaker 2: But then part of me is like, dude, just suck

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Speaker 2: it up and stay.

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Speaker 3: This is what it is to live in a society, sir.

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Speaker 3: It's it's frequently sacrificing and coming to the middle on things.

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Speaker 1: Yeah.

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Speaker 3: No, this was clearly a foolish or immediately you're like,

399
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Speaker 3: oh god, no. The second is the witch scene you describe.

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Speaker 3: Egers grew up in New England, and he said that

401
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Speaker 3: the story he was mentioned specifically coming across graveyards in

402
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Speaker 3: the middle of the woods. He was like, you just

403
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Speaker 3: kind of feel that all this stuff is alive and well.

404
00:21:33,160 --> 00:21:36,280
Speaker 3: He also comes from a background of design. He went

405
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Speaker 3: to the American Music and Dramatic Academy where he studied

406
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Speaker 3: theater design, and one of the ways he builds his

407
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Speaker 3: scripts is by building what he calls a doll house.

408
00:21:48,480 --> 00:21:52,600
Speaker 3: If you think about his films, right lighthouse easy to

409
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Speaker 3: understand how that's a dog dollhouse. You have the cabin

410
00:21:55,280 --> 00:22:00,680
Speaker 3: in the witch in the Northman. It's a little harder

411
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Speaker 3: to see, but I would say he just has multiple

412
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Speaker 3: quote dollhouses. There's the space in Iceland where they all live.

413
00:22:09,160 --> 00:22:12,480
Speaker 3: There's the actual boat that he spends a good amount

414
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Speaker 3: of time on, and then probably the village that they ransack.

415
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Speaker 3: Like those are the three kind of places, and they

416
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Speaker 3: very much drive story forward and you kind of see

417
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Speaker 3: that and in each one he takes time to really

418
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Speaker 3: explore those spaces.

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Speaker 1: I think the.

420
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Speaker 3: Cabin in the woods they shot in Canada, and he

421
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Speaker 3: was saying that it was very difficult to find a

422
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Speaker 3: location because you know, it's cheaper to shoot in Canada.

423
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Speaker 1: That's why way there are a ton of productions. They

424
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Speaker 1: have a like really good tax back rate. But he

425
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Speaker 1: needed the for it.

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Speaker 3: You know, he's a perfectionist when it comes to both

427
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Speaker 3: history and like visuals.

428
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Speaker 1: It just needs to look right.

429
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Speaker 3: So we needed the forest to look like the forest

430
00:22:54,680 --> 00:22:57,320
Speaker 3: from his childhood. So they wound up actually going to

431
00:22:57,359 --> 00:23:00,399
Speaker 3: somewhere very very remote, which force the just sort of

432
00:23:00,440 --> 00:23:02,480
Speaker 3: spent a lot of time together, so they got to

433
00:23:02,680 --> 00:23:06,879
Speaker 3: sort of blend and become a family. Eggers talks about that.

434
00:23:07,040 --> 00:23:10,439
Speaker 3: He makes two cardinal filmmaking sins. One is, don't shoot

435
00:23:10,440 --> 00:23:12,640
Speaker 3: with children. They have very limited You can shoot for

436
00:23:12,680 --> 00:23:18,240
Speaker 3: four hours with kids. That's hair, costume, make up, lighting them,

437
00:23:18,440 --> 00:23:21,520
Speaker 3: getting these scenes coordinated, and then filming and hoping the

438
00:23:21,560 --> 00:23:23,399
Speaker 3: kids are in a good enough mood and focused enough

439
00:23:23,440 --> 00:23:23,760
Speaker 3: to shoot.

440
00:23:23,760 --> 00:23:25,120
Speaker 1: It's very fairy can.

441
00:23:25,000 --> 00:23:27,440
Speaker 3: Actually do a great job in this movie. By the way,

442
00:23:28,240 --> 00:23:29,199
Speaker 3: sensational actors.

443
00:23:29,280 --> 00:23:29,680
Speaker 1: If you don't know.

444
00:23:29,680 --> 00:23:31,840
Speaker 3: Eggres also has twin I know you know Karma, but

445
00:23:32,160 --> 00:23:34,919
Speaker 3: audience members, if you don't know Eggres's twin brothers, they

446
00:23:34,960 --> 00:23:36,120
Speaker 3: are also filmmakers.

447
00:23:36,440 --> 00:23:38,679
Speaker 1: One of them helped him write The Lighthouse.

448
00:23:39,200 --> 00:23:44,320
Speaker 3: And I think it's very funny that hes movie.

449
00:23:44,520 --> 00:23:45,800
Speaker 1: It's like Little Terrors.

450
00:23:45,920 --> 00:23:49,359
Speaker 2: I was like, I wonder if they little, Yeah, I

451
00:23:49,359 --> 00:23:51,760
Speaker 2: wonder if they're special thanks in the film.

452
00:23:52,160 --> 00:23:56,000
Speaker 3: So I think, uh aware and somewhat okay with it,

453
00:23:56,680 --> 00:23:58,280
Speaker 3: but uh yeah.

454
00:23:58,480 --> 00:24:00,760
Speaker 1: So like he he has established.

455
00:24:00,800 --> 00:24:02,840
Speaker 3: Oh the other thing that he did was work with animals,

456
00:24:03,119 --> 00:24:06,520
Speaker 3: and the animals specifically the goat that played Black Philip.

457
00:24:06,400 --> 00:24:08,720
Speaker 1: Who frit I had his name Eric.

458
00:24:08,920 --> 00:24:10,600
Speaker 3: It's something very regular where you would be like that

459
00:24:10,760 --> 00:24:13,840
Speaker 3: kid that name does not denote the absolute horror.

460
00:24:13,920 --> 00:24:16,560
Speaker 1: He put one of the actors in the hospital briefly. Yes,

461
00:24:17,119 --> 00:24:18,600
Speaker 1: Charlie was the goat's name.

462
00:24:18,960 --> 00:24:22,000
Speaker 3: Thank you, and he didn't want to Froz why I

463
00:24:22,000 --> 00:24:25,040
Speaker 3: see a lot of black Philip's scenes are by himself

464
00:24:25,160 --> 00:24:28,320
Speaker 3: because they were like, yeah, the goat is doing things, record, record,

465
00:24:30,000 --> 00:24:32,160
Speaker 3: but it kind of gives you an ominous feeling like, oh,

466
00:24:32,359 --> 00:24:36,359
Speaker 3: the family is not observing what the goat is doing

467
00:24:36,600 --> 00:24:40,480
Speaker 3: is evil and twisty, and they're not seeing its influence.

468
00:24:40,560 --> 00:24:42,720
Speaker 1: I love, love love that, Okay.

469
00:24:42,760 --> 00:24:45,080
Speaker 3: So I wanted to hear from Robert Eggers in his

470
00:24:45,160 --> 00:24:47,520
Speaker 3: exact words. So this is a quote I pulled from

471
00:24:47,720 --> 00:24:53,600
Speaker 3: the bathed speech he gave. Both my two feature films

472
00:24:53,600 --> 00:24:56,720
Speaker 3: have very simple stories. The Witch is a very clear,

473
00:24:56,800 --> 00:24:59,760
Speaker 3: simple story. The Lighthouse is almost void of a story.

474
00:25:00,040 --> 00:25:02,720
Speaker 3: It's almost the same scene over and over and over

475
00:25:02,840 --> 00:25:06,399
Speaker 3: again with changing power dynamics. So in my film, you

476
00:25:06,440 --> 00:25:09,440
Speaker 3: need atmosphere for the world to survive, for the film

477
00:25:09,480 --> 00:25:12,560
Speaker 3: to survive. The atmosphere is an accumulation of details that

478
00:25:12,600 --> 00:25:16,120
Speaker 3: come from my research. The weather, the light, the format

479
00:25:16,160 --> 00:25:18,120
Speaker 3: that we shoot on. They come from all those things.

480
00:25:18,200 --> 00:25:21,280
Speaker 3: An atmosphere is in some way a visual obstacle, and

481
00:25:21,320 --> 00:25:24,400
Speaker 3: I mean that in a positive way. But I love

482
00:25:25,720 --> 00:25:30,480
Speaker 3: how atmosphere propels his stories. And one of another critique

483
00:25:30,520 --> 00:25:32,800
Speaker 3: that we've been talking about Edgar's in the X ray

484
00:25:32,880 --> 00:25:35,719
Speaker 3: vision chat a lot, and one of the critiques some

485
00:25:35,880 --> 00:25:40,159
Speaker 3: of our fellow friends and producers had was that too

486
00:25:40,280 --> 00:25:43,639
Speaker 3: much atmosphere, not enough story. Carmen, can you make a

487
00:25:43,640 --> 00:25:48,680
Speaker 3: good argument for why atmosphere is enough?

488
00:25:49,720 --> 00:25:53,439
Speaker 2: Oh? Yeah, I mean, especially with this movie in particular,

489
00:25:53,840 --> 00:25:58,200
Speaker 2: it is what gives you those feelings. It's what gives

490
00:25:58,200 --> 00:26:01,159
Speaker 2: you those visceral feelings, and it's what the hair on

491
00:26:01,240 --> 00:26:04,199
Speaker 2: the back of your neck stand up. The script alone,

492
00:26:04,840 --> 00:26:08,560
Speaker 2: the setting alone, the actors alone aren't necessarily going to

493
00:26:08,640 --> 00:26:11,760
Speaker 2: do that. But I really feel like one of the

494
00:26:11,760 --> 00:26:14,199
Speaker 2: reasons why this is such an effective horror movie is

495
00:26:14,240 --> 00:26:18,080
Speaker 2: because the atmosphere is like its own character. You know,

496
00:26:18,760 --> 00:26:21,639
Speaker 2: it's like its own character in the movie. The woods

497
00:26:21,640 --> 00:26:23,920
Speaker 2: are very when you go into the woods, it's very

498
00:26:24,359 --> 00:26:32,280
Speaker 2: claustrophobic and imposing, you know. And the appearances of I

499
00:26:32,359 --> 00:26:34,960
Speaker 2: keep going back to the Familiars, but the appearances of

500
00:26:35,000 --> 00:26:38,520
Speaker 2: the familiars alone, a little bunny rabbit wouldn't be creepy.

501
00:26:39,040 --> 00:26:41,520
Speaker 2: But the way that it's shot and the way that

502
00:26:41,960 --> 00:26:45,960
Speaker 2: they do the sound design is what makes it creepy.

503
00:26:46,600 --> 00:26:50,600
Speaker 2: And so I think atmosphere is like, if this movie

504
00:26:50,760 --> 00:26:53,800
Speaker 2: was not as atmospheric, it would not be as effective

505
00:26:53,840 --> 00:26:57,399
Speaker 2: as a horror movie. And so I completely agree with

506
00:26:57,440 --> 00:27:00,000
Speaker 2: what he's saying there. But yeah, that's I mean, that's

507
00:27:00,160 --> 00:27:02,520
Speaker 2: all I have to say about.

508
00:27:02,960 --> 00:27:06,879
Speaker 3: Yeah, I think to Egger's point, details, right, you know,

509
00:27:07,160 --> 00:27:10,159
Speaker 3: if I blend what you're saying about, how the little

510
00:27:10,200 --> 00:27:13,639
Speaker 3: things really drive a creep factor and also eliminate a

511
00:27:13,720 --> 00:27:16,600
Speaker 3: chance of hope if the film is dependent on family

512
00:27:16,640 --> 00:27:20,479
Speaker 3: and whether these bonds can come together to survive, you know,

513
00:27:20,680 --> 00:27:26,280
Speaker 3: the crops failing and our mom choosing to breastfeed a bird,

514
00:27:25,480 --> 00:27:30,280
Speaker 3: and there's eventually like there's just no sense of like

515
00:27:30,280 --> 00:27:32,000
Speaker 3: where would the hope come from. It's not coming from

516
00:27:32,000 --> 00:27:35,040
Speaker 3: the gray sky, it's not coming from the ground. It's

517
00:27:35,080 --> 00:27:39,000
Speaker 3: not like our everything here is bad. And because of

518
00:27:39,080 --> 00:27:43,600
Speaker 3: that you also sort of understand how, again, human nature

519
00:27:43,680 --> 00:27:45,360
Speaker 3: drives you to just sort of be an asshole when

520
00:27:45,359 --> 00:27:46,360
Speaker 3: things are uncomfortable.

521
00:27:46,920 --> 00:27:48,360
Speaker 1: Yeah, it's a real special person.

522
00:27:48,200 --> 00:27:52,800
Speaker 3: Who when dirty and tired and hungry and not being

523
00:27:52,800 --> 00:27:54,560
Speaker 3: able to provide for the family, which this is a

524
00:27:54,600 --> 00:27:57,200
Speaker 3: guy who absolutely back to the forefront of his mind.

525
00:27:57,240 --> 00:28:00,880
Speaker 3: It's like prospering for the family and supporting the family

526
00:28:00,920 --> 00:28:02,520
Speaker 3: so they can go out and spread the word of God. Like,

527
00:28:03,560 --> 00:28:05,640
Speaker 3: when all of that stuff is stripped of you, trying

528
00:28:05,680 --> 00:28:08,240
Speaker 3: to be a good person and a good friend and

529
00:28:08,280 --> 00:28:11,479
Speaker 3: a good family member becomes much much more difficult, and

530
00:28:11,600 --> 00:28:14,600
Speaker 3: so the sniping, the weirdness, like all of it makes

531
00:28:14,680 --> 00:28:16,520
Speaker 3: more sense and it sort of creeps into you. And

532
00:28:16,560 --> 00:28:21,400
Speaker 3: I also think that it leaves enough space for your

533
00:28:21,680 --> 00:28:25,080
Speaker 3: own horrors and traumas to seep into the film. And

534
00:28:25,119 --> 00:28:28,000
Speaker 3: that is the shit I really dig on. I really

535
00:28:28,080 --> 00:28:31,320
Speaker 3: like when I'm thinking about the my in my head

536
00:28:31,320 --> 00:28:34,560
Speaker 3: as I'm watching, if there's enough space within the narrative,

537
00:28:35,240 --> 00:28:38,640
Speaker 3: you're actively inserting yourself wrongly or rightly.

538
00:28:38,680 --> 00:28:40,560
Speaker 1: But I think that's sort of what it.

539
00:28:40,480 --> 00:28:44,360
Speaker 3: Is to experience art is right to somehow either inject

540
00:28:44,400 --> 00:28:46,880
Speaker 3: yourself viewing it or inject yourself actively into the narrative

541
00:28:46,920 --> 00:28:47,560
Speaker 3: being told to you.

542
00:28:48,120 --> 00:28:49,640
Speaker 1: Yeah, and I think.

543
00:28:49,600 --> 00:28:53,680
Speaker 3: I guess had from this film on such a good

544
00:28:53,800 --> 00:28:57,959
Speaker 3: grasp of how to do that and immerse you in it.

545
00:28:58,040 --> 00:28:58,840
Speaker 1: And also.

546
00:29:00,120 --> 00:29:01,920
Speaker 3: Because I really feel like Usually if a film is

547
00:29:01,960 --> 00:29:04,640
Speaker 3: without hope, I feel so depleted by the end of it,

548
00:29:05,800 --> 00:29:09,440
Speaker 3: you know, and maybe it's because of let's okay, we

549
00:29:09,520 --> 00:29:11,040
Speaker 3: have to take another quick break, but when we come back,

550
00:29:11,080 --> 00:29:15,160
Speaker 3: I want to talk about the ending and also sort

551
00:29:15,200 --> 00:29:19,120
Speaker 3: of how we feel about Edgar's as a first time director.

552
00:29:19,840 --> 00:29:20,960
Speaker 1: Yeah, so we'll be right back.

553
00:29:35,800 --> 00:29:39,400
Speaker 3: What is thou like to live deliciously? The answer is

554
00:29:39,400 --> 00:29:43,680
Speaker 3: immediately yes, yes, I don't know a woman who is

555
00:29:43,840 --> 00:29:46,480
Speaker 3: like what he's like. I got cakes and sweets and

556
00:29:46,520 --> 00:29:49,520
Speaker 3: pretty clothes. Girl, let's go say less. I don't know

557
00:29:49,560 --> 00:29:51,880
Speaker 3: how to sign my name, but I guide my hand

558
00:29:51,960 --> 00:29:55,960
Speaker 3: like I'm ready, right, Okay, I asked you earlier he

559
00:29:56,000 --> 00:29:58,560
Speaker 3: thought this was a good for her movie. If I

560
00:29:58,600 --> 00:30:00,760
Speaker 3: should have explained if you don't know. Good for her

561
00:30:00,880 --> 00:30:05,200
Speaker 3: film is a film, usually of the horror genre, where

562
00:30:05,240 --> 00:30:07,000
Speaker 3: at the end your final girl.

563
00:30:07,040 --> 00:30:09,720
Speaker 1: This is a girl who survives all of the horror.

564
00:30:10,520 --> 00:30:15,000
Speaker 3: Triumphs in a way the society might frown upon, but you,

565
00:30:15,120 --> 00:30:17,240
Speaker 3: as an audience member who knows what she's been through.

566
00:30:17,120 --> 00:30:23,280
Speaker 1: Are awaited for her. Yeah, her, for me?

567
00:30:23,320 --> 00:30:25,080
Speaker 3: It really this resonates as a good for her. I

568
00:30:25,080 --> 00:30:29,640
Speaker 3: think Carrie is a pretty great good for her. What's

569
00:30:29,640 --> 00:30:32,560
Speaker 3: the one with the shotgun?

570
00:30:34,080 --> 00:30:35,040
Speaker 2: Is that pearl?

571
00:30:36,520 --> 00:30:39,000
Speaker 1: Pearl is probably a good for her?

572
00:30:39,360 --> 00:30:42,040
Speaker 2: Oh yeah, that's ready or not? It looks like ye, yes, yes,

573
00:30:42,080 --> 00:30:42,800
Speaker 2: I have not seen.

574
00:30:42,720 --> 00:30:43,240
Speaker 1: Ready or not?

575
00:30:44,400 --> 00:30:46,760
Speaker 3: You not see Okay, Well, one day Car's gonna watch

576
00:30:46,760 --> 00:30:48,200
Speaker 3: Ready or Not and we may have to go. I

577
00:30:48,320 --> 00:30:50,880
Speaker 3: saw Ready, You're not at a I was a part

578
00:30:50,920 --> 00:30:54,080
Speaker 3: of a secret screening for this where basically I didn't

579
00:30:54,080 --> 00:30:56,840
Speaker 3: know what was going to be projected, and this came

580
00:30:56,880 --> 00:30:59,400
Speaker 3: on and I was Ready or not as completely enthralling.

581
00:30:59,440 --> 00:31:03,760
Speaker 3: I've derailed conversation once again. Final Girl films. My favorite

582
00:31:03,800 --> 00:31:07,959
Speaker 3: final Girl film is Midsommar. I think I almost everyone

583
00:31:08,040 --> 00:31:10,160
Speaker 3: is like, that's not a happy ending. I was like,

584
00:31:10,200 --> 00:31:12,960
Speaker 3: for me, it's an incredibly joyous ending. Fuck your boyfriend

585
00:31:12,960 --> 00:31:15,240
Speaker 3: who can support you through the most traumatic experience of

586
00:31:15,280 --> 00:31:18,320
Speaker 3: your entire existence, Get out of here. I love a

587
00:31:18,400 --> 00:31:20,040
Speaker 3: good for her film, and I think The Witch really

588
00:31:20,080 --> 00:31:22,240
Speaker 3: works as a good for her film. Like I think

589
00:31:22,240 --> 00:31:26,600
Speaker 3: it's a strong but because in a modern world, you'd

590
00:31:26,600 --> 00:31:26,920
Speaker 3: be happy.

591
00:31:26,920 --> 00:31:28,400
Speaker 1: She got all she found sisterhood.

592
00:31:28,680 --> 00:31:31,600
Speaker 3: Okay, she's got a beautiful place out in the woods.

593
00:31:32,320 --> 00:31:36,479
Speaker 3: Her family can no longer bother her. She's free. I

594
00:31:36,560 --> 00:31:39,480
Speaker 3: love this ending. You said that you were unsure about

595
00:31:39,480 --> 00:31:41,800
Speaker 3: the film when you start, when you first saw it.

596
00:31:41,840 --> 00:31:45,320
Speaker 3: How do you feel about it? How did you feel

597
00:31:45,320 --> 00:31:47,200
Speaker 3: about the ending originally, and how do you feel about

598
00:31:47,200 --> 00:31:47,520
Speaker 3: it now?

599
00:31:48,240 --> 00:31:53,360
Speaker 2: I was confused as to like how we got to

600
00:31:53,400 --> 00:31:56,440
Speaker 2: the ending. I was like, wait a minute, why did

601
00:31:56,480 --> 00:31:59,920
Speaker 2: she choose why did she choose to go with black Philip?

602
00:32:00,080 --> 00:32:01,960
Speaker 2: You know, why did she choose to become one of

603
00:32:02,000 --> 00:32:05,800
Speaker 2: the witches? And I was I think just kind of

604
00:32:05,840 --> 00:32:09,920
Speaker 2: like absent to a lot of the like way that

605
00:32:09,960 --> 00:32:12,600
Speaker 2: her family berates her throughout the movie, and the way

606
00:32:12,640 --> 00:32:17,240
Speaker 2: that they they even subconsciously are kind of blaming her for.

607
00:32:18,160 --> 00:32:23,000
Speaker 3: The dad hates that she's beautiful, she's so jealous and like, yeah,

608
00:32:23,040 --> 00:32:23,640
Speaker 3: it's a lot.

609
00:32:24,040 --> 00:32:26,800
Speaker 2: And the mom hates that her baby, her youngest baby,

610
00:32:26,960 --> 00:32:30,520
Speaker 2: was taken while under her daughter's care, and that's all

611
00:32:30,600 --> 00:32:30,960
Speaker 2: kind of.

612
00:32:30,920 --> 00:32:33,160
Speaker 1: Like she did have somewhat reason to be mad.

613
00:32:33,280 --> 00:32:37,840
Speaker 3: I don't know that harfult, She's like pekaboo, supernatural elements

614
00:32:37,840 --> 00:32:41,400
Speaker 3: were at of fact, ma'am anyway, I guess yeah, So, yeah,

615
00:32:41,440 --> 00:32:42,400
Speaker 3: how do you feel about it?

616
00:32:42,720 --> 00:32:42,920
Speaker 1: Oh?

617
00:32:42,960 --> 00:32:45,720
Speaker 2: I completely understand it, And that's why I do feel

618
00:32:45,720 --> 00:32:48,480
Speaker 2: like now I can confidently say it's like a good

619
00:32:48,520 --> 00:32:52,680
Speaker 2: for her movie because whether or not she was being

620
00:32:52,720 --> 00:32:56,360
Speaker 2: subconsciously led to becoming a witch or she chose to

621
00:32:56,400 --> 00:32:59,200
Speaker 2: become a witch. After the events of you know, all

622
00:32:59,240 --> 00:33:02,000
Speaker 2: of the Ship, her, the grief that her family put

623
00:33:02,000 --> 00:33:06,840
Speaker 2: her through, she is finally has her own, you know,

624
00:33:07,440 --> 00:33:08,520
Speaker 2: kind of her own.

625
00:33:09,280 --> 00:33:10,080
Speaker 1: She has her own.

626
00:33:09,920 --> 00:33:12,800
Speaker 3: Friend, agenda, her own yeah, and she gets she literally

627
00:33:12,840 --> 00:33:13,320
Speaker 3: gets to fly.

628
00:33:13,440 --> 00:33:14,960
Speaker 1: At the end, I was my breath was taken away.

629
00:33:15,000 --> 00:33:18,520
Speaker 1: I was like, look at her, like wow, and she's happy.

630
00:33:18,600 --> 00:33:21,080
Speaker 3: She's free. It was like the first asked her to

631
00:33:21,120 --> 00:33:23,240
Speaker 3: do anything weird. She don't have to watch no children,

632
00:33:23,280 --> 00:33:25,600
Speaker 3: she don't have to clean no houses. She had a

633
00:33:25,720 --> 00:33:28,280
Speaker 3: mad ask kill. Like, so far, life's looking pretty good

634
00:33:28,280 --> 00:33:30,640
Speaker 3: for her. And life was looking pretty good for Robert

635
00:33:30,640 --> 00:33:31,800
Speaker 3: Eggers at the time as well.

636
00:33:32,200 --> 00:33:33,560
Speaker 1: Uh. This was a.

637
00:33:33,520 --> 00:33:38,000
Speaker 3: Huge coming out for him. He won uh Best Director

638
00:33:38,040 --> 00:33:42,000
Speaker 3: at Sun Dances for a first time director, I mean tremendous.

639
00:33:42,320 --> 00:33:45,640
Speaker 3: He comes out. Also, it's a star vehicle for Anya,

640
00:33:45,680 --> 00:33:48,160
Speaker 3: which people will often credit the director. He credits the

641
00:33:48,280 --> 00:33:51,040
Speaker 3: casting team in the UK. But it was great and

642
00:33:51,080 --> 00:33:54,680
Speaker 3: he comes back with the Lighthouse. I think I was

643
00:33:54,800 --> 00:33:57,560
Speaker 3: really anticipating The Lighthouse premiered at TIF.

644
00:33:57,600 --> 00:33:58,160
Speaker 1: I was there.

645
00:33:58,200 --> 00:34:00,880
Speaker 3: I was very excited. I think there was a lot

646
00:34:00,880 --> 00:34:03,400
Speaker 3: of buzz. It was going to be completely different, but

647
00:34:03,520 --> 00:34:05,360
Speaker 3: you know, a lot of similarities. He was doing black

648
00:34:05,360 --> 00:34:07,720
Speaker 3: and white. He was willing to stretch himself. I think

649
00:34:07,720 --> 00:34:11,160
Speaker 3: this was a director who, to me, felt unafraid to

650
00:34:11,239 --> 00:34:14,719
Speaker 3: try things that were going to be weird and difficult

651
00:34:14,719 --> 00:34:17,920
Speaker 3: for people to understand. And also somebody who had such

652
00:34:17,920 --> 00:34:23,399
Speaker 3: a grasp on tone that even if his stories were

653
00:34:23,440 --> 00:34:28,560
Speaker 3: not groundbreaking, they were sort of entertaining at that Shakespearean level.

654
00:34:28,600 --> 00:34:33,280
Speaker 3: And by that I mean Shakespeare was designed to entertain everyone,

655
00:34:33,360 --> 00:34:37,200
Speaker 3: from the dimwitted to royalty. Stories I think that are

656
00:34:37,239 --> 00:34:40,440
Speaker 3: accessible have a lot of value, even if they are

657
00:34:40,480 --> 00:34:44,160
Speaker 3: not maybe your most technically precise things.

658
00:34:44,640 --> 00:34:47,960
Speaker 1: So yeah, Eggar's first time director pretty great. I love

659
00:34:48,040 --> 00:34:49,720
Speaker 1: The Lighthouse. It's a great movie.

660
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Speaker 2: I just watched it this past October for the first time.

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Speaker 2: I'm late to a lot of a lot of stuff

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Speaker 2: something that was either me and I loved The Lighthouse,

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Speaker 2: and I'm going to watch again. But I think that

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Speaker 2: this movie is, like so far, my favorite movie out

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Speaker 2: of all of his filmography, and I haven't seen notes

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Speaker 2: for Autu yet, so that could change. But I just

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Speaker 2: think for this to be a director's first feature length film,

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Speaker 2: it's absolutely it's amazing. I mean it's incredible. Yeah, it's

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Speaker 2: a Triumphal.

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Speaker 3: Carmen, thank you so much for being here and doing

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Speaker 3: this with me. I had a lot of fun talking

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Speaker 3: to you today.

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Speaker 2: It was a lot of fun. I can't wait to

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Speaker 2: talk about The Lighthouse. So yes, thank you Joel for

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Speaker 2: joining me and live deliciously.

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Speaker 1: Y'all join us back here tomorrow.

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Speaker 3: What We're going to hop in our speeders and check

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Speaker 3: out the pilot for Star Wars Skeleton Crew. Then on Wednesday,

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Speaker 3: abook is this is a guy through the next episode of.

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Speaker 1: Dune and Prophecy.

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Speaker 3: Thursday, we're going to take a look back at the

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Speaker 3: comic books and novels of twenty twenty four that.

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Speaker 1: Stuck with us. Then come back and join us.

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Speaker 3: On Monday, Carmen and I are going to break down

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Speaker 3: Edgar's next film, The Lighthouse.

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Speaker 1: That's our EPP. So thanks for listening. Bye bye.

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Speaker 4: X ray Vision is hosted by Jason Kensumsion and Rosie

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Speaker 4: Knight and is a production of iHeart podcasts Our executive

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Speaker 4: producers are Joelle Smith and Aaron Kaufman. Our supervising producer

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00:36:21,040 --> 00:36:25,799
Speaker 4: is a Boo Zafar. Our producers are Carmen Laurent and

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Speaker 4: Mia Taylor. Our theme song is by Brian Basquez.

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Speaker 3: Special thanks to Soul Rubin and Chris Lord, Kenny Goodman

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Speaker 3: and Heidi

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Speaker 2: On Discoored Moderata