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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did.

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Speaker 2: My name is Millie to Jericho.

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Speaker 3: I'm Danielle Henderson, and we're pumped.

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Speaker 2: We're pumped to be back with you.

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Speaker 3: I'm the needed. Look at the size of this dunkin Donuts,

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Speaker 3: I know, look at this.

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Speaker 1: None of you can see this, none of you can

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Speaker 1: see that. But it's a giant cup. She just presented.

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Speaker 1: I've got a regular size mug, and then I have

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Speaker 1: a giant yetty tumbler full of coffee.

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Speaker 3: We are on one today.

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Speaker 1: I know, you know, like when people go to the

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Speaker 1: construction site and they bring this like giant Stanley thing

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Speaker 1: with a handle.

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Speaker 3: This is what.

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Speaker 4: This is my job where I bring my giant thermos.

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Speaker 4: So just to help, because I know you guys can't

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Speaker 4: see any of this. Millie's is like, I think, three

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Speaker 4: hands tall. Like you know, usually you measure alcohol by fingers.

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Speaker 4: Millie's is three hands truly, this is fifteen fingers tall.

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Speaker 3: So and I went on the dunk.

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Speaker 4: The dunk they have extra they have extra large at

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Speaker 4: the dunk and I usually don't dig into an extra large,

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Speaker 4: but today I was like, fuck it.

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Speaker 1: Is it as big as a Starbucks, trent To have

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Speaker 1: ever had a trent To cup before.

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Speaker 4: I have had a trent To cup before. I've seen

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Speaker 4: the trent To cup before. This is probably as big

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Speaker 4: as a Trenta.

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Speaker 2: How many ounces is that?

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Speaker 1: I think it feels like forty if too many forty.

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Speaker 3: Ounces to freedom, it's too many ounces.

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Speaker 4: It's too many fucking ounces for any human body to

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Speaker 4: consume in one sitting.

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Speaker 2: Not a Sublime reference within the first three minutes.

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Speaker 4: Which is wild because I don't like Sublime, and yes,

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Speaker 4: go ahead, send me your fucking reviews, send me your

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Speaker 4: fucking emails. I don't like Sublime, and I know the

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Speaker 4: whole I don't care. I don't like them.

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Speaker 1: If you come at us defending Sublime in a really

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Speaker 1: harsh way, you, I will say, turn this off, like

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Speaker 1: just turn.

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Speaker 3: Off our podcast.

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Speaker 4: Ah. I will say that Millie will get on a

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Speaker 4: plane and fight you in person, like she will turn

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Speaker 4: it into like a debate event.

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Speaker 2: They were one of.

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Speaker 1: These bands where I realized that Southern California stands certain

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Speaker 1: bands in the hardest fucking way possible.

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Speaker 4: When I hear the opening chords to Santa Ria, I

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Speaker 4: just want to throw a table against a wall.

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Speaker 3: I'm so mad I hate that song. So mine well

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Speaker 3: and like.

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Speaker 2: Okay, this is so fucking nerdy. I'm just gonna say it.

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Speaker 1: Like when I was in high school, Sublime came out

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Speaker 1: and everybody was really like there was a time where

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Speaker 1: there were all these like ska bands coming out on

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Speaker 1: like commercial radio, and everybody was like, I love the

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Speaker 1: ska band Sublime, and I was in their face, going,

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Speaker 1: They're not a ska band, Okay, neither is no doubt.

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Speaker 1: Like I had a very very pure vision of what

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Speaker 1: actual ska music was, and I just remember getting into

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Speaker 1: so many fights about Sublime and being like, yeah, so

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Speaker 1: they have reggae influences.

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Speaker 4: But they're not a ska band. Okay, They're a fucking mess.

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Speaker 4: They're a fucking mess, is what they are.

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Speaker 1: Well, and I actually don't I know, like a couple songs,

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Speaker 1: did I tell you this that.

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Speaker 2: We're going on a tangent now? But so be it right?

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Speaker 3: The show? Who cares? That's our show again? You know

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Speaker 3: why a tangent? Don't listen to somebody else?

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Speaker 1: Yeah, just turn it off, Just turn it off. But like, so,

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Speaker 1: I don't know if I told you this. Maybe I

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Speaker 1: told you this, Like when we were talking on the

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Speaker 1: phone the other night. But like my the radio station,

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Speaker 1: the big commercial alternative radio station from my high school

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Speaker 1: years is back for some reason. Like they were off

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Speaker 1: the air for like twenty years and then I guess

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Speaker 1: they decided to start it back up again.

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Speaker 2: And they've gotten like all of the.

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Speaker 1: Old DJs to come back, which is sold, yes, because

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Speaker 1: presumably they have retired. Some of them feel like they

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Speaker 1: might be dead. I mean they were old in nineteen ninety.

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Speaker 4: Three, you know what I mean, Like they're on the air,

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Speaker 4: but I feel like they're dead.

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Speaker 2: Well, it's like they're probably in their fifties and ninety three.

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Speaker 1: They got to be dead by now. Come on, it's

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Speaker 1: been like what forty is that forty years?

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Speaker 2: Forty years to the day, Like thirty thirty years? Oh

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Speaker 2: it's thirty years.

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Speaker 4: Okay, cut that, don't cut that.

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Speaker 3: Leave that math in show.

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Speaker 2: I'll show my work. I don't care.

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Speaker 1: I got the zero pride when it comes to this podcast.

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Speaker 1: But so so now it's like the way, okay, so

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Speaker 1: what part of the part of the thing that's weird

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Speaker 1: about it is that a all the old DJs are back,

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Speaker 1: and I'm like, how did you get them to quit

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Speaker 1: their jobs or come out of retirement to work at

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Speaker 1: this radio station again. But then also they're not on

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Speaker 1: the actual number on the dial that they were, so

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Speaker 1: they they're called ninety nine X, right, ninety nine point

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Speaker 1: seven on the on the radio dial, but they apparently

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Speaker 1: that's another radio station, so they had to get another number.

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Speaker 1: So now they're like one hundred point five, but they're

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Speaker 1: still calling themselves ninety nine X.

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Speaker 3: And I'm like, this is so weird. Everything about this

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Speaker 3: is so fucking weird.

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Speaker 4: You said there that they're playing like old episodes and

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Speaker 4: they're talking about like OJ and shit.

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Speaker 2: Yes, so there's like no quality control at all.

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Speaker 1: They're playing they're playing actual morning shows from the nineties, okay,

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Speaker 1: so like it's just like a I don't know, like

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Speaker 1: they're just playing them in full.

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Speaker 2: I don't know.

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Speaker 1: I haven't listened long enough to those sections, but there

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Speaker 1: was like there's episodes where they're talking about current events

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Speaker 1: from like the early nineth and it's like, oh, j

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Speaker 1: the Menendez Brothers.

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Speaker 2: I mean, it's just like so no year.

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Speaker 1: So you're like tun in a radio station, you hear

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Speaker 1: people making a joke about you know, fucking I don't

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Speaker 1: know the Menendez brothers, uh getting out of jail or something,

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Speaker 1: and I'm.

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Speaker 2: Like, what in the world is going on?

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Speaker 3: Anyway, what is happening?

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Speaker 1: The point being is that they play a Sublime one

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Speaker 1: Sublime song literally every like fifteen twenty minutes and it's

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Speaker 1: that song wrong way.

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Speaker 3: Oh my god, that's another one.

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Speaker 4: I hear that song and I get so mad that

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Speaker 4: I could take an instant shit like yeah, it's just

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Speaker 4: everything in my body builds up and is like why.

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Speaker 4: And I don't get that mad about any music, Like

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Speaker 4: there's nothing I can think of, even new metal, which

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Speaker 4: we discussed in our car Leah episode, even new metal.

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Speaker 4: Does it make me instantly mad? Like I can find

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Speaker 4: some humor and some levity and some lightness and new metal.

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Speaker 2: Yeah, I absolutely cannot, but I appreciate that you can.

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Speaker 2: Some of the one of us have.

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Speaker 1: To say positive about that, because we don't want to

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Speaker 1: get a nope in our comments again.

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Speaker 3: Unless it's a five star nope. Surprised us.

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Speaker 1: But the only thing I remember about Sublime, to be honest,

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Speaker 1: was a defending the fact that they were not a

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Speaker 1: SKA band, b that they always played shirtless.

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Speaker 2: The whole band was shirtless all the time right.

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Speaker 1: Like it and like, trust me, I do like bands

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Speaker 1: that were all shirtless, like three eleven. We've talked about this.

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Speaker 1: I love three eleven. They didn't wear shirts for a

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Speaker 1: long time.

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Speaker 4: You're gonna have a three eleven hologram floating around your grave.

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Speaker 4: They don't have to wearing shirts while that's happening. You're

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Speaker 4: not about you gotta post to it.

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Speaker 1: I should like Sublime theoretically because I like three eleven,

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Speaker 1: but for some reason, I just don't. I don't really

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Speaker 1: fuck with Sublime, but that Wrong Way song. They play

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Speaker 1: it constantly, and then I just remember that the video.

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Speaker 1: Was it like Debo from Friday in that video or something?

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Speaker 2: Ah, I don't remember.

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Speaker 4: This is also the thing like you have to put

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Speaker 4: when you really dislike something, you just know everything about

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Speaker 4: it because you always have to defend your dislike of it.

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Speaker 4: So you're like, I can tell it about the video,

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Speaker 4: I can talk about how it's not sky, I can

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Speaker 4: talk about all this shit because I know your fans

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Speaker 4: are gonna come at me and be like, but they're this,

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Speaker 4: but they're that great you enjoy it.

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Speaker 3: Do not play it in my presence. I can't.

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Speaker 4: It's the one band that I have a visceral response

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Speaker 4: to dude.

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Speaker 1: You are so right about having having to be kind

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Speaker 1: of armed, yeah the hilt about stuff that you don't like,

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Speaker 1: because you do have to defend it. I love that

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Speaker 1: because a lot of people want to act like when

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Speaker 1: they hate something, they're like, well, I don't know anything

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Speaker 1: about that.

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Speaker 2: I hate that show. I don't watch that show.

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Speaker 1: And I'm actually like, no, you should be watching every

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Speaker 1: single second of that show, taking fucking notes and then

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Speaker 1: coming up with like a.

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Speaker 2: Very clear outline for why you don't like it.

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Speaker 4: I want to excel spreadsheets. I want a podcast. I

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Speaker 4: do a podcast about it.

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Speaker 3: Do a whole I want all the information you have

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Speaker 3: about what you don't like.

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Speaker 1: Well, listen, I heard that you there's something else that

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Speaker 1: you don't like because I heard about it in a text.

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Speaker 3: Oh yeah, you heard about it in a text and

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Speaker 3: a phone call.

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Speaker 4: This week, I was going off on one because I

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Speaker 4: was so mad this It.

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Speaker 3: Ruined my whole day and then the whole next day.

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Speaker 4: So out of nowhere, I get these like little flights

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Speaker 4: of fancy sometimes, and I really I like a lot

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Speaker 4: of musical theater and I like a lot of musical movies.

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Speaker 4: And I just wanted to watch Chicago. So I turn

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Speaker 4: on Chicago and I'm watching it, and then of course

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Speaker 4: I'm like, makes me think of other, you know, musicals,

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Speaker 4: I haven't seen it in a while, or things I

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Speaker 4: haven't seen it in a while.

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Speaker 3: So I pop on a chorus line.

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Speaker 4: And of course I haven't seen it since I was

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Speaker 4: a kid, and it's one of those movies that I

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Speaker 4: shouldn't have even watched when I was a kid, but

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Speaker 4: I did, and I haven't.

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Speaker 3: Seen it since.

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Speaker 4: I still it is like thirty five years later, and

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Speaker 4: I'm watching the end of a chorus line. And if

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Speaker 4: you don't know, and if you've never seen it, you

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Speaker 4: can look up the YouTube video. It's just if you

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Speaker 4: just want to see the ending where they start with

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Speaker 4: like five people on stage and they end with like

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Speaker 4: one hundred people on stage and they're all dancing in

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Speaker 4: unison and like doing their thing right right, and it's

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Speaker 4: all done weirdly with like mirrors or something. But here's

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Speaker 4: the thing, I don't know how it's done, because I

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Speaker 4: went on a fucking internet deep dive for about four

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Speaker 4: hours at two o'clock in the morning, and I'm like,

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Speaker 4: how does a chorus line choreography do that. No one

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Speaker 4: had a straight answer for all the internet that we have.

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Speaker 4: It's like, here's how to do a course line if

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Speaker 4: you're in high school. And I'm like, I don't care.

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Speaker 4: Tell me how they do the mirror trick at the end.

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Speaker 4: And I couldn't find it. So I'm up half the

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Speaker 4: night looking up the dumbest information. And then it hit

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Speaker 4: me and I'm like, Millie does this every fucking day.

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Speaker 4: A Milli does this every fucking day for every movie

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Speaker 4: that we do for this podcast, She's deep diving.

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Speaker 3: How is your life not ruined by this?

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Speaker 1: It's ruined. I talk about it all the time, Like,

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Speaker 1: my life is fucking ruined. You know how many sleepless

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Speaker 1: nights I've had since I started a stupid podcast with you.

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Speaker 2: And the funny thing is it's basically your fault.

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Speaker 1: My My whole thing about war movies is that I

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Speaker 1: watch that shit pretty late at night, and of course,

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Speaker 1: you know, as a certain point, I just get like

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Speaker 1: so caught up and what I'm watching that, I'm like, well,

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Speaker 1: and now I gotta get on the internet, and it's

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Speaker 1: already like one o'clock in the morning when I start.

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Speaker 2: I know that is.

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Speaker 3: I don't know how you fucking do it.

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Speaker 4: It gave me a whole new level of appreciation for you,

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Speaker 4: but it also made me wonder what is wrong with you?

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Speaker 4: Like this is some deep shit that is life ruining

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Speaker 4: on a regular basis.

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Speaker 2: Listen, I I've tried to interrogate this.

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Speaker 1: Like many times in my life because I've always been

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Speaker 1: this way.

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Speaker 2: I just want.

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Speaker 1: My personality is such that I have to know the information,

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Speaker 1: like I just have to. I'm fascinated by Like I

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Speaker 1: want to open up the back of the clock and

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Speaker 1: look at how it works. I just yeah, And I

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Speaker 1: do this with like every fucking thing, Like I'm like everything,

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Speaker 1: Like I'm like.

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Speaker 3: That's the thing, Like I'm a completist.

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Speaker 4: I want to know the information like I want. I'm

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Speaker 4: the person who like took a part a carburetor when

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Speaker 4: I was in high school just because I'm like, how

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Speaker 4: does the carburetor work? I don't know and I want

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Speaker 4: to know. So I'm with you on that. But these

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Speaker 4: late night deep dives have got to stop. It is

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Speaker 4: ruining our lives.

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Speaker 2: I know well.

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Speaker 1: And I'm so glad that you finally experienced the fever

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Speaker 1: of it, because it's like, yes, he started, it is

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Speaker 1: like you can't stop. Like you're like, well, now I'm

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Speaker 1: fucking going into the Wikipedia links at the bottom, which

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Speaker 1: is taking you to all these other websites. Sometimes you're

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Speaker 1: like on the way back machine looking at websites from like,

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Speaker 1: you know, the nineties since like a Sublime era or whatever,

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Speaker 1: and you're like, what am I doing? Like it's four

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Speaker 1: o'clock in the morning and I'm reading an interview with

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Speaker 1: an actor on Netscape Navigator right or whatever exactly.

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Speaker 4: Like why am I looking at this eight bit fucking

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Speaker 4: doss website to try to figure out how they're getting

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Speaker 4: all these people on stage on a fucking chorus line?

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Speaker 2: And here's the thing.

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Speaker 4: I watched the clip over and over again, and I'm like,

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Speaker 4: even rationally, it doesn't make sense when I watch it.

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Speaker 4: I should be able to figure it out when I

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Speaker 4: watch it. And there's one point where they're like walking

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Speaker 4: towards the mirror. You think it's the mirror, and they're

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Speaker 4: just walking towards people that are kind of dressed like

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Speaker 4: them and that kind of look like them, and then

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Speaker 4: the people come forward and I'm like, but then there

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Speaker 4: are mirrors back at Like, how are they doing it?

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Speaker 4: It should it's this came out in nineteen eighty three

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Speaker 4: or four whatever, like somebody should have just fully explained

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Speaker 4: in one blog post at this point, and it's infuriating

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Speaker 4: that they haven't. And that's what gets me is you

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Speaker 4: get on these fucking tangents and you go down these

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Speaker 4: holes and then all of a sudden, I'm getting mad

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Speaker 4: and I'm like, all right, am I.

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Speaker 3: Not googling the right thing? So then I'm looking up

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Speaker 3: how do I google the thing I fucking want? On Google?

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Speaker 3: I felt insane?

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Speaker 2: Been there have you?

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Speaker 1: So I'm surprised that there's not, like there's not some

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Speaker 1: like enterprising young gay that did it a breakdown of

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Speaker 1: it on a YouTube or a TikTok, right, Like, you know,

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Speaker 1: I'm surprised that there's nobody that knows how that and

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Speaker 1: they didn't put it on the internet.

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Speaker 3: Really, I think people just don't care about course line anymore.

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Speaker 1: Yeah, even though it was fucking revolutionary.

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Speaker 4: It was one of the first plays to talk about

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Speaker 4: being gay, and like it was a revolutionary play that

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Speaker 4: ran on Broadway for like twelve years. Yeah, No, listen,

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Speaker 4: I think people just don't care about it anymore. You know,

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Speaker 4: what you had I had your vanilla popper moment. I

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Speaker 4: think I had a vanilla popper. I had something popped. Yeah,

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Speaker 4: I felt like I had a fucking annurism because I

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Speaker 4: looked up and I'm like, it's a smooth three am,

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Speaker 4: And I don't have the answer I want. Yeah, so

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Speaker 4: I'm going to bed angry. And I just spent four

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Speaker 4: hours trying to figure this.

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Speaker 1: Out, right, And here, look, you have to have listened

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Speaker 1: like towards the beginning when we first started to know

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Speaker 1: about the vanilla popper, right, because we talked about this.

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Speaker 2: It was the episode when we did Footloose and Footloose,

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Speaker 2: right like.

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Speaker 3: And here's the Footless and Footless esquire foot.

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Speaker 1: Loose Attorneys the law, I said. I was in the

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Speaker 1: same way that Danielle was like feverishly googling how they

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Speaker 1: filmed this ending right to of course, like I was

328
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Speaker 1: like trying to figure out, like who one of the

329
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Speaker 1: background characters in the Footloose dance scene at the end

330
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Speaker 1: of the original Footlooths, I was like trying to figure

331
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Speaker 1: out who this is very whole white guy who was

332
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Speaker 1: doing like a pop and lock like body roll sequence, right,

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Speaker 1: and at a certain point he's actually dancing with Kevin

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Speaker 1: Bacon like side by, So it's like he was in

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Speaker 1: a scene technically with like the principal lead actor of

336
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Speaker 1: a film, and yet there's no information on this guy.

337
00:16:18,280 --> 00:16:19,680
Speaker 1: And then so what did I do? I went, I

338
00:16:19,720 --> 00:16:21,440
Speaker 1: went on the podcast, and I was like, who is

339
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Speaker 1: the Vanilla Popper?

340
00:16:22,280 --> 00:16:22,760
Speaker 2: Who are we?

341
00:16:23,080 --> 00:16:27,360
Speaker 1: Then for months, if not years, we were getting like

342
00:16:27,520 --> 00:16:29,160
Speaker 1: tips from listeners being.

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Speaker 2: Like, it's him.

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Speaker 1: It's this guy. He's a lawyer in southern California or whatever,

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00:16:32,480 --> 00:16:36,840
Speaker 1: and it's him. And I'm like, I don't believe it

346
00:16:36,960 --> 00:16:40,680
Speaker 1: until we have the Vanilla Popper on this podcast talking

347
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Speaker 1: about doing body roles in nineteen eighty four.

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Speaker 4: We need actual confirmation from the actual person, right and.

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Speaker 1: In the in the Internet, in the scope of the

350
00:16:52,120 --> 00:16:57,240
Speaker 1: Internet investigational arm like the reddits and the no one

351
00:16:57,360 --> 00:17:01,800
Speaker 1: has gotten confirmation from this lawyer that he's the Vanilla Popper.

352
00:17:01,920 --> 00:17:03,880
Speaker 1: So I'm sitting here going like, it's not him, Like

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Speaker 1: it's not him until he actually can prove it in

354
00:17:07,200 --> 00:17:11,359
Speaker 1: some way and he comes on fucking someone's podcast, doesn't

355
00:17:11,520 --> 00:17:15,119
Speaker 1: matter Joe Rogan or us or whoever to talk about it,

356
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Speaker 1: so or until.

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Speaker 4: He find his bones like under the boardwalk in Santa

358
00:17:21,600 --> 00:17:24,679
Speaker 4: Monica where it's like we just uncovered some bones that

359
00:17:24,680 --> 00:17:26,240
Speaker 4: they do with a fingerprints, and they're like, was this

360
00:17:26,280 --> 00:17:29,520
Speaker 4: kuind of the Vanilla Popper coming to your live next

361
00:17:29,520 --> 00:17:31,440
Speaker 4: on ABC seven Exactly?

362
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Speaker 1: His bones are like in a perfectly formed like pop

363
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Speaker 1: like he's like, yeah, no, we hope he's not dead.

364
00:17:40,680 --> 00:17:43,280
Speaker 1: I really hope he ain't dead. But I'm just saying like,

365
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Speaker 1: I I know what you mean though, because it's that

366
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Speaker 1: thing of like, even like you you, sometimes the information

367
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Speaker 1: is just not collected in a way on the Internet

368
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Speaker 1: for a person like you or anyone to find it,

369
00:17:57,600 --> 00:18:00,600
Speaker 1: right because we're not like professional.

370
00:18:01,440 --> 00:18:04,920
Speaker 2: Like librarians, I don't know how to do things.

371
00:18:04,960 --> 00:18:07,320
Speaker 4: Like I truly was about to go to the reference

372
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Speaker 4: librarian at my library and be like, can you help.

373
00:18:10,440 --> 00:18:12,439
Speaker 3: Me with this? No, it is not a book, it

374
00:18:12,520 --> 00:18:13,320
Speaker 3: is not an article.

375
00:18:13,760 --> 00:18:16,760
Speaker 4: It is a fucking video from a movie that I

376
00:18:16,840 --> 00:18:19,919
Speaker 4: need you to help just because I know you have

377
00:18:20,000 --> 00:18:23,160
Speaker 4: those sleuth skills. But yeah, it maybe. And then here's

378
00:18:23,200 --> 00:18:25,560
Speaker 4: the thing I couldn't find it. I guarantee someone is

379
00:18:25,560 --> 00:18:27,600
Speaker 4: gonna send us a link. They probably have already sent

380
00:18:27,640 --> 00:18:29,360
Speaker 4: twenty five links where they're like, oh, here it is

381
00:18:30,000 --> 00:18:31,960
Speaker 4: like we found it in ten seconds.

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Speaker 3: I can't.

383
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Speaker 1: Well, that's what I'm trying to warn you about is

384
00:18:36,840 --> 00:18:40,159
Speaker 1: the Vanilla popper event, which is that, like, you know,

385
00:18:40,240 --> 00:18:43,160
Speaker 1: you're gonna have people send you stuff, but it's got

386
00:18:43,200 --> 00:18:45,679
Speaker 1: to be like in the in the purest form the

387
00:18:45,720 --> 00:18:48,320
Speaker 1: information that you need apps, you know what I mean.

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Speaker 4: Send me a video, step by step video of how

389
00:18:50,880 --> 00:18:53,159
Speaker 4: this is done, or step by step. I'll look at

390
00:18:53,200 --> 00:18:57,200
Speaker 4: a step by step like eight by eleven sheet, you

391
00:18:57,240 --> 00:18:58,960
Speaker 4: know where they used to put the footprints with the.

392
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Speaker 3: Dance steps on, Like, I'll look at one of those.

393
00:19:01,119 --> 00:19:01,520
Speaker 3: I don't care.

394
00:19:01,640 --> 00:19:04,720
Speaker 4: Just somebody show me the legit info and not don't

395
00:19:04,760 --> 00:19:07,400
Speaker 4: stop at I think this is how they do it.

396
00:19:07,600 --> 00:19:09,080
Speaker 3: Confirm that this is how they do it.

397
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Speaker 1: I mean the other the other option is that you're

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Speaker 1: gonna have to fly to LA and go to like

399
00:19:14,160 --> 00:19:18,400
Speaker 1: the Academy Museum Library and and just look at production

400
00:19:18,600 --> 00:19:20,280
Speaker 1: notes for like a month.

401
00:19:20,840 --> 00:19:25,199
Speaker 4: I would do it, Yea. At this point, I'm so

402
00:19:25,440 --> 00:19:27,800
Speaker 4: mad I would do it. I'm like, this is the

403
00:19:27,880 --> 00:19:29,720
Speaker 4: kind of dumb shit you're willing to spend money on

404
00:19:29,760 --> 00:19:31,760
Speaker 4: when you don't have kids or a partner. Where're like

405
00:19:31,800 --> 00:19:33,840
Speaker 4: I'm just gonna hop on a plane and go fucking

406
00:19:33,960 --> 00:19:36,879
Speaker 4: hang out in the Guild library.

407
00:19:37,520 --> 00:19:40,280
Speaker 1: Look, you're gonna be at one end of the long

408
00:19:40,400 --> 00:19:44,320
Speaker 1: table researching the end of the Court of Course line,

409
00:19:44,359 --> 00:19:46,240
Speaker 1: and I'm gonna be on the other side doing the

410
00:19:46,280 --> 00:19:50,920
Speaker 1: Vanilla Popper deep dive and be like like the janitor

411
00:19:51,000 --> 00:19:53,000
Speaker 1: is gonna come through with a with a mop and

412
00:19:53,040 --> 00:19:55,560
Speaker 1: be like, these two bitches are fucking crazy.

413
00:19:56,400 --> 00:19:58,520
Speaker 4: It's gonna it's gonna be like that Tears for Fear

414
00:19:58,520 --> 00:20:00,479
Speaker 4: of Fears video when he looks up and he's like

415
00:20:00,680 --> 00:20:09,000
Speaker 4: time fly. Oh no, except this both of us at

416
00:20:09,000 --> 00:20:11,439
Speaker 4: the ends of a table Tears for Fears in it.

417
00:20:15,560 --> 00:20:19,240
Speaker 2: I drop that shit in wow.

418
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Speaker 3: Wow. You know I'm always.

419
00:20:24,680 --> 00:20:26,439
Speaker 4: Good to rip out a Tears for Fears reference. They

420
00:20:26,440 --> 00:20:28,119
Speaker 4: were my favorite band when I was growing up.

421
00:20:28,160 --> 00:20:31,480
Speaker 3: I loved them. Yeah, no, I love them.

422
00:20:31,800 --> 00:20:33,919
Speaker 4: I'm like seven years old, I'm like, these guys are

423
00:20:33,920 --> 00:20:35,720
Speaker 4: in the fucking shit. And then I grew up and

424
00:20:35,720 --> 00:20:37,520
Speaker 4: I'm like, oh, there's more music out there.

425
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Speaker 3: Prints.

426
00:20:39,440 --> 00:20:43,560
Speaker 1: I love how hard sewing the Seas of Love goes.

427
00:20:44,600 --> 00:20:48,879
Speaker 4: So that video is like a like Peter Gabriel on Ecstasy.

428
00:20:50,080 --> 00:20:52,800
Speaker 4: You did not think Peter Gabriel videos could get more intense.

429
00:20:52,840 --> 00:20:54,520
Speaker 4: They went so hard on that video.

430
00:20:54,680 --> 00:20:58,200
Speaker 1: Oh yeah, they had like flying clocks and fucking flowers

431
00:20:58,240 --> 00:21:00,760
Speaker 1: blooming and shit, and then like the That's part about

432
00:21:00,760 --> 00:21:03,399
Speaker 1: that song though, is that it goes like it gets

433
00:21:03,520 --> 00:21:07,080
Speaker 1: bigger and bigger and bigger. It's like they start off

434
00:21:07,119 --> 00:21:09,720
Speaker 1: with like, you know, just a verse, and then it's

435
00:21:09,760 --> 00:21:12,320
Speaker 1: like the chorus, and then it's like they start adding

436
00:21:12,440 --> 00:21:15,600
Speaker 1: layers and every is more dramatic.

437
00:21:16,400 --> 00:21:19,439
Speaker 4: Oh, it gets orchestral by the end. It's the chorus

438
00:21:19,520 --> 00:21:22,080
Speaker 4: line of songs where you're like, wait, they start out

439
00:21:22,080 --> 00:21:23,000
Speaker 4: with a guitar.

440
00:21:22,720 --> 00:21:25,720
Speaker 3: And a singer and they're ending with a full fucking orchestra.

441
00:21:26,119 --> 00:21:27,200
Speaker 3: How are they doing this?

442
00:21:28,160 --> 00:21:49,800
Speaker 2: I believe you love power power. I'm like, I'm about

443
00:21:49,840 --> 00:21:50,640
Speaker 2: to have a fucking heart.

444
00:21:50,800 --> 00:21:53,359
Speaker 4: So there they put like a dirge in the middle,

445
00:21:53,400 --> 00:21:56,040
Speaker 4: like there's like a marching band dirge in the middle

446
00:21:56,080 --> 00:21:56,639
Speaker 4: of that song.

447
00:21:57,880 --> 00:22:00,480
Speaker 3: Cares for Fears revisit if you have it. They go

448
00:22:00,760 --> 00:22:01,560
Speaker 3: fucking hard.

449
00:22:02,880 --> 00:22:06,040
Speaker 1: So you're you've outlined in the course of twenty minutes

450
00:22:07,000 --> 00:22:11,120
Speaker 1: how you absolutely fucking hate Sublime, but your number one

451
00:22:11,240 --> 00:22:14,120
Speaker 1: favorite band of all time is Tears for Fears. That's

452
00:22:14,160 --> 00:22:18,000
Speaker 1: been the bookends to this, to this intro to our podcast.

453
00:22:18,000 --> 00:22:19,760
Speaker 4: We need to get to these movies because I'll take

454
00:22:19,760 --> 00:22:21,439
Speaker 4: it to another strange place.

455
00:22:21,800 --> 00:22:22,360
Speaker 3: I'll keep going.

456
00:22:22,359 --> 00:22:29,639
Speaker 4: If we don't get to these movies, Oh, this is

457
00:22:29,640 --> 00:22:30,280
Speaker 4: gonna be a while.

458
00:22:30,359 --> 00:22:32,280
Speaker 3: And this, I think this is the energy we need

459
00:22:32,320 --> 00:22:32,960
Speaker 3: for this theme.

460
00:22:34,080 --> 00:22:38,239
Speaker 4: Yes, because for the past couple of weeks, we've each

461
00:22:38,359 --> 00:22:40,239
Speaker 4: kind of come to the to the show and been like,

462
00:22:40,359 --> 00:22:43,160
Speaker 4: I don't know if I interpreted this theme exactly correctly,

463
00:22:44,720 --> 00:22:48,120
Speaker 4: But then we're gonna give you a theme and two

464
00:22:48,200 --> 00:22:51,760
Speaker 4: movies that are undeniably perfect for the theme.

465
00:22:52,720 --> 00:22:52,920
Speaker 2: Right.

466
00:22:53,119 --> 00:22:56,359
Speaker 1: Well, okay, so I think this was my original idea,

467
00:22:56,400 --> 00:22:58,240
Speaker 1: but then you came back around and renamed it. And

468
00:22:58,280 --> 00:23:01,320
Speaker 1: I'm actually curious why you aimed at this because I

469
00:23:01,320 --> 00:23:02,640
Speaker 1: had to speaking of.

470
00:23:02,640 --> 00:23:05,880
Speaker 2: Deep dives, I had to google it. I googled what

471
00:23:06,520 --> 00:23:07,320
Speaker 2: our theme was.

472
00:23:07,600 --> 00:23:12,639
Speaker 4: Fucking well, I I renamed it because I thought that

473
00:23:13,200 --> 00:23:15,600
Speaker 4: the original was great, but I feel like I wanted

474
00:23:15,600 --> 00:23:18,879
Speaker 4: something funny or something like, you know, to kind of

475
00:23:18,920 --> 00:23:20,880
Speaker 4: bring out the flavor a little more.

476
00:23:21,040 --> 00:23:24,040
Speaker 1: Oh no, you don't have to be nice it I

477
00:23:24,119 --> 00:23:27,440
Speaker 1: you come up with the best names. I am fucking

478
00:23:27,760 --> 00:23:31,280
Speaker 1: terrible at coming up with theme names, and I very

479
00:23:31,400 --> 00:23:33,639
Speaker 1: rarely have a good one, like I just wouldn't like

480
00:23:34,000 --> 00:23:35,879
Speaker 1: except for the hang up mom, I got to use

481
00:23:35,880 --> 00:23:39,080
Speaker 1: the internet or whatever the one we did was. But like, honestly,

482
00:23:39,160 --> 00:23:42,320
Speaker 1: like you, that's your I love that is your thing,

483
00:23:42,440 --> 00:23:44,800
Speaker 1: and I gotta tell you like this has been like

484
00:23:44,920 --> 00:23:49,280
Speaker 1: a problem for me, like speaking of my own like issues.

485
00:23:49,080 --> 00:23:51,440
Speaker 2: Like I I've been a programmer for like.

486
00:23:51,400 --> 00:23:54,119
Speaker 1: Twenty years and I cannot come up with like catchy

487
00:23:54,240 --> 00:23:55,840
Speaker 1: names I am.

488
00:23:57,200 --> 00:24:00,679
Speaker 2: I gotta say I am not good at punk and

489
00:24:00,920 --> 00:24:01,800
Speaker 2: I don't want to be.

490
00:24:02,200 --> 00:24:05,159
Speaker 4: I think that's solid. I think that's completely solid, and

491
00:24:05,240 --> 00:24:07,040
Speaker 4: I'm not good at puns. I think I just go

492
00:24:07,160 --> 00:24:10,520
Speaker 4: for what's going to make me laugh the most, yes,

493
00:24:10,600 --> 00:24:13,400
Speaker 4: or what's gonna make me, like, make you laugh the most.

494
00:24:13,400 --> 00:24:14,760
Speaker 3: That's really what it's about for me.

495
00:24:15,600 --> 00:24:18,600
Speaker 1: No, one hundred percent. And that's totally great because here's

496
00:24:18,640 --> 00:24:21,520
Speaker 1: the thing. Don't put my if you see something in

497
00:24:21,560 --> 00:24:26,040
Speaker 1: our schedule that looks boring as shit like MILLI was like,

498
00:24:26,080 --> 00:24:27,600
Speaker 1: oh dog movies.

499
00:24:28,720 --> 00:24:32,960
Speaker 2: Awesome, change change and make it funny. I am not.

500
00:24:33,200 --> 00:24:35,960
Speaker 2: I'm not offended at all. Trust me.

501
00:24:36,520 --> 00:24:39,880
Speaker 4: Well, this one is fucking great. Both both of them

502
00:24:39,920 --> 00:24:43,399
Speaker 4: were fucking great. And our theme this week is but

503
00:24:43,520 --> 00:24:49,040
Speaker 4: I am Polyiachi and and and in little brackets dark

504
00:24:49,119 --> 00:24:49,880
Speaker 4: turn movies.

505
00:24:50,200 --> 00:24:50,760
Speaker 2: That's right.

506
00:24:51,320 --> 00:24:56,080
Speaker 1: So I don't know about you, Danielle, but I have

507
00:24:56,160 --> 00:24:58,399
Speaker 1: been wanting to do something like this for a while.

508
00:24:58,600 --> 00:24:59,920
Speaker 2: Yes, I think it's.

509
00:24:59,760 --> 00:25:04,000
Speaker 1: Really fascinating when because the whole theme is basically about

510
00:25:04,080 --> 00:25:08,679
Speaker 1: actors who do a dark turn role completely, right, So

511
00:25:08,760 --> 00:25:12,280
Speaker 1: anybody that's seen as like a comic actor or like

512
00:25:12,359 --> 00:25:15,440
Speaker 1: a child actor or something like that that suddenly will

513
00:25:15,480 --> 00:25:18,080
Speaker 1: do a movie that's very dark where they're either like

514
00:25:18,160 --> 00:25:21,440
Speaker 1: a villain or like a weirdo or something like that.

515
00:25:21,760 --> 00:25:23,560
Speaker 2: And so yeah, and I feel.

516
00:25:23,320 --> 00:25:26,720
Speaker 1: Like, in a weird way, I think we're gonna be

517
00:25:26,760 --> 00:25:29,680
Speaker 1: able to talk slightly about all the way up too.

518
00:25:29,800 --> 00:25:32,639
Speaker 1: And it's kind of like side door, especially with my movie.

519
00:25:33,119 --> 00:25:37,520
Speaker 1: But I was actually hoping.

520
00:25:37,359 --> 00:25:39,399
Speaker 2: That you would pick your movie this week because I

521
00:25:39,440 --> 00:25:40,240
Speaker 2: have never seen it.

522
00:25:41,000 --> 00:25:45,760
Speaker 1: I knew it, and I have wanted to forever because

523
00:25:45,800 --> 00:25:50,679
Speaker 1: of the director speaking of the nineties, right, So I

524
00:25:50,840 --> 00:25:53,760
Speaker 1: just was like, yes, i'mbout a trojan horse this theme

525
00:25:53,840 --> 00:25:56,640
Speaker 1: so that I could watch this movie beautiful, and thankfully

526
00:25:56,720 --> 00:25:57,399
Speaker 1: daniel picked up.

527
00:25:57,440 --> 00:25:59,640
Speaker 4: I cannot wait to hear your thoughts on it, and

528
00:26:00,040 --> 00:26:05,600
Speaker 4: if you're not aware of the theme reference, it's a

529
00:26:05,720 --> 00:26:10,200
Speaker 4: joke or a story, you know, story that basically this great.

530
00:26:10,720 --> 00:26:12,680
Speaker 3: This guy goes to the doctor and he's.

531
00:26:12,480 --> 00:26:15,680
Speaker 4: Depressed, and the doctor kind of well, you know, there's

532
00:26:15,720 --> 00:26:18,360
Speaker 4: this really good clown in town named Polyiachi.

533
00:26:18,400 --> 00:26:19,199
Speaker 3: You should go see him.

534
00:26:19,240 --> 00:26:22,080
Speaker 4: He's like, cheers everybody up, and the guy goes, but

535
00:26:22,119 --> 00:26:25,960
Speaker 4: I am Polyachi. So it's kind of like, well, I'm depressed,

536
00:26:26,000 --> 00:26:29,080
Speaker 4: I'm down, I'm dark. Nothing you can do about it,

537
00:26:29,880 --> 00:26:32,000
Speaker 4: even though my job is to be funny, or my

538
00:26:32,160 --> 00:26:34,199
Speaker 4: job is to be this, like Millie was saying, this

539
00:26:34,320 --> 00:26:38,560
Speaker 4: lighthearted child actor, funny, comical person, I'm doing some dark

540
00:26:38,600 --> 00:26:40,760
Speaker 4: shit right now.

541
00:26:40,840 --> 00:26:44,160
Speaker 1: What is your feeling, just like gut feeling about this,

542
00:26:44,280 --> 00:26:46,960
Speaker 1: like cause there have been so many like over the years.

543
00:26:47,119 --> 00:26:50,080
Speaker 1: Oh yeah, is it something that you are interested in,

544
00:26:50,160 --> 00:26:52,120
Speaker 1: like when you were like, oh my god, like this

545
00:26:52,320 --> 00:26:55,399
Speaker 1: actor is now playing a serial killer? You know, like

546
00:26:55,400 --> 00:26:58,080
Speaker 1: what is would you see? Was that appeal to you

547
00:26:58,160 --> 00:26:59,200
Speaker 1: as a movie watcher.

548
00:26:59,480 --> 00:27:02,320
Speaker 4: It's not the most appealing thing to me because it

549
00:27:02,320 --> 00:27:05,320
Speaker 4: makes me nervous. It makes me very nervous because it

550
00:27:05,440 --> 00:27:09,600
Speaker 4: is very rarely done well and sometimes you can just

551
00:27:09,720 --> 00:27:12,920
Speaker 4: see too many of the working parts where you're like, oh,

552
00:27:13,040 --> 00:27:17,720
Speaker 4: this is somebody trying to like reinvigorate or regenerate or

553
00:27:17,840 --> 00:27:20,600
Speaker 4: change their career. And I don't like that, Like, I

554
00:27:20,640 --> 00:27:22,920
Speaker 4: don't feel I don't like feeling like, oh, you're trying

555
00:27:22,960 --> 00:27:25,640
Speaker 4: to make me see you in a specific light, even

556
00:27:25,640 --> 00:27:28,320
Speaker 4: if you're not very good at dramatic acting or you're

557
00:27:28,359 --> 00:27:31,199
Speaker 4: not very good at what this, You're not good for

558
00:27:31,240 --> 00:27:31,680
Speaker 4: this part.

559
00:27:32,680 --> 00:27:34,040
Speaker 3: So I don't like that. It makes me nervous.

560
00:27:34,080 --> 00:27:36,520
Speaker 4: We people do a dark turn movie, but I think

561
00:27:36,560 --> 00:27:39,200
Speaker 4: in my case, the primary actor in my movie had

562
00:27:39,240 --> 00:27:43,000
Speaker 4: done darker turn movies before this one, so I was

563
00:27:43,160 --> 00:27:44,640
Speaker 4: kind of like, all right, he can pull it off.

564
00:27:45,480 --> 00:27:49,399
Speaker 4: But in your movie, I was like, hmmm, I don't know.

565
00:27:49,680 --> 00:27:53,240
Speaker 1: Yeah, Yeah, we're going to talk about that a lot,

566
00:27:53,359 --> 00:28:00,840
Speaker 1: because I I think I don't think that he pulled

567
00:28:00,880 --> 00:28:03,760
Speaker 1: it off whatsoever. Right, we'll get we will get into that.

568
00:28:03,880 --> 00:28:06,080
Speaker 1: But there are so many things too where I'm like,

569
00:28:06,320 --> 00:28:11,200
Speaker 1: it kind of can go the other way where I

570
00:28:11,280 --> 00:28:14,520
Speaker 1: think that kind of happened with Statham at a certain point.

571
00:28:14,680 --> 00:28:18,119
Speaker 1: Where do you remember when he was in Spy, that

572
00:28:18,160 --> 00:28:21,280
Speaker 1: Melissa McCarthy movie, and he played like he kind of

573
00:28:21,400 --> 00:28:25,040
Speaker 1: became like a love interest, and I remember thinking at

574
00:28:25,040 --> 00:28:28,720
Speaker 1: the time, this is fucking genius. Like I'm like, I

575
00:28:28,800 --> 00:28:31,119
Speaker 1: love the fact that they made Stathum into this like

576
00:28:31,800 --> 00:28:34,720
Speaker 1: rom com guy, you know what I mean, Like this

577
00:28:34,800 --> 00:28:38,040
Speaker 1: is this is what I've always wanted for him, you know,

578
00:28:38,240 --> 00:28:40,480
Speaker 1: is to to do a role like that and still.

579
00:28:40,360 --> 00:28:43,320
Speaker 4: Keeping that like like he's making fun of himself and

580
00:28:43,360 --> 00:28:45,920
Speaker 4: how he usually acts in movies by being the rom

581
00:28:46,000 --> 00:28:46,440
Speaker 4: com guy.

582
00:28:47,400 --> 00:28:50,040
Speaker 2: Yeah. So it's kind of like light Turn not the

583
00:28:50,040 --> 00:28:50,920
Speaker 2: opposite of Dark Tern.

584
00:28:50,960 --> 00:28:53,680
Speaker 1: But I sometimes it's it works, but a lot of

585
00:28:53,720 --> 00:28:55,680
Speaker 1: times it doesn't. And I do agree that it's like

586
00:28:56,960 --> 00:28:59,440
Speaker 1: I think it kind of telegraphs this weird like, oh,

587
00:28:59,480 --> 00:29:04,240
Speaker 1: here's someone that like wants to be taken more seriously

588
00:29:04,360 --> 00:29:07,480
Speaker 1: or they want to become I don't know what kind

589
00:29:07,480 --> 00:29:09,920
Speaker 1: of like more complex. I mean you can talk about

590
00:29:09,920 --> 00:29:13,080
Speaker 1: that with like The Batman and like Robert Pattinson and

591
00:29:13,120 --> 00:29:16,080
Speaker 1: about how Robert Pattinson was initially like a teen star

592
00:29:16,120 --> 00:29:20,640
Speaker 1: and then he started doing like weird Claar Danny movies

593
00:29:20,760 --> 00:29:21,440
Speaker 1: and you know, like.

594
00:29:21,760 --> 00:29:22,400
Speaker 2: That kind of stuff.

595
00:29:22,440 --> 00:29:25,080
Speaker 1: And so I don't know, and sometimes I feel like

596
00:29:25,080 --> 00:29:26,600
Speaker 1: it does work. I mean I think in the case

597
00:29:26,640 --> 00:29:28,560
Speaker 1: of like him and Kristen Stewart, I mean I feel

598
00:29:28,560 --> 00:29:33,000
Speaker 1: like they did actually yeah, you know, start to become

599
00:29:34,160 --> 00:29:36,280
Speaker 1: separate from like what their teen image was.

600
00:29:36,320 --> 00:29:39,160
Speaker 2: But a lot of times it's pretty clunky, I would.

601
00:29:39,000 --> 00:29:42,240
Speaker 4: Say, very clunky. And yeah, it's a risk. It's I

602
00:29:42,240 --> 00:29:44,120
Speaker 4: mean it's a risk that everyone is taking, the people

603
00:29:44,160 --> 00:29:47,040
Speaker 4: involved and the audience, and everyone is taking this risk.

604
00:29:47,080 --> 00:29:49,080
Speaker 4: But I think that if you if you come to

605
00:29:49,160 --> 00:29:51,959
Speaker 4: a Dark Turn movie because you like the comedy acting

606
00:29:52,000 --> 00:29:55,760
Speaker 4: of somebody, you are going to be deeply disappointed at

607
00:29:55,760 --> 00:29:58,239
Speaker 4: some point because either they pull it off and you're

608
00:29:58,320 --> 00:29:59,720
Speaker 4: upset because you're like, I will never look at that

609
00:29:59,760 --> 00:30:02,160
Speaker 4: person the same way again, or they don't pull it

610
00:30:02,200 --> 00:30:03,720
Speaker 4: off and you're like, why did you do that to me?

611
00:30:06,080 --> 00:30:10,720
Speaker 1: Well, and then in the case of my film, which

612
00:30:10,760 --> 00:30:11,680
Speaker 1: I just realized.

613
00:30:11,400 --> 00:30:13,520
Speaker 2: I was going first this week, Okay, so yeah, go

614
00:30:13,600 --> 00:30:13,760
Speaker 2: for it.

615
00:30:14,680 --> 00:30:19,200
Speaker 1: But I will say, just to just to start it out,

616
00:30:19,240 --> 00:30:22,240
Speaker 1: that like, I feel like the worst thing you could

617
00:30:22,280 --> 00:30:26,040
Speaker 1: do is be like blah, right, Like you can either

618
00:30:26,080 --> 00:30:28,520
Speaker 1: be like really over the top or really like but

619
00:30:28,600 --> 00:30:31,000
Speaker 1: I just feel like, I don't know, we'll get into it.

620
00:30:30,880 --> 00:30:32,760
Speaker 2: But let's just get in there.

621
00:30:32,880 --> 00:30:34,200
Speaker 3: Let's just do not just send it up.

622
00:30:34,280 --> 00:30:35,560
Speaker 2: Let's talk about dark terms.

623
00:30:35,960 --> 00:30:36,600
Speaker 3: Coffee.

624
00:30:36,760 --> 00:30:40,600
Speaker 1: Coffee go forty outs, forty ounce.

625
00:30:40,640 --> 00:30:43,000
Speaker 2: Okay, so my movie.

626
00:30:43,040 --> 00:30:48,960
Speaker 1: For the theme, but I am Plagacci is a movie

627
00:30:48,960 --> 00:30:52,200
Speaker 1: from nineteen eighty eight. It was written by Jay McNerney

628
00:30:52,200 --> 00:30:55,160
Speaker 1: based on his book of the same name, directed by

629
00:30:55,240 --> 00:30:58,080
Speaker 1: James Bridges, and it's called Bright Lights, Big City.

630
00:30:58,200 --> 00:31:01,640
Speaker 3: Ask you one question. Absolutely kind of just nearly overwhelming desire.

631
00:31:01,640 --> 00:31:03,040
Speaker 3: Had just been in quiet evening at home.

632
00:31:04,160 --> 00:31:05,800
Speaker 2: Know, so obviously this is like.

633
00:31:07,240 --> 00:31:09,760
Speaker 1: A movie that I've been wanting to bring to the

634
00:31:09,800 --> 00:31:13,600
Speaker 1: Pod because of this theme. Yeah, because I wanted to

635
00:31:13,640 --> 00:31:15,760
Speaker 1: talk about this theme and this for me is one

636
00:31:15,840 --> 00:31:19,160
Speaker 1: as a good example. So just to set it up

637
00:31:19,160 --> 00:31:20,680
Speaker 1: a little bit, I mean, you know, when it came

638
00:31:20,720 --> 00:31:24,719
Speaker 1: out in the late eighties, it you know, got mixed reviews.

639
00:31:24,880 --> 00:31:28,520
Speaker 1: It at the box office, it kind of it didn't

640
00:31:28,520 --> 00:31:32,040
Speaker 1: really do super great. It made about half of what

641
00:31:32,560 --> 00:31:34,240
Speaker 1: they had paid to make the movie.

642
00:31:35,080 --> 00:31:37,520
Speaker 2: But I also know that it was like cod I

643
00:31:37,640 --> 00:31:38,400
Speaker 2: was kicking.

644
00:31:38,080 --> 00:31:43,200
Speaker 1: Around development hell for a while before it was released,

645
00:31:43,240 --> 00:31:46,040
Speaker 1: and it was attempting to be made in like there

646
00:31:46,080 --> 00:31:48,480
Speaker 1: was a guild strike going on. I mean, lots of

647
00:31:48,480 --> 00:31:51,000
Speaker 1: different people were attached to it at several different points,

648
00:31:51,040 --> 00:31:55,480
Speaker 1: including Tom Cruise. At some point Sidney Pollock, the director,

649
00:31:56,320 --> 00:31:58,960
Speaker 1: you know, Sidney Pollock, was brought in to produce it.

650
00:31:59,600 --> 00:32:04,680
Speaker 1: And then at one point Joyce Chopra and her husband,

651
00:32:04,720 --> 00:32:08,280
Speaker 1: the director Joyce Chopra and her husband were involved in

652
00:32:08,400 --> 00:32:11,960
Speaker 1: the film, and I feel like they actually like wrote

653
00:32:12,000 --> 00:32:16,440
Speaker 1: it and were like getting ready to actually finish it,

654
00:32:16,480 --> 00:32:19,960
Speaker 1: and then the studio was like, it's not working.

655
00:32:20,400 --> 00:32:20,640
Speaker 2: I know.

656
00:32:20,800 --> 00:32:25,800
Speaker 1: The writer Jay McNerney said that their version had taken

657
00:32:25,840 --> 00:32:27,440
Speaker 1: out a lot of the.

658
00:32:27,120 --> 00:32:29,400
Speaker 2: Drug use and the sort of dark elements of the story.

659
00:32:29,480 --> 00:32:33,240
Speaker 1: So anyway, cut to it gets brought to James Bridges,

660
00:32:33,320 --> 00:32:36,360
Speaker 1: who you know we talked about on our episode with

661
00:32:36,520 --> 00:32:37,600
Speaker 1: the Urban Cowboy.

662
00:32:38,000 --> 00:32:40,880
Speaker 2: He directed Urban Cowboy, amongst many and many other things.

663
00:32:41,320 --> 00:32:43,120
Speaker 1: And so it kind of just like, I don't know,

664
00:32:43,160 --> 00:32:45,080
Speaker 1: it kind of just eventually it came out, but it.

665
00:32:45,080 --> 00:32:46,720
Speaker 2: Had a lot of iterations.

666
00:32:46,880 --> 00:32:50,520
Speaker 1: Yeah, before and I remember I think I remember seeing

667
00:32:50,520 --> 00:32:54,280
Speaker 1: this movie as a child, because of course the star

668
00:32:54,640 --> 00:32:57,920
Speaker 1: Michael J. Fox, right, and then I just remember I

669
00:32:57,920 --> 00:32:59,640
Speaker 1: think I watched a part of it or something on

670
00:32:59,760 --> 00:33:02,040
Speaker 1: HBAH and then or you know something, and then I

671
00:33:02,120 --> 00:33:05,320
Speaker 1: was like, Okay, I don't know what that is at all.

672
00:33:05,440 --> 00:33:06,920
Speaker 1: I don't know what this movie was, and I just

673
00:33:06,960 --> 00:33:09,200
Speaker 1: like moved on with my life, like I didn't think

674
00:33:09,280 --> 00:33:13,280
Speaker 1: much about it at the time, but I've seen it at.

675
00:33:13,200 --> 00:33:14,680
Speaker 2: Least twice since then.

676
00:33:15,680 --> 00:33:19,480
Speaker 1: And you know, as much as I do love that

677
00:33:19,560 --> 00:33:20,800
Speaker 1: thought experiment of like.

678
00:33:20,760 --> 00:33:23,440
Speaker 2: A dark turn movie for an actor.

679
00:33:24,000 --> 00:33:27,240
Speaker 1: I feel like there's something kind of off with bright lights,

680
00:33:27,240 --> 00:33:27,880
Speaker 1: big sitting.

681
00:33:27,800 --> 00:33:31,160
Speaker 4: Completely and I'm wondering as you're talking, I'm wondering if

682
00:33:31,200 --> 00:33:34,240
Speaker 4: it is that you can feel that there were so

683
00:33:34,360 --> 00:33:37,880
Speaker 4: many hands involved in this film that it almost doesn't

684
00:33:37,880 --> 00:33:38,560
Speaker 4: have a POV.

685
00:33:39,160 --> 00:33:40,760
Speaker 2: Yeah, that's right.

686
00:33:40,800 --> 00:33:45,280
Speaker 1: I mean that is certainly an interesting concept because it

687
00:33:45,320 --> 00:33:48,760
Speaker 1: does sometimes you actually, when you do see movies that

688
00:33:48,800 --> 00:33:52,320
Speaker 1: you know have been like through the Ringer, it kind

689
00:33:52,320 --> 00:33:55,840
Speaker 1: of shows like it kind of will show in the

690
00:33:55,840 --> 00:33:59,120
Speaker 1: final product as much as they hope that it wouldn't,

691
00:33:59,640 --> 00:34:02,400
Speaker 1: you know. So yeah, I think that's definitely a valid

692
00:34:02,400 --> 00:34:05,800
Speaker 1: point because here's the thing. I feel like, you know,

693
00:34:06,440 --> 00:34:09,719
Speaker 1: the core of this story is very dark, Like it's essentially,

694
00:34:10,360 --> 00:34:13,440
Speaker 1: you know, a story about a young professional who becomes

695
00:34:14,080 --> 00:34:19,839
Speaker 1: essentially a full blown cocaine addict and alcoholic, right, and

696
00:34:19,880 --> 00:34:22,600
Speaker 1: it's all because of the death of his mother and

697
00:34:22,640 --> 00:34:26,439
Speaker 1: his recent divorce, so you know that's a dark story, right,

698
00:34:26,520 --> 00:34:28,959
Speaker 1: And then he's also got this like really sleazy best

699
00:34:28,960 --> 00:34:33,520
Speaker 1: friend who has played perfectly by keif for Sutherland, who

700
00:34:33,760 --> 00:34:37,200
Speaker 1: was really good at playing creeps in the eighties, just

701
00:34:38,200 --> 00:34:43,320
Speaker 1: born to it, born, and you know, and their whole scene,

702
00:34:43,360 --> 00:34:46,000
Speaker 1: like their social scene in the film, seems to be

703
00:34:46,040 --> 00:34:49,960
Speaker 1: happening during that like height of yuppies, like nineteen eighties

704
00:34:50,000 --> 00:34:52,920
Speaker 1: New York thing, which we did talk about during American Psycho.

705
00:34:53,680 --> 00:34:56,600
Speaker 2: But to that exact point though, I.

706
00:34:56,520 --> 00:35:01,399
Speaker 1: Mean, this movie feels ostensibly like a be some kind

707
00:35:01,440 --> 00:35:05,239
Speaker 1: of Brett Easton Ellis type of thing. But I think

708
00:35:05,320 --> 00:35:09,880
Speaker 1: the reason why it's off is because of Michael Shay Fox.

709
00:35:10,280 --> 00:35:13,759
Speaker 1: And I feel like, you know, at this time in.

710
00:35:13,840 --> 00:35:19,560
Speaker 2: His career, he was America's sweetheart, right. I mean, he had.

711
00:35:19,440 --> 00:35:22,600
Speaker 1: Already been Martin McFly, he was teen wolf, he was

712
00:35:22,680 --> 00:35:25,680
Speaker 1: own family ties, and he was just sort of like

713
00:35:25,760 --> 00:35:30,880
Speaker 1: America's sweetheart, next door neighbor guy, right.

714
00:35:31,800 --> 00:35:34,359
Speaker 2: And I feel like.

715
00:35:35,800 --> 00:35:40,840
Speaker 1: Despite his intentions to maybe try something different, I feel

716
00:35:40,880 --> 00:35:44,080
Speaker 1: like there was just no there was no he could

717
00:35:44,120 --> 00:35:44,799
Speaker 1: not do it.

718
00:35:44,800 --> 00:35:46,280
Speaker 2: It just wasn't gonna happen.

719
00:35:46,320 --> 00:35:48,360
Speaker 3: There were no teeth, none.

720
00:35:48,440 --> 00:35:51,600
Speaker 4: And it's also it's partly that I don't think they

721
00:35:51,640 --> 00:35:56,040
Speaker 4: went hard enough on the drug and alcohol angle, Like

722
00:35:56,080 --> 00:35:58,920
Speaker 4: you rarely see him doing drugs, or when you do

723
00:35:59,000 --> 00:36:02,480
Speaker 4: see him doing drugs very quick and maybe that was intentional,

724
00:36:02,600 --> 00:36:05,680
Speaker 4: but it doesn't there's not enough there for me to

725
00:36:05,800 --> 00:36:09,279
Speaker 4: understand what the effect of this drug on his life,

726
00:36:09,400 --> 00:36:11,600
Speaker 4: Like he seems to be really floundering. But you're like, well,

727
00:36:11,640 --> 00:36:14,480
Speaker 4: is it because of this drug an alcohol thing, or

728
00:36:14,520 --> 00:36:17,520
Speaker 4: is it because he's just kind of upset about his divorce,

729
00:36:17,680 --> 00:36:20,239
Speaker 4: Like it's just too messy. And maybe again that was

730
00:36:20,280 --> 00:36:23,359
Speaker 4: the intention, but and maybe it's because I'm looking at

731
00:36:23,400 --> 00:36:25,839
Speaker 4: it with modern eyes, But I don't think they went

732
00:36:25,920 --> 00:36:28,280
Speaker 4: hard enough in the drug department.

733
00:36:28,680 --> 00:36:29,800
Speaker 2: I don't think so either.

734
00:36:29,920 --> 00:36:31,719
Speaker 1: And that's and that's kind of one of my chief

735
00:36:31,760 --> 00:36:34,759
Speaker 1: complaints of the film is that I'm like, uh, he

736
00:36:34,880 --> 00:36:38,239
Speaker 1: didn't snort coke enough on film or something like I

737
00:36:38,239 --> 00:36:40,880
Speaker 1: think he snorted it a couple times, Like there's definitely

738
00:36:40,920 --> 00:36:45,359
Speaker 1: a scene where it's going up the nose right, which

739
00:36:45,360 --> 00:36:48,440
Speaker 1: apparently was I was reading it was milk powder or

740
00:36:48,480 --> 00:36:53,480
Speaker 1: milk sugar or something like that. Obviously, muscle molk. It

741
00:36:53,520 --> 00:36:56,200
Speaker 1: was powdered muscle milk going up the old.

742
00:36:57,000 --> 00:37:00,120
Speaker 4: Can I just just take a moment and say, was

743
00:37:00,160 --> 00:37:01,880
Speaker 4: at the grocery store the other day, you know the

744
00:37:01,920 --> 00:37:05,480
Speaker 4: one with the wooden floors that indicate the natural section.

745
00:37:06,600 --> 00:37:09,840
Speaker 1: Yes, the smooth transition, smooth transition.

746
00:37:10,200 --> 00:37:13,000
Speaker 4: There is now something on the market, and it might

747
00:37:13,000 --> 00:37:14,800
Speaker 4: have been there for a while, and I just blanked

748
00:37:14,800 --> 00:37:18,799
Speaker 4: it out called mussel mac and it's muscle milk, mac

749
00:37:18,840 --> 00:37:22,320
Speaker 4: and cheese. And I'm just gonna leave that there because

750
00:37:22,600 --> 00:37:24,399
Speaker 4: you know, I hate it. You know I hate it.

751
00:37:25,880 --> 00:37:30,840
Speaker 1: I drink muscle milk and I can't even imagine eating that.

752
00:37:30,880 --> 00:37:35,480
Speaker 4: I'm gonna send you a box of muscle mac, and

753
00:37:35,560 --> 00:37:38,680
Speaker 4: I want you to tell me every detail of from

754
00:37:38,719 --> 00:37:39,879
Speaker 4: making it to eating it.

755
00:37:40,239 --> 00:37:40,920
Speaker 3: What is it like?

756
00:37:42,400 --> 00:37:44,480
Speaker 1: Not even if I was on some like hot Ones

757
00:37:44,560 --> 00:37:47,320
Speaker 1: type of TV show, like a Dare to Eat food

758
00:37:47,440 --> 00:37:48,080
Speaker 1: TV show?

759
00:37:49,360 --> 00:37:51,759
Speaker 2: Not even then? What I fucking do that?

760
00:37:51,800 --> 00:37:52,040
Speaker 3: Shit?

761
00:37:52,120 --> 00:37:53,000
Speaker 2: That's disgusting.

762
00:37:53,160 --> 00:37:56,400
Speaker 4: Yeah, Well he's snorting some powdered milk and I feel

763
00:37:56,440 --> 00:37:59,480
Speaker 4: like it's the equivalent of eating mussel mac.

764
00:38:00,600 --> 00:38:03,200
Speaker 2: Oh god, yeah, And like, look.

765
00:38:03,000 --> 00:38:06,759
Speaker 1: I is it weird to be Like Wow, I wish

766
00:38:06,840 --> 00:38:11,400
Speaker 1: this guy was even further down the K hole, like, look,

767
00:38:11,920 --> 00:38:15,600
Speaker 1: I could have maybe used and accidentally shit myself seen

768
00:38:15,840 --> 00:38:21,120
Speaker 1: like something that gives you a sense of the gravity

769
00:38:21,560 --> 00:38:25,280
Speaker 1: of his spiraling, do you know what I'm saying?

770
00:38:25,440 --> 00:38:27,720
Speaker 2: Right Like, And there.

771
00:38:27,560 --> 00:38:31,719
Speaker 1: Are attempts in the movie maybe where that happens, but

772
00:38:31,800 --> 00:38:35,799
Speaker 1: I feel like if this is ultimately about somebody making

773
00:38:35,800 --> 00:38:37,960
Speaker 1: poor choices and somebody just being like kind of in

774
00:38:38,160 --> 00:38:41,520
Speaker 1: a spiral of life, I don't know. It just felt

775
00:38:41,560 --> 00:38:44,080
Speaker 1: like it didn't go hard enough. On top of that,

776
00:38:45,040 --> 00:38:48,760
Speaker 1: I have to say, Michael J. Fox looks like he's

777
00:38:48,840 --> 00:38:51,839
Speaker 1: a teenager, yeah, like all the time. And I think

778
00:38:51,880 --> 00:38:53,680
Speaker 1: his character in this film was supposed to been like

779
00:38:53,719 --> 00:38:58,000
Speaker 1: twenty four twenty five, but I'm like, no, he still looks.

780
00:38:57,760 --> 00:39:00,640
Speaker 2: Like he's in high school with boof and stuff like.

781
00:39:00,680 --> 00:39:03,920
Speaker 1: This is not I don't believe that he has his

782
00:39:04,000 --> 00:39:05,360
Speaker 1: own apartment right now.

783
00:39:06,800 --> 00:39:07,560
Speaker 2: This is too.

784
00:39:07,520 --> 00:39:10,759
Speaker 4: Felt like he was cosplaying, like take your son to

785
00:39:10,800 --> 00:39:12,080
Speaker 4: work day.

786
00:39:13,480 --> 00:39:17,160
Speaker 2: He's wearing his big boy suit to his big boy job,

787
00:39:17,320 --> 00:39:18,080
Speaker 2: Like I just not.

788
00:39:18,120 --> 00:39:19,600
Speaker 3: I didn't buy it at all.

789
00:39:19,640 --> 00:39:23,160
Speaker 4: And I think like, and there's something about the innocence

790
00:39:23,200 --> 00:39:26,960
Speaker 4: of his face that I like as a comic actor,

791
00:39:27,000 --> 00:39:29,040
Speaker 4: because he's so expressive with his eyes and like he

792
00:39:29,080 --> 00:39:32,320
Speaker 4: can really bring you to funny moments because his face

793
00:39:32,400 --> 00:39:36,560
Speaker 4: is so innocent. But as a hardcore drug addict or

794
00:39:36,719 --> 00:39:41,800
Speaker 4: someone who's supposed to be spiraling into hardcore drugs and alcoholism,

795
00:39:42,160 --> 00:39:44,759
Speaker 4: I felt like, even if I can't see it in

796
00:39:44,800 --> 00:39:47,879
Speaker 4: your face, like the haggardness of it, I want there

797
00:39:47,920 --> 00:39:52,719
Speaker 4: to be some emotional indication that this is happening. And

798
00:39:52,760 --> 00:39:56,239
Speaker 4: I think he was just too too young. It was

799
00:39:56,320 --> 00:39:58,880
Speaker 4: too he was too young, yeah, and too.

800
00:39:58,719 --> 00:39:59,399
Speaker 2: Kind of like.

801
00:40:01,360 --> 00:40:04,560
Speaker 1: In a very very very high point in his career

802
00:40:04,600 --> 00:40:06,680
Speaker 1: where I think people in his life were like, don't

803
00:40:06,680 --> 00:40:09,400
Speaker 1: do the Cokid movie, Like don't, Like, we can't go

804
00:40:09,520 --> 00:40:12,000
Speaker 1: as hard as maybe we could have if it had

805
00:40:12,120 --> 00:40:15,080
Speaker 1: been somebody else, Like I don't know, And that's very interesting.

806
00:40:15,120 --> 00:40:18,319
Speaker 1: I think that that is a huge reason why it

807
00:40:18,400 --> 00:40:19,680
Speaker 1: didn't go darker.

808
00:40:19,960 --> 00:40:21,520
Speaker 2: That's probably the reason why Michael J.

809
00:40:21,680 --> 00:40:24,800
Speaker 1: Fox didn't shit himself in his own bed is because

810
00:40:25,040 --> 00:40:26,239
Speaker 1: we loved him too much.

811
00:40:26,480 --> 00:40:27,200
Speaker 2: You know what I'm saying.

812
00:40:27,360 --> 00:40:30,200
Speaker 3: We loved him too much to let him shit on screen.

813
00:40:31,960 --> 00:40:34,080
Speaker 1: Well, okay, so let me let me just kind of

814
00:40:34,120 --> 00:40:36,080
Speaker 1: give you a brief overview.

815
00:40:35,640 --> 00:40:36,479
Speaker 2: Of what the movie is about.

816
00:40:36,520 --> 00:40:39,239
Speaker 1: Maybe this will all make sense if you haven't seen it,

817
00:40:39,560 --> 00:40:43,680
Speaker 1: but so Michael J. Fox plays this this young man

818
00:40:43,760 --> 00:40:47,440
Speaker 1: named Jamie Conway, right, and like we said, like at

819
00:40:47,480 --> 00:40:50,319
Speaker 1: the beginning of the movie, he his life is in

820
00:40:50,440 --> 00:40:55,440
Speaker 1: fucking shambles. He's a failed writer who is now working

821
00:40:55,640 --> 00:40:58,840
Speaker 1: as like a proofreader or like a fact checker for

822
00:40:59,040 --> 00:41:02,600
Speaker 1: this like very stuffy New York magazine, which I thought

823
00:41:02,640 --> 00:41:05,080
Speaker 1: was maybe The New Yorker or something like that, Right,

824
00:41:05,800 --> 00:41:09,440
Speaker 1: And the thing is is that he goes so hard

825
00:41:09,560 --> 00:41:11,760
Speaker 1: that he's just like late for work all the time,

826
00:41:12,120 --> 00:41:17,560
Speaker 1: and his coworkers, including Swoozy Kurtz, are just constantly covering

827
00:41:17,600 --> 00:41:21,200
Speaker 1: for him because he just fucking can't get a shit together.

828
00:41:21,800 --> 00:41:26,120
Speaker 1: And his boss, who is Buddy McDougall from Sex and

829
00:41:26,160 --> 00:41:28,440
Speaker 1: the City, she.

830
00:41:28,640 --> 00:41:30,520
Speaker 2: Is constantly on his ass.

831
00:41:31,120 --> 00:41:35,480
Speaker 1: And she has a boss who is played by John Houseman.

832
00:41:35,640 --> 00:41:39,319
Speaker 1: I think you know why, because we need an old

833
00:41:39,360 --> 00:41:42,560
Speaker 1: guy in a suit to be some kind of professor.

834
00:41:42,120 --> 00:41:45,080
Speaker 3: Type, to be some New York hard ass.

835
00:41:46,640 --> 00:41:49,759
Speaker 1: Yeah, and it did James Bridges direct The Paper Chase.

836
00:41:49,840 --> 00:41:52,600
Speaker 1: Maybe that's probably that's probably actually why he's in the movie.

837
00:41:52,600 --> 00:41:56,080
Speaker 1: But also it's like the casting call went out or like,

838
00:41:56,080 --> 00:42:00,080
Speaker 1: we need an intelligent older man, and they're like John Houseman.

839
00:41:59,800 --> 00:42:01,600
Speaker 3: Yeah, look, no further, look, no further.

840
00:42:02,560 --> 00:42:02,759
Speaker 2: Right.

841
00:42:03,320 --> 00:42:06,120
Speaker 1: So here's the thing. So that's all happening at his job.

842
00:42:06,200 --> 00:42:08,479
Speaker 1: I mean, he's like very dangerously close to being fired,

843
00:42:08,520 --> 00:42:10,319
Speaker 1: and then he actually does get fired at a certain point.

844
00:42:10,400 --> 00:42:15,879
Speaker 1: But additionally, Jamie's wife, Amanda has just recently left him.

845
00:42:16,239 --> 00:42:19,719
Speaker 1: His wife is played by Phoebe Kates, who we can't

846
00:42:19,760 --> 00:42:23,239
Speaker 1: really talk about anymore. After the Kevin Kline episode, his

847
00:42:23,400 --> 00:42:28,120
Speaker 1: entire family has been eradicated from the podcast. They're not

848
00:42:28,160 --> 00:42:31,319
Speaker 1: allowed to listen We love them because Danielle went too

849
00:42:31,400 --> 00:42:32,680
Speaker 1: hard on loving him.

850
00:42:32,719 --> 00:42:34,520
Speaker 4: I went too hard on loving him and them and

851
00:42:34,560 --> 00:42:36,719
Speaker 4: all of them, and I we just, yeah, we've shot

852
00:42:36,760 --> 00:42:40,080
Speaker 4: ourselves in the foot on that one, because right, I

853
00:42:40,120 --> 00:42:42,720
Speaker 4: could go hours on how much I love that family.

854
00:42:43,680 --> 00:42:46,600
Speaker 1: Yeah, So if anybody's listening from the Klein Family, please

855
00:42:46,760 --> 00:42:49,960
Speaker 1: suppress stop. You're not allowed contractually to listen to the

856
00:42:50,000 --> 00:42:54,960
Speaker 1: rest of this episode. So, okay, Jamie's wife Amanda just

857
00:42:55,120 --> 00:43:00,600
Speaker 1: left him. She has moved to Paris, perhaps because here's

858
00:43:00,640 --> 00:43:03,959
Speaker 1: the thing. At some point while they were together, Amanda

859
00:43:04,480 --> 00:43:07,680
Speaker 1: started a modeling career. It took off, and this was

860
00:43:07,719 --> 00:43:11,360
Speaker 1: happening at the same time that Jamie's writing career didn't

861
00:43:11,400 --> 00:43:13,799
Speaker 1: take off, right, So it's the kind of thing where

862
00:43:13,800 --> 00:43:16,240
Speaker 1: you like, she ended up becoming a star and he

863
00:43:16,640 --> 00:43:18,919
Speaker 1: was sort of left in the lurch in his mind

864
00:43:19,160 --> 00:43:25,040
Speaker 1: right right, which is also a very interesting concept because

865
00:43:25,080 --> 00:43:28,520
Speaker 1: I feel like that happens a lot oh in relationships.

866
00:43:28,760 --> 00:43:31,200
Speaker 4: Absolutely, and they could have again, Like if it were

867
00:43:31,200 --> 00:43:33,200
Speaker 4: made today, it would be so different. But I think

868
00:43:33,280 --> 00:43:37,160
Speaker 4: I wanted to know more about and see more about

869
00:43:37,280 --> 00:43:38,840
Speaker 4: the fragility of this guy's ego.

870
00:43:39,760 --> 00:43:40,960
Speaker 3: Yeah, like I wanted more of that.

871
00:43:42,160 --> 00:43:49,720
Speaker 1: Well, and weirdly enough, she is painted as the bad

872
00:43:49,800 --> 00:43:51,680
Speaker 1: guy for lack of a better term, because it's like

873
00:43:52,400 --> 00:43:55,640
Speaker 1: she's basically like, well, I'm beautiful and famous and now

874
00:43:55,680 --> 00:43:58,480
Speaker 1: I have this like French photographer boyfriend and sorry, buddy,

875
00:43:58,480 --> 00:44:01,040
Speaker 1: you're just an addict who saw or whatever, and it

876
00:44:01,160 --> 00:44:04,040
Speaker 1: just doesn't really get like their conversation never happened, like

877
00:44:04,080 --> 00:44:08,920
Speaker 1: their whole like processing whatever. So, yeah, you're absolutely right,

878
00:44:08,920 --> 00:44:10,960
Speaker 1: they could have done a lot more with that storyline.

879
00:44:11,040 --> 00:44:12,719
Speaker 4: Yeah, and for half of the movie, like before she

880
00:44:12,760 --> 00:44:15,400
Speaker 4: even shows up, half of the movie is in flashback

881
00:44:15,440 --> 00:44:18,200
Speaker 4: where it's silent, like she's not even speaking or having

882
00:44:18,200 --> 00:44:19,120
Speaker 4: conversations with him.

883
00:44:20,040 --> 00:44:22,759
Speaker 1: Yeah, I mean they went like ten minutes on the

884
00:44:22,760 --> 00:44:24,600
Speaker 1: fact that she had to get like a mannequin of

885
00:44:24,640 --> 00:44:25,560
Speaker 1: herself made.

886
00:44:25,960 --> 00:44:27,960
Speaker 2: She was so beautiful that they were like, we have

887
00:44:28,040 --> 00:44:31,200
Speaker 2: to have a fake version of her in a store window.

888
00:44:31,520 --> 00:44:33,160
Speaker 3: We got to copy this space immediately.

889
00:44:34,120 --> 00:44:36,040
Speaker 2: Well, and like the first time that I saw, like

890
00:44:36,080 --> 00:44:37,080
Speaker 2: as an adult, I was.

891
00:44:37,040 --> 00:44:40,760
Speaker 1: Like, oh, hoping that the movie would turn into Mannequin,

892
00:44:40,880 --> 00:44:44,920
Speaker 1: Like yes, the movie Mannequin where her mannequin would then

893
00:44:45,040 --> 00:44:47,440
Speaker 1: come alive and then they would have a romance that

894
00:44:47,520 --> 00:44:50,160
Speaker 1: everybody would be like, he's just talking to a doll?

895
00:44:51,640 --> 00:44:53,200
Speaker 3: What the origin story?

896
00:44:53,440 --> 00:44:57,960
Speaker 4: If the origin of Mannequin is the original mannequin was

897
00:44:58,040 --> 00:44:59,759
Speaker 4: dating a like a cocat.

898
00:45:00,160 --> 00:45:04,960
Speaker 3: It had enough left. They made a mold of her face.

899
00:45:05,120 --> 00:45:07,440
Speaker 4: She turns to this mannequin and then next thing you know,

900
00:45:07,520 --> 00:45:11,879
Speaker 4: Hollywood is behind her with some sick ass glasses telling

901
00:45:11,920 --> 00:45:14,319
Speaker 4: her she's fierce as fuck, I.

902
00:45:14,320 --> 00:45:17,960
Speaker 1: Know, and the infamous words of Jerry Blank too mannequins.

903
00:45:20,000 --> 00:45:23,480
Speaker 2: Anyway, So anyway, here's the thing.

904
00:45:23,680 --> 00:45:28,120
Speaker 1: So because he's had all this stuff happen to him,

905
00:45:28,640 --> 00:45:33,480
Speaker 1: he is now a full blown cocaine addict, okay, which

906
00:45:33,520 --> 00:45:37,400
Speaker 1: means that he does coke at work from like little

907
00:45:37,400 --> 00:45:39,719
Speaker 1: stashes that he's hidden in his desk going on, So

908
00:45:39,800 --> 00:45:43,560
Speaker 1: that's bad, okay. That's when he shows up to work,

909
00:45:43,840 --> 00:45:45,880
Speaker 1: Like he shows up late to work, and then he

910
00:45:45,920 --> 00:45:48,440
Speaker 1: starts doing coke while he's at work. So he's in

911
00:45:48,480 --> 00:45:51,799
Speaker 1: the bell jar as we know. And part of the

912
00:45:51,840 --> 00:45:55,040
Speaker 1: reason why he shows up late to work is because

913
00:45:55,040 --> 00:45:58,240
Speaker 1: he's out every night with his friend Tad alec Ash,

914
00:45:58,600 --> 00:46:02,239
Speaker 1: who was played by Keith Sutherland, as we've said, and

915
00:46:02,680 --> 00:46:05,479
Speaker 1: like they're the type of dudes that like go out

916
00:46:05,480 --> 00:46:09,879
Speaker 1: at one am, okay, Like when you start the night

917
00:46:09,920 --> 00:46:14,080
Speaker 1: at one am, that's that's rough, okay. And they shut

918
00:46:14,120 --> 00:46:15,840
Speaker 1: it down like that. It's the kind of thing we're like,

919
00:46:15,840 --> 00:46:18,279
Speaker 1: they're the last people there. The lights come up, the

920
00:46:18,320 --> 00:46:21,920
Speaker 1: announcers like get out of here. I mean, it's crazy, like.

921
00:46:21,880 --> 00:46:23,640
Speaker 3: They miss the sun rise.

922
00:46:23,760 --> 00:46:25,680
Speaker 4: Like when they leave the club, the sun is up,

923
00:46:26,000 --> 00:46:28,359
Speaker 4: Like the sun is up in the world is moving right.

924
00:46:28,600 --> 00:46:30,960
Speaker 1: And in the eighties, I suppose the you know, instead

925
00:46:30,960 --> 00:46:33,480
Speaker 1: of playing like Donna Summer's Last Dance as the last song,

926
00:46:33,520 --> 00:46:36,400
Speaker 1: it's pump up the volume, like when pump up the

927
00:46:36,480 --> 00:46:38,360
Speaker 1: volume comes on, It's like, yo, it is late.

928
00:46:38,640 --> 00:46:39,680
Speaker 2: We got to go home now.

929
00:46:40,680 --> 00:46:42,800
Speaker 3: I don't know why that makes me laugh so hard.

930
00:46:43,320 --> 00:46:47,000
Speaker 3: Pump up the volume, dance, dance, and then they're like bye.

931
00:46:47,480 --> 00:46:51,319
Speaker 4: Bye, Actually, don't dance. Don't dance home the opposite of

932
00:46:51,320 --> 00:46:51,680
Speaker 4: the dance.

933
00:46:53,400 --> 00:46:56,160
Speaker 1: By the way, I will say, like, we're doing a

934
00:46:56,160 --> 00:46:57,920
Speaker 1: lot of sides on this episode.

935
00:46:58,040 --> 00:47:01,040
Speaker 2: Sorry, it's this coffee jump up. The Volume was.

936
00:47:00,960 --> 00:47:05,680
Speaker 1: The very first piece of music I ever purchased, what

937
00:47:06,680 --> 00:47:08,759
Speaker 1: with my own money singles.

938
00:47:09,600 --> 00:47:14,319
Speaker 2: It was the twelve inch single on vinyl.

939
00:47:14,080 --> 00:47:19,399
Speaker 1: Day that I bought at a store on an air

940
00:47:19,440 --> 00:47:26,360
Speaker 1: Force base. Oh so I and I and I swear

941
00:47:26,400 --> 00:47:28,400
Speaker 1: to god, it was like my favorite song when I

942
00:47:28,520 --> 00:47:30,240
Speaker 1: was like in nineteen eighty.

943
00:47:30,120 --> 00:47:32,120
Speaker 2: Eight, basically when it came out or.

944
00:47:32,320 --> 00:47:35,360
Speaker 1: Eighty nine, I was like and I and I would

945
00:47:35,440 --> 00:47:37,400
Speaker 1: it was like literally the record.

946
00:47:37,600 --> 00:47:40,280
Speaker 2: It was a record, it was a piece of vinyl.

947
00:47:40,480 --> 00:47:41,640
Speaker 2: And then I played it.

948
00:47:41,560 --> 00:47:44,319
Speaker 1: On my dad's record player and thought it was so

949
00:47:44,360 --> 00:47:47,360
Speaker 1: cool because I was like, I own this, I own music.

950
00:47:47,560 --> 00:47:51,040
Speaker 3: This explains so much.

951
00:47:52,239 --> 00:47:56,240
Speaker 4: That is your first purchase and you spend ninety percent

952
00:47:56,280 --> 00:48:00,040
Speaker 4: of your life dancing right now, I know it got into.

953
00:47:59,800 --> 00:48:01,200
Speaker 3: You early and deep.

954
00:48:02,000 --> 00:48:07,239
Speaker 1: It really did set the table for my subsequent life.

955
00:48:08,320 --> 00:48:10,160
Speaker 2: Okay, So here's the thing.

956
00:48:10,680 --> 00:48:14,680
Speaker 1: Slowly throughout the film, it gets more and more complicated

957
00:48:14,760 --> 00:48:19,400
Speaker 1: for Jamie. It's being revealed that, you know, his life

958
00:48:19,440 --> 00:48:23,920
Speaker 1: is spiraling because of his mother, right, who was played.

959
00:48:23,600 --> 00:48:24,560
Speaker 2: By Diane West.

960
00:48:25,000 --> 00:48:29,560
Speaker 1: And there are flashback sequences where she's basically she has cancer.

961
00:48:29,760 --> 00:48:32,640
Speaker 1: She's sick, and Jamie is more or less at her bedside,

962
00:48:32,680 --> 00:48:37,440
Speaker 1: and you know, it's completely traumatized him, right, And it's

963
00:48:37,480 --> 00:48:40,160
Speaker 1: traumatized him to the point where like he's avoiding his

964
00:48:40,200 --> 00:48:42,960
Speaker 1: little brother who is trying to get in touch with

965
00:48:43,040 --> 00:48:45,000
Speaker 1: them because he's like, it's been the one year anniversary

966
00:48:45,000 --> 00:48:45,799
Speaker 1: of her mother's death.

967
00:48:46,000 --> 00:48:47,640
Speaker 2: We have to go spread our ashes like.

968
00:48:48,160 --> 00:48:53,920
Speaker 1: And and Jamie is literally running away from his brother.

969
00:48:54,040 --> 00:48:56,319
Speaker 1: Like his brother finally is like shows up to his

970
00:48:56,560 --> 00:48:57,520
Speaker 1: where he lives, and then.

971
00:48:59,080 --> 00:49:01,239
Speaker 2: Jamie takes off.

972
00:49:02,760 --> 00:49:06,680
Speaker 1: Like in a cokehead run that I have never.

973
00:49:06,480 --> 00:49:07,240
Speaker 2: Seen on film.

974
00:49:07,360 --> 00:49:09,719
Speaker 3: It is an absolutely hilarious scene.

975
00:49:09,719 --> 00:49:11,399
Speaker 4: It's one of the best scenes in the movie where

976
00:49:11,440 --> 00:49:13,840
Speaker 4: he just takes the mug off and his brother's played

977
00:49:13,840 --> 00:49:17,720
Speaker 4: by Charlie Schlatter, who you know from many George Burns

978
00:49:17,719 --> 00:49:23,080
Speaker 4: from that George Burns movie, and he was in that

979
00:49:23,280 --> 00:49:26,759
Speaker 4: TV version of Parker Lewis Can't Lose, That's right, right,

980
00:49:27,040 --> 00:49:30,080
Speaker 4: or adorable. He did some version of Parker Lewis because

981
00:49:30,120 --> 00:49:31,680
Speaker 4: Parker Lewis was a TV show, So I don't know

982
00:49:31,719 --> 00:49:33,520
Speaker 4: what version he did, maybe an updated version.

983
00:49:33,800 --> 00:49:35,200
Speaker 3: And now he does a lot of voice acting.

984
00:49:36,200 --> 00:49:38,759
Speaker 2: Yeah, well, I'm glad you knew all that about him.

985
00:49:38,800 --> 00:49:40,680
Speaker 2: I did not prepare for that for him.

986
00:49:40,719 --> 00:49:42,840
Speaker 4: I will bring out the weird facts about your eighties actor,

987
00:49:42,960 --> 00:49:44,759
Speaker 4: as we know from Alf's the dad on.

988
00:49:44,760 --> 00:49:51,440
Speaker 1: Alf absolutely absolutely so there. So he's avoiding his this

989
00:49:51,680 --> 00:49:57,440
Speaker 1: entire reality, right Jamie, and it's traumatized him to the

990
00:49:57,480 --> 00:49:59,320
Speaker 1: point where I mean a lot of this is because

991
00:49:59,320 --> 00:50:01,400
Speaker 1: of his drug u and his drinking. But like, so,

992
00:50:01,440 --> 00:50:05,200
Speaker 1: there's this runner through the film of this New York

993
00:50:05,320 --> 00:50:10,360
Speaker 1: Post slash like weekly world news type of tabloid article

994
00:50:11,640 --> 00:50:13,960
Speaker 1: of the coma baby.

995
00:50:14,200 --> 00:50:15,919
Speaker 3: You know, I could go an hour on the baby.

996
00:50:15,920 --> 00:50:17,680
Speaker 1: You know it, I know, And that's why I'm setting

997
00:50:17,680 --> 00:50:19,279
Speaker 1: it up real nice for you, because we got to

998
00:50:19,280 --> 00:50:23,440
Speaker 1: talk about this coma baby thing. So basically in the film,

999
00:50:23,560 --> 00:50:26,479
Speaker 1: it's like this tabloid story about this pregnant woman who's

1000
00:50:26,520 --> 00:50:29,680
Speaker 1: in a coma and Jamie is seeing this everywhere, and

1001
00:50:29,719 --> 00:50:33,279
Speaker 1: it's become like it's like the national fascination of this

1002
00:50:33,400 --> 00:50:35,280
Speaker 1: Cooma baby and whether or not the coma baby.

1003
00:50:35,080 --> 00:50:37,920
Speaker 2: Is gonna survive blah blah blah blah.

1004
00:50:37,960 --> 00:50:42,080
Speaker 1: And you know, obviously it doesn't take a genius to

1005
00:50:42,120 --> 00:50:44,640
Speaker 1: figure out that the Koma baby is like a metaphor

1006
00:50:44,760 --> 00:50:48,240
Speaker 1: for Jamie's life, right, and then he ends up having

1007
00:50:48,280 --> 00:50:55,480
Speaker 1: this dream one night about it, which is so fucking insane.

1008
00:50:56,760 --> 00:50:57,320
Speaker 2: The movie.

1009
00:50:57,719 --> 00:51:00,279
Speaker 3: The movie just slides into you.

1010
00:51:01,719 --> 00:51:05,719
Speaker 4: Like horror movie. For a moment, it just sounded like

1011
00:51:06,120 --> 00:51:09,480
Speaker 4: a gentle like it's a dream sequence, so you're like,

1012
00:51:09,480 --> 00:51:11,600
Speaker 4: all right, it's a dream, and then it just slides

1013
00:51:11,800 --> 00:51:21,000
Speaker 4: into like our gento territory, yes, or like like it's a.

1014
00:51:21,000 --> 00:51:22,480
Speaker 3: Cronenberg movie all of a sudden.

1015
00:51:22,719 --> 00:51:27,680
Speaker 1: Yes, it's like a eraser Head meets It's a live

1016
00:51:29,320 --> 00:51:35,839
Speaker 1: type of thing where it's an actual puppet baby, like

1017
00:51:35,880 --> 00:51:40,440
Speaker 1: a animatronic baby in a womb, in a womb.

1018
00:51:40,560 --> 00:51:44,040
Speaker 2: Who has like it's like Michael J. Fox's voice, but

1019
00:51:44,239 --> 00:51:47,440
Speaker 2: if he was a nineteen thirties gangster. I don't know.

1020
00:51:47,480 --> 00:51:50,560
Speaker 2: The baby's talking all tough, you see, like.

1021
00:51:50,680 --> 00:51:53,879
Speaker 4: And I'm like okay, don't really know why, Like this

1022
00:51:53,920 --> 00:51:57,520
Speaker 4: womb baby needs a cigarette dangling out of its mouth. Yes,

1023
00:51:58,680 --> 00:52:01,120
Speaker 4: this womb baby needs me old like a revolver and

1024
00:52:01,560 --> 00:52:02,640
Speaker 4: smoking a cigarette.

1025
00:52:03,880 --> 00:52:06,880
Speaker 2: But it is one of the weirdest things to just

1026
00:52:07,000 --> 00:52:09,960
Speaker 2: randomly happen in a film, Like it just really is

1027
00:52:10,120 --> 00:52:10,880
Speaker 2: so weird.

1028
00:52:11,160 --> 00:52:14,680
Speaker 4: It's did you think it is? It's jarring, Like you're

1029
00:52:14,719 --> 00:52:17,439
Speaker 4: looking at the screen and you're like, wait what what.

1030
00:52:17,760 --> 00:52:19,800
Speaker 4: I had to pause it and text you and be like,

1031
00:52:19,880 --> 00:52:26,840
Speaker 4: wait what in your movie?

1032
00:52:25,360 --> 00:52:29,359
Speaker 2: And it only happens the one time.

1033
00:52:29,480 --> 00:52:32,960
Speaker 1: The baby, the animatronic baby doesn't come back as far

1034
00:52:33,000 --> 00:52:36,040
Speaker 1: as I know, so bizarre, it's weird.

1035
00:52:36,239 --> 00:52:40,239
Speaker 4: And because it's a metaphor for him, you're like, I

1036
00:52:40,320 --> 00:52:43,600
Speaker 4: either want this to be more pronounced or you can't

1037
00:52:43,719 --> 00:52:45,359
Speaker 4: go so so hard on it that you have an

1038
00:52:45,360 --> 00:52:50,000
Speaker 4: animatronic puppet, like let it live in subtlety or really

1039
00:52:50,040 --> 00:52:52,240
Speaker 4: amp this shit up, like have that baby walking around

1040
00:52:52,280 --> 00:52:54,160
Speaker 4: with him and like he's looking in corners and he's

1041
00:52:54,160 --> 00:52:57,399
Speaker 4: seeing the fucking baby and like he's snorting coke with the.

1042
00:52:57,360 --> 00:53:00,880
Speaker 3: Baby, like like really up.

1043
00:53:02,920 --> 00:53:04,520
Speaker 1: The baby's like popping up, be on his shoulder and

1044
00:53:04,520 --> 00:53:07,000
Speaker 1: be like yeah, get it, like or whatever, like you know,

1045
00:53:07,040 --> 00:53:11,440
Speaker 1: it's like get that. I yeah, I just think in

1046
00:53:11,640 --> 00:53:14,680
Speaker 1: isolation in this one scene, it's very strange.

1047
00:53:14,400 --> 00:53:18,120
Speaker 2: And considering that there are genuine.

1048
00:53:17,600 --> 00:53:20,680
Speaker 1: Moments of like darkness to the story that I'm like,

1049
00:53:21,160 --> 00:53:22,759
Speaker 1: it's just so so.

1050
00:53:22,840 --> 00:53:25,160
Speaker 2: Bizarre that it happens only that one time.

1051
00:53:25,840 --> 00:53:30,160
Speaker 1: And so anyway, okay, the Koma baby was definitely like

1052
00:53:30,239 --> 00:53:31,040
Speaker 1: on the docket.

1053
00:53:31,120 --> 00:53:32,279
Speaker 2: We had to get into it.

1054
00:53:32,320 --> 00:53:36,480
Speaker 1: But like eventually I think Jamie realizes, you know, so

1055
00:53:36,520 --> 00:53:39,880
Speaker 1: Amanda comes back to New York. He gets completely blasted

1056
00:53:39,920 --> 00:53:42,480
Speaker 1: and tries to disturb her on you know, during one

1057
00:53:42,480 --> 00:53:45,360
Speaker 1: of her fashion shows, and then he kind of is

1058
00:53:45,400 --> 00:53:49,239
Speaker 1: bottomed like he's like he's there's actually this pretty emotional

1059
00:53:49,280 --> 00:53:52,880
Speaker 1: scene between him and the swoozy Kurtz character. He like

1060
00:53:52,960 --> 00:53:56,839
Speaker 1: goes to her apartment and he's like confessing and all

1061
00:53:56,840 --> 00:53:59,640
Speaker 1: these things about his life, and he's like slinging this

1062
00:53:59,680 --> 00:54:02,480
Speaker 1: bottle line around the room. I actually think it's probably

1063
00:54:02,520 --> 00:54:05,400
Speaker 1: the best scene of the movie. But I also feel

1064
00:54:05,440 --> 00:54:08,640
Speaker 1: like there was still even in that scene a moment

1065
00:54:08,680 --> 00:54:10,880
Speaker 1: where I was like, this is so strange because I

1066
00:54:10,920 --> 00:54:13,759
Speaker 1: don't see I don't find him convincing at all.

1067
00:54:13,880 --> 00:54:17,719
Speaker 2: Like his bottoming out is not convincing to me.

1068
00:54:17,960 --> 00:54:19,920
Speaker 4: No, And it's part of it is his voice, Like

1069
00:54:19,960 --> 00:54:23,480
Speaker 4: his voice is very childlike still, and like it's very

1070
00:54:23,560 --> 00:54:25,200
Speaker 4: high pitched, and you know he's.

1071
00:54:25,080 --> 00:54:27,160
Speaker 3: Kind of talking about like bottom of OWT like it's

1072
00:54:27,160 --> 00:54:27,880
Speaker 3: no idea.

1073
00:54:27,719 --> 00:54:29,680
Speaker 4: Like he's just kind of like it's a very strange

1074
00:54:30,320 --> 00:54:34,040
Speaker 4: like physical performance. Yeah, but yeah, I just I didn't

1075
00:54:34,040 --> 00:54:36,279
Speaker 4: I wasn't buying it at all. I just wasn't there

1076
00:54:36,520 --> 00:54:38,440
Speaker 4: in there with him. And it could have been it

1077
00:54:38,440 --> 00:54:42,800
Speaker 4: could have been a very effective scene, but yeah, I

1078
00:54:42,840 --> 00:54:44,759
Speaker 4: don't think it gave the effect that they were hoping for.

1079
00:54:45,920 --> 00:54:48,840
Speaker 1: Yeah, and like you know, honestly, like this would be

1080
00:54:48,880 --> 00:54:50,719
Speaker 1: a moment to go all the way up, like to

1081
00:54:50,840 --> 00:54:52,719
Speaker 1: just go all the way up for this movie, right,

1082
00:54:52,800 --> 00:54:55,040
Speaker 1: But I just feel like it's there was seemed to be.

1083
00:54:55,000 --> 00:54:57,239
Speaker 2: Like a resistance to doing it, and I just don't think.

1084
00:54:57,480 --> 00:55:01,839
Speaker 1: I think it's it's both like the idea that as

1085
00:55:01,840 --> 00:55:05,280
Speaker 1: an actor, maybe he just couldn't get to that point,

1086
00:55:05,360 --> 00:55:08,799
Speaker 1: you know, to go that dark, but that also his

1087
00:55:08,920 --> 00:55:12,160
Speaker 1: image wouldn't have allowed that either, So you know, it's

1088
00:55:12,560 --> 00:55:15,799
Speaker 1: it's but it's an interesting thought experiment to see it happening, right,

1089
00:55:15,800 --> 00:55:17,640
Speaker 1: because you're just like oh okay, like this is a

1090
00:55:17,719 --> 00:55:19,560
Speaker 1: dark story. But then there's an actor who's kind of

1091
00:55:19,600 --> 00:55:21,920
Speaker 1: like not right for the part doing it, and like, yeah, what.

1092
00:55:21,920 --> 00:55:22,640
Speaker 2: Does that look like?

1093
00:55:22,719 --> 00:55:26,239
Speaker 4: Well, especially Sutherland is right there, and we all know

1094
00:55:26,960 --> 00:55:31,600
Speaker 4: from his personal life experience, we all know that Keifer

1095
00:55:31,640 --> 00:55:35,200
Speaker 4: Sutherland has had some experiences that might have been able

1096
00:55:35,200 --> 00:55:36,040
Speaker 4: to help this film.

1097
00:55:36,960 --> 00:55:39,320
Speaker 1: Yeah, I feel like if you had Keifer do the

1098
00:55:39,400 --> 00:55:42,480
Speaker 1: Jamie role, it would be too dark. Yeah, you'd be like,

1099
00:55:42,560 --> 00:55:46,040
Speaker 1: holy fucking shit, like this guy's a maniac.

1100
00:55:47,040 --> 00:55:49,400
Speaker 3: But Keith of his ted lesh.

1101
00:55:49,400 --> 00:55:51,919
Speaker 1: Well, and like I will say, one of the best

1102
00:55:51,960 --> 00:55:56,000
Speaker 1: things about the movie is actually the soundtrack. Yeah, perhaps fittingly,

1103
00:55:56,600 --> 00:55:59,720
Speaker 1: you know, Donald Fagan did the music for the movie,

1104
00:55:59,760 --> 00:56:02,440
Speaker 1: which wh It's like funny because I feel like you

1105
00:56:02,480 --> 00:56:04,239
Speaker 1: do have to get a guy from Stealy Dam to

1106
00:56:04,280 --> 00:56:11,800
Speaker 1: do a movie about coquettes. But a lot of the

1107
00:56:11,920 --> 00:56:14,160
Speaker 1: music in the film is like, you know, New Order

1108
00:56:14,200 --> 00:56:17,000
Speaker 1: and Depeche Mode, and then you've got one of my favorites,

1109
00:56:17,080 --> 00:56:19,919
Speaker 1: Kiss and Tell by Brian Ferry, which is like such

1110
00:56:19,920 --> 00:56:22,520
Speaker 1: a good song to listen to when you're like doing

1111
00:56:22,560 --> 00:56:26,560
Speaker 1: some lines before heading to the palladium and like one am,

1112
00:56:26,760 --> 00:56:31,080
Speaker 1: you know your one am Palladium Shift. Look, I will say,

1113
00:56:31,200 --> 00:56:33,279
Speaker 1: you know, it's a mixed bag for this movie for me,

1114
00:56:33,320 --> 00:56:36,080
Speaker 1: But honestly, like, I'm glad that I got to talk

1115
00:56:36,120 --> 00:56:38,759
Speaker 1: about it in this theme in this way with you,

1116
00:56:38,800 --> 00:56:41,200
Speaker 1: because yeah, it's just it's one of those things where

1117
00:56:41,200 --> 00:56:43,280
Speaker 1: you're just like, yeah, well, what happen if of America

1118
00:56:43,360 --> 00:56:46,120
Speaker 1: Sweetheart did a movie where he was just a big

1119
00:56:46,120 --> 00:56:49,440
Speaker 1: old coquette and like a big drinker and had problems

1120
00:56:49,480 --> 00:56:52,359
Speaker 1: And I just don't think, Yeah, you know, I don't

1121
00:56:52,360 --> 00:56:54,759
Speaker 1: think I went I could feel that within him.

1122
00:56:54,880 --> 00:56:57,120
Speaker 4: I'm unfortunately, I'm glad that this was your choice for

1123
00:56:57,160 --> 00:57:00,319
Speaker 4: this theme too, because I think it just exist. It's

1124
00:57:01,280 --> 00:57:03,719
Speaker 4: kind of the other side of what can happen when

1125
00:57:03,760 --> 00:57:06,040
Speaker 4: you take an actor to a dark place that they're

1126
00:57:06,040 --> 00:57:09,279
Speaker 4: not ready to go to. And again, like how you

1127
00:57:09,320 --> 00:57:12,799
Speaker 4: can see those moves coming from a career standpoint, but

1128
00:57:13,280 --> 00:57:15,239
Speaker 4: you know, the believability of it might not be there.

1129
00:57:15,280 --> 00:57:17,760
Speaker 4: And I just I really liked kind of being back

1130
00:57:17,800 --> 00:57:19,560
Speaker 4: at this moment in time because I think that has

1131
00:57:19,600 --> 00:57:21,840
Speaker 4: a lot to do with it too, that you know,

1132
00:57:22,120 --> 00:57:25,600
Speaker 4: when this movie came out, we weren't really it wasn't

1133
00:57:25,640 --> 00:57:28,280
Speaker 4: that we weren't used to seeing or hearing stories about

1134
00:57:28,840 --> 00:57:32,680
Speaker 4: young actors, child actors, you know, formerly famous stars who

1135
00:57:32,720 --> 00:57:35,480
Speaker 4: had dark practice in their life. I just think that

1136
00:57:36,120 --> 00:57:38,439
Speaker 4: the kind of the eightiesness of it kind of lent

1137
00:57:38,520 --> 00:57:41,000
Speaker 4: itself to being like they weren't willing to look at

1138
00:57:41,000 --> 00:57:43,880
Speaker 4: themselves too starkly in the moment. Like I think there

1139
00:57:43,920 --> 00:57:45,280
Speaker 4: have been a lot of movies that have come out

1140
00:57:45,640 --> 00:57:49,040
Speaker 4: since about the eighties that kind of portray it in

1141
00:57:49,040 --> 00:57:51,640
Speaker 4: a more realistic light, But at the time, I think

1142
00:57:51,680 --> 00:57:55,080
Speaker 4: they weren't willing to like really look at themselves starkly

1143
00:57:55,160 --> 00:57:58,600
Speaker 4: and say, like, you know, this is like, it's not

1144
00:57:58,720 --> 00:58:02,840
Speaker 4: all just fun and neon it. Really we can get

1145
00:58:02,920 --> 00:58:04,240
Speaker 4: dark with this if we need to.

1146
00:58:05,240 --> 00:58:08,520
Speaker 1: Yeah, well and like, and this is no slight to

1147
00:58:08,560 --> 00:58:10,880
Speaker 1: Michael J. Fox's talent as an actor. I think he's

1148
00:58:11,000 --> 00:58:14,320
Speaker 1: very talented. We just love you too much, MJF. We

1149
00:58:14,400 --> 00:58:17,760
Speaker 1: love you too much. We hold you in too high esteem.

1150
00:58:18,440 --> 00:58:24,280
Speaker 1: We could not imagine you doing bumps, you know, under

1151
00:58:24,320 --> 00:58:27,800
Speaker 1: some like led bulbs in an office, like but then

1152
00:58:28,040 --> 00:58:31,200
Speaker 1: desperately trying to wake yourself up from a night out,

1153
00:58:31,240 --> 00:58:31,800
Speaker 1: you know what I mean.

1154
00:58:31,880 --> 00:58:32,560
Speaker 2: Like, we just couldn't do.

1155
00:58:32,520 --> 00:58:33,400
Speaker 3: It, couldn't do it then.

1156
00:58:33,520 --> 00:58:36,439
Speaker 4: But now again, like in his later career, he's done

1157
00:58:36,640 --> 00:58:39,320
Speaker 4: hilarious roles where he plays a total dickhead, like his

1158
00:58:39,400 --> 00:58:42,600
Speaker 4: role on Curb Your Enthusiasm and he was on Rescue Me,

1159
00:58:42,800 --> 00:58:45,920
Speaker 4: and like he's done role since where he can be

1160
00:58:46,000 --> 00:58:49,240
Speaker 4: that guy. And I think his physicality now matches that

1161
00:58:49,360 --> 00:58:52,040
Speaker 4: kind of stance. So yeah, at the time, we just

1162
00:58:52,040 --> 00:58:53,760
Speaker 4: couldn't get there. We want you to be teen wolf,

1163
00:58:53,960 --> 00:58:54,600
Speaker 4: teen wolf in.

1164
00:58:54,560 --> 00:58:56,400
Speaker 2: It exactly, exactly.

1165
00:58:56,480 --> 00:58:59,640
Speaker 1: Well, woo your movie.

1166
00:59:00,000 --> 00:59:01,760
Speaker 2: I'm ready, I'm ready.

1167
00:59:01,480 --> 00:59:01,919
Speaker 3: All right.

1168
00:59:02,200 --> 00:59:06,040
Speaker 4: My movie for the theme of but I Am Poliaci

1169
00:59:06,480 --> 00:59:09,240
Speaker 4: was released in two thousand and two. It was written

1170
00:59:09,440 --> 00:59:14,200
Speaker 4: and directed by Mark Romanic and it's called One Hour Photo.

1171
00:59:14,480 --> 00:59:16,360
Speaker 3: You're a very lucky man, mister Georgan.

1172
00:59:17,240 --> 00:59:20,280
Speaker 2: You have a wonderful family, and if you don't mind

1173
00:59:20,280 --> 00:59:22,760
Speaker 2: my saying so, a very beautiful house too.

1174
00:59:23,120 --> 00:59:23,760
Speaker 3: I'm sorry.

1175
00:59:24,240 --> 00:59:28,120
Speaker 4: Now I've seen in different interviews sometimes his name is

1176
00:59:28,120 --> 00:59:34,280
Speaker 4: pronounced Romanic, sometimes it's Raminic, So if I've incorrectly pronounced it,

1177
00:59:34,320 --> 00:59:39,160
Speaker 4: I'm sorry. But I fucking.

1178
00:59:38,960 --> 00:59:39,720
Speaker 3: Loved my movie.

1179
00:59:40,120 --> 00:59:42,320
Speaker 4: I thought when I came out in the theater, and

1180
00:59:42,440 --> 00:59:46,400
Speaker 4: part of what I what drew me to this film

1181
00:59:46,560 --> 00:59:50,960
Speaker 4: is that I really loved Mark Rominick as a director

1182
00:59:51,280 --> 00:59:57,320
Speaker 4: of music videos. He has directed some of the most

1183
00:59:57,440 --> 01:00:02,120
Speaker 4: iconic music videos that have ever existed. I'm talking Nine

1184
01:00:02,200 --> 01:00:06,720
Speaker 4: Inch Nails Closer, I'm talking the Johnny Cash cover of Hurt,

1185
01:00:07,040 --> 01:00:09,959
Speaker 4: I'm talking Lenny Kravitz, Are You're Gonna Go My Way?

1186
01:00:10,320 --> 01:00:14,160
Speaker 4: I'm talking Madonna's Rain Like he has directed. He has

1187
01:00:14,200 --> 01:00:18,840
Speaker 4: such a strong visual style and clarity, and each of

1188
01:00:18,880 --> 01:00:21,920
Speaker 4: those videos is so different from the other, but they

1189
01:00:21,960 --> 01:00:24,000
Speaker 4: all have his stamp on it. Like he's a really

1190
01:00:24,920 --> 01:00:30,080
Speaker 4: thoughtful and personable director in that way. And his first film, Static,

1191
01:00:30,200 --> 01:00:32,320
Speaker 4: was released in nineteen eighty five. He kind of started

1192
01:00:32,320 --> 01:00:35,320
Speaker 4: as a production assistant and worked his way worked his

1193
01:00:35,400 --> 01:00:38,160
Speaker 4: way up, and this movie When Our Photo is his

1194
01:00:38,280 --> 01:00:39,720
Speaker 4: second full length feature.

1195
01:00:40,960 --> 01:00:42,640
Speaker 3: And I love little.

1196
01:00:42,440 --> 01:00:44,360
Speaker 4: Details about this movie, like a lot of the character

1197
01:00:44,480 --> 01:00:50,120
Speaker 4: names are referencing real photographers like von Unworth and stuff

1198
01:00:50,200 --> 01:00:50,440
Speaker 4: like that.

1199
01:00:50,480 --> 01:00:52,280
Speaker 3: I love those little Easter eggs.

1200
01:00:52,640 --> 01:00:56,440
Speaker 4: But there's something about the look of this movie and

1201
01:00:56,480 --> 01:00:59,720
Speaker 4: the sound of this movie that is also incredibly haunting

1202
01:00:59,800 --> 01:01:02,520
Speaker 4: to me. So I looked up, like, why is this

1203
01:01:02,560 --> 01:01:06,640
Speaker 4: so affected affecting? Like it's just always since since the

1204
01:01:06,680 --> 01:01:09,440
Speaker 4: first time I saw it's always been a very memorably

1205
01:01:09,440 --> 01:01:12,200
Speaker 4: effective movie to me. And the director of photography for

1206
01:01:12,240 --> 01:01:16,959
Speaker 4: this movie is Jeff Croninworth and he was the DP

1207
01:01:17,160 --> 01:01:19,880
Speaker 4: for He's the DP for most of David Fincher's films,

1208
01:01:19,920 --> 01:01:21,640
Speaker 4: So I'm like, oh, that's why it has such like

1209
01:01:21,680 --> 01:01:25,880
Speaker 4: a stark clarity to it. So he did Gone Girl

1210
01:01:25,960 --> 01:01:28,800
Speaker 4: and Girl, The Dragon Tattoo, and Social Network. But then

1211
01:01:28,840 --> 01:01:32,640
Speaker 4: the music it was made the music. The music supervisors

1212
01:01:32,640 --> 01:01:38,400
Speaker 4: were ryin Hold Hyle and Johnny Klemick, and Reinhold was

1213
01:01:38,440 --> 01:01:43,520
Speaker 4: in the Nina Hoggen band and he kind of met

1214
01:01:43,760 --> 01:01:48,000
Speaker 4: Clinic and like the Berlin DJ techno scene. But they

1215
01:01:48,040 --> 01:01:51,840
Speaker 4: also did the music for Deadwood and for Cloud Atlas,

1216
01:01:51,880 --> 01:01:55,880
Speaker 4: So there's like this real sparing, haunting kind of uh

1217
01:01:56,520 --> 01:01:58,640
Speaker 4: you know, kind of an effect that they have with

1218
01:01:58,680 --> 01:02:01,720
Speaker 4: their the music that they produced for soundtracks, And it

1219
01:02:01,760 --> 01:02:04,480
Speaker 4: reminds me of like how Johnny Greenwood is also now

1220
01:02:04,520 --> 01:02:06,880
Speaker 4: in that space where he was. You know, he's a

1221
01:02:06,920 --> 01:02:09,520
Speaker 4: musician in a very popular band, but when he does

1222
01:02:09,600 --> 01:02:12,040
Speaker 4: music for things like Phantom Thread or when he works

1223
01:02:12,040 --> 01:02:17,040
Speaker 4: with certain directors, his style is so specific, like you

1224
01:02:17,080 --> 01:02:20,480
Speaker 4: can tell what his music is. So I mentioned that

1225
01:02:20,560 --> 01:02:22,800
Speaker 4: because the look of this film, the feel of this

1226
01:02:22,920 --> 01:02:26,760
Speaker 4: movie lends itself to the darkness even when it's bright,

1227
01:02:27,400 --> 01:02:33,040
Speaker 4: and you know, again clear and very very stark. I

1228
01:02:33,080 --> 01:02:38,040
Speaker 4: can give you a one sentence synopsis. A photo processor

1229
01:02:38,320 --> 01:02:43,960
Speaker 4: at a local target like store becomes obsessed with a family,

1230
01:02:44,680 --> 01:02:49,560
Speaker 4: and that's fairbones what it's about. So one thing that's

1231
01:02:49,600 --> 01:02:54,040
Speaker 4: interesting is we start this movie with the primary actor

1232
01:02:54,040 --> 01:02:58,160
Speaker 4: in this film, Robin Williams, who plays Cy Parish, and

1233
01:02:58,200 --> 01:03:00,320
Speaker 4: he's talking to police officers, so you are already know

1234
01:03:00,360 --> 01:03:02,160
Speaker 4: at the beginning of the film that he's been arrested,

1235
01:03:02,960 --> 01:03:05,800
Speaker 4: and the movie itself kind of takes you through the

1236
01:03:05,840 --> 01:03:08,560
Speaker 4: steps of how that came to be. But even the

1237
01:03:08,720 --> 01:03:10,720
Speaker 4: arrest has a little twist to it at the end,

1238
01:03:10,800 --> 01:03:14,680
Speaker 4: which I kind of appreciated. But he, Robin Williams, is

1239
01:03:14,720 --> 01:03:18,920
Speaker 4: playing someone that is instantly recognizable to me. Is creepy

1240
01:03:18,920 --> 01:03:20,480
Speaker 4: in this movie. And it's like he has a bleach

1241
01:03:20,520 --> 01:03:23,600
Speaker 4: blonde hair and he's wearing like the he's got his

1242
01:03:23,720 --> 01:03:25,960
Speaker 4: uniform at work, and even when he's not in his uniform,

1243
01:03:26,040 --> 01:03:29,400
Speaker 4: like he looks he looks creepy, and he kind of

1244
01:03:30,320 --> 01:03:35,400
Speaker 4: he's smiling a lot, but it's not a genuine smile,

1245
01:03:36,040 --> 01:03:37,880
Speaker 4: and so you can kind of tell that, like, this

1246
01:03:37,960 --> 01:03:39,800
Speaker 4: is a guy who's holding a lot back, And I

1247
01:03:39,800 --> 01:03:42,000
Speaker 4: think that's what I made me want to dig into,

1248
01:03:42,040 --> 01:03:44,320
Speaker 4: like who's the director of photography, Like who helped create

1249
01:03:44,360 --> 01:03:48,160
Speaker 4: the look of this movie, because you're in this store

1250
01:03:48,200 --> 01:03:50,600
Speaker 4: with him most of the time. That's very like white

1251
01:03:50,640 --> 01:03:53,640
Speaker 4: and bright, and you know, there's the signage is very

1252
01:03:53,680 --> 01:03:57,280
Speaker 4: specific and clear, and it made me realize or I

1253
01:03:57,280 --> 01:04:01,080
Speaker 4: guess my opinion is that it's the starkness of the

1254
01:04:01,080 --> 01:04:05,680
Speaker 4: film has to be there to hide the chaos of

1255
01:04:05,720 --> 01:04:09,200
Speaker 4: what's going on inside of his head. So he instantly

1256
01:04:09,240 --> 01:04:11,560
Speaker 4: reads to me, is a very chaotic and creepy person.

1257
01:04:13,240 --> 01:04:15,280
Speaker 2: Yeah, that outfit is.

1258
01:04:16,680 --> 01:04:18,760
Speaker 1: I wanted to talk to you about it because I

1259
01:04:18,840 --> 01:04:21,880
Speaker 1: was like, I know that you did that epic game

1260
01:04:22,280 --> 01:04:25,280
Speaker 1: a few episodes back of serial Killer Self Care, and

1261
01:04:25,320 --> 01:04:32,000
Speaker 1: I feel like owning polyester slacks is definitely a serial.

1262
01:04:31,800 --> 01:04:34,480
Speaker 3: Killer or oh yeah, you're either elderly or a serial killer.

1263
01:04:35,720 --> 01:04:40,720
Speaker 1: Yeah, And that to me, it was almost like, if

1264
01:04:40,760 --> 01:04:46,080
Speaker 1: you wanted to be less creepy, just wear genes different pants.

1265
01:04:46,240 --> 01:04:49,920
Speaker 2: Yeah, we're Jeanes, We're like a cotton Chino, Like, just

1266
01:04:50,000 --> 01:04:50,760
Speaker 2: do something.

1267
01:04:51,080 --> 01:04:55,440
Speaker 1: Because the outfit is so severely creepy yeah.

1268
01:04:54,880 --> 01:04:57,960
Speaker 4: And it also matches. It's almost like he's presenting. It's

1269
01:04:58,000 --> 01:05:01,240
Speaker 4: like he's someone who wants to simultaneous fade into the background,

1270
01:05:01,400 --> 01:05:03,680
Speaker 4: or who has taught himself to fade into the background,

1271
01:05:04,440 --> 01:05:06,840
Speaker 4: but wants so desperately to be part of things. So

1272
01:05:06,920 --> 01:05:09,720
Speaker 4: his outfit is like very tan, and it kind of

1273
01:05:09,720 --> 01:05:11,880
Speaker 4: matches his hair color, and it kind of matches his

1274
01:05:11,920 --> 01:05:15,280
Speaker 4: skin tone, and he's just like blank, He's a blank.

1275
01:05:16,320 --> 01:05:16,800
Speaker 2: Yeah.

1276
01:05:16,880 --> 01:05:18,160
Speaker 3: Oh it's creepy yeah.

1277
01:05:18,200 --> 01:05:22,560
Speaker 1: Like And I also too, like I'm just fascinated by

1278
01:05:22,640 --> 01:05:26,440
Speaker 1: like his job, because I feel like he's got that

1279
01:05:26,520 --> 01:05:29,240
Speaker 1: coworker that's like way younger than him.

1280
01:05:29,280 --> 01:05:31,480
Speaker 4: He is so out of place. Everywhere he goes like

1281
01:05:31,480 --> 01:05:34,520
Speaker 4: he has nothing to latch onto. That makes you feel

1282
01:05:34,520 --> 01:05:37,800
Speaker 4: like he's part of society. So even in his job,

1283
01:05:38,120 --> 01:05:41,520
Speaker 4: he's wildly out of place, and he takes his job

1284
01:05:42,040 --> 01:05:45,600
Speaker 4: very seriously. He Saia is also kind of the narrator

1285
01:05:45,600 --> 01:05:47,360
Speaker 4: of the film, Like he pops in in moments and

1286
01:05:47,400 --> 01:05:50,520
Speaker 4: talks about, you know, how film is mimicking life, and

1287
01:05:50,840 --> 01:05:53,160
Speaker 4: you know, he has all these you know, these thoughts

1288
01:05:53,200 --> 01:05:55,520
Speaker 4: about how you know, people never take photos of things

1289
01:05:55,520 --> 01:05:58,000
Speaker 4: that they want to forget and like he just kind

1290
01:05:58,000 --> 01:06:00,800
Speaker 4: of takes you through his mind in the film as

1291
01:06:01,280 --> 01:06:05,840
Speaker 4: we're watching him go through his day, and again, creep

1292
01:06:05,840 --> 01:06:09,080
Speaker 4: factor is high with him. The look everything is creep

1293
01:06:09,080 --> 01:06:12,800
Speaker 4: factor is high. So what's really happening in this film

1294
01:06:12,800 --> 01:06:15,439
Speaker 4: and the focus of his obsession is this family called

1295
01:06:15,480 --> 01:06:19,760
Speaker 4: the Yorkins. So the Yorkins are comprised of Nina who's

1296
01:06:19,760 --> 01:06:23,360
Speaker 4: played by Connie Nielsen, Will the dad who's played by

1297
01:06:23,600 --> 01:06:27,880
Speaker 4: Michael Varton, and Jacob who is played by Dylan Smith.

1298
01:06:28,320 --> 01:06:30,640
Speaker 4: And do you remember Michael Varton man? He was everywhere

1299
01:06:30,680 --> 01:06:31,160
Speaker 4: for a while.

1300
01:06:31,560 --> 01:06:34,520
Speaker 1: I that is like one of the top things that

1301
01:06:34,600 --> 01:06:38,160
Speaker 1: I wanted to bring to the table because I was like,

1302
01:06:38,960 --> 01:06:43,280
Speaker 1: this was feels like the high era of Michael Vartan

1303
01:06:43,560 --> 01:06:44,480
Speaker 1: is how I pronounced it.

1304
01:06:44,800 --> 01:06:46,240
Speaker 2: I don't know. I'm sure it's probably wrong.

1305
01:06:46,320 --> 01:06:47,040
Speaker 3: It's probably Bartan.

1306
01:06:48,400 --> 01:06:52,080
Speaker 1: Yours sounds better, it sounds more distinguished. Varton sounds much

1307
01:06:52,080 --> 01:06:56,040
Speaker 1: better than Bartan. But you know what was really triggering

1308
01:06:56,120 --> 01:06:58,680
Speaker 1: about seeing him again is that haircut he had.

1309
01:06:58,960 --> 01:07:03,760
Speaker 3: I know he had that like early two thousand sky haircut.

1310
01:07:04,360 --> 01:07:07,080
Speaker 1: Ooh, and like and like his wife, the woman that

1311
01:07:07,120 --> 01:07:09,439
Speaker 1: plays his wife, they both look like they were in

1312
01:07:09,600 --> 01:07:13,000
Speaker 1: a Scandinavian pop band, like they had that like absolutely

1313
01:07:13,520 --> 01:07:17,040
Speaker 1: Cardigan's hair, like she looked like she had it was

1314
01:07:17,080 --> 01:07:19,160
Speaker 1: kind of that like hair that kind of flipped up

1315
01:07:19,200 --> 01:07:21,080
Speaker 1: at the ends. And then he had kind of like

1316
01:07:21,120 --> 01:07:24,160
Speaker 1: a long man. I was like, bringing me back. What

1317
01:07:24,200 --> 01:07:26,240
Speaker 1: are these like britpop haircuts they have?

1318
01:07:26,400 --> 01:07:27,400
Speaker 2: It's crazy they had.

1319
01:07:27,480 --> 01:07:29,480
Speaker 4: She wore her hair in those like tiny buns that

1320
01:07:29,640 --> 01:07:32,520
Speaker 4: like stuck out, and I was like, oh my gosh,

1321
01:07:32,560 --> 01:07:34,320
Speaker 4: this is bringing me back, This is bringing me back.

1322
01:07:35,080 --> 01:07:37,439
Speaker 2: But yeah, so yeah, and he was like the King

1323
01:07:37,520 --> 01:07:40,440
Speaker 2: Hattie because he was in what's that show that alias

1324
01:07:40,720 --> 01:07:41,480
Speaker 2: was an Alias?

1325
01:07:42,000 --> 01:07:43,960
Speaker 3: Yeah, yeah, he was everywhere for a while.

1326
01:07:44,440 --> 01:07:47,880
Speaker 4: And you know, they're playing again this couple that is

1327
01:07:48,640 --> 01:07:51,720
Speaker 4: very successful and they have this kid who's nine years old,

1328
01:07:51,880 --> 01:07:54,360
Speaker 4: and you know they they on the outside seemed to

1329
01:07:54,400 --> 01:07:57,000
Speaker 4: be like that family, like they are the perfect family.

1330
01:07:57,040 --> 01:07:58,880
Speaker 4: And he runs his own business and it's a very

1331
01:07:58,880 --> 01:08:02,400
Speaker 4: successful design business, and you know, but on the inside,

1332
01:08:02,440 --> 01:08:04,200
Speaker 4: as we come to find out through the you know,

1333
01:08:04,360 --> 01:08:07,360
Speaker 4: certain moments of the film, Will and Nina aren't getting

1334
01:08:07,360 --> 01:08:11,520
Speaker 4: along too well. And there is a scene where Will

1335
01:08:12,200 --> 01:08:13,920
Speaker 4: or Nina and Will are having a fight in the

1336
01:08:14,000 --> 01:08:17,400
Speaker 4: kitchen and she's mad at him because he works so much,

1337
01:08:17,560 --> 01:08:18,800
Speaker 4: and he's like, well, how do you think I pay

1338
01:08:18,840 --> 01:08:21,800
Speaker 4: for all this stuff? And she just levels him with

1339
01:08:22,400 --> 01:08:27,760
Speaker 4: you're emotionally neglectful. You're an emotionally neglectful father and husband.

1340
01:08:28,200 --> 01:08:31,040
Speaker 4: And it is an incredible scene because she's like and

1341
01:08:31,040 --> 01:08:31,880
Speaker 4: then she says, do you.

1342
01:08:31,800 --> 01:08:33,680
Speaker 3: Hear what I'm saying to you? Like she is just like,

1343
01:08:33,960 --> 01:08:35,120
Speaker 3: let's not mince words.

1344
01:08:35,360 --> 01:08:38,920
Speaker 4: You're being an absent, fucking dick wog right now.

1345
01:08:39,640 --> 01:08:40,080
Speaker 2: Wow.

1346
01:08:40,360 --> 01:08:42,680
Speaker 4: Yeah, we're having these like real fights. But again from

1347
01:08:42,720 --> 01:08:44,320
Speaker 4: the outside in, you look at them and you're like,

1348
01:08:44,320 --> 01:08:46,519
Speaker 4: this is a perfect family, and that's what SI sees.

1349
01:08:46,840 --> 01:08:50,280
Speaker 4: So cy Parish has been developing their photos for a

1350
01:08:50,320 --> 01:08:53,519
Speaker 4: long time and Nina comes to the store to get

1351
01:08:53,840 --> 01:08:58,960
Speaker 4: Jacob's ninth birthday pictures developed. Creep factor is high because

1352
01:08:59,320 --> 01:09:02,960
Speaker 4: she's talking originally to the guy that he works with,

1353
01:09:03,320 --> 01:09:07,240
Speaker 4: who is Yoshi Iraqi is the guy the character's name,

1354
01:09:07,240 --> 01:09:10,439
Speaker 4: but it's played by Paul Kim Jr. And so she's

1355
01:09:10,479 --> 01:09:13,360
Speaker 4: talking to Yoshi and Yoshi's like, what's your address? And

1356
01:09:13,400 --> 01:09:15,320
Speaker 4: he just comes up side, just comes up from behind

1357
01:09:15,360 --> 01:09:17,479
Speaker 4: and it's like their addresses three two saves, like he

1358
01:09:17,640 --> 01:09:21,479
Speaker 4: knows their address by heart. I'm already I'm already out

1359
01:09:21,560 --> 01:09:23,160
Speaker 4: on creep factor. I'm like, I will take my photo

1360
01:09:23,240 --> 01:09:26,280
Speaker 4: somewhere else, but he knows the address.

1361
01:09:26,360 --> 01:09:28,519
Speaker 2: We know that about you. Oh hell yeah, Like you

1362
01:09:28,560 --> 01:09:29,400
Speaker 2: don't funk around.

1363
01:09:29,439 --> 01:09:31,360
Speaker 4: I will snatch that shit off the counter or walk

1364
01:09:31,400 --> 01:09:33,320
Speaker 4: away with not a word, like you don't even need

1365
01:09:33,360 --> 01:09:34,200
Speaker 4: to know why I'm leaving.

1366
01:09:34,360 --> 01:09:37,519
Speaker 3: I'm out. But it's also the thing that I wanted.

1367
01:09:37,840 --> 01:09:39,240
Speaker 4: The part of the reason why I wanted to bring

1368
01:09:39,280 --> 01:09:42,840
Speaker 4: this movie in for for our Dark Turn theme is

1369
01:09:42,880 --> 01:09:45,280
Speaker 4: that the nineties were dark in that way, like do

1370
01:09:45,360 --> 01:09:48,639
Speaker 4: you remember, like the the notion of having your photos

1371
01:09:48,680 --> 01:09:51,680
Speaker 4: developed and having people look at your life before they

1372
01:09:51,720 --> 01:09:53,080
Speaker 4: gave it back to you to look at.

1373
01:09:53,320 --> 01:09:54,439
Speaker 3: It's kind of a creepy notion.

1374
01:09:55,080 --> 01:09:57,200
Speaker 4: And I've had friends who've worked in photo stores and like,

1375
01:09:57,240 --> 01:09:58,600
Speaker 4: oh yeah, like we look at all the pics. And

1376
01:09:58,600 --> 01:10:00,880
Speaker 4: there's a moment in the film where he's walking through

1377
01:10:00,920 --> 01:10:03,280
Speaker 4: like these are the different types of people that come in,

1378
01:10:03,360 --> 01:10:05,400
Speaker 4: And there's a woman who only takes pictures of her cat,

1379
01:10:05,439 --> 01:10:07,960
Speaker 4: and there's the amateur pornographer, and there's like, you know,

1380
01:10:08,040 --> 01:10:10,400
Speaker 4: like you just kind of like they have a relationship

1381
01:10:10,439 --> 01:10:12,960
Speaker 4: with you. That you might not even be aware of,

1382
01:10:13,080 --> 01:10:15,080
Speaker 4: and that was so much of the nineties.

1383
01:10:15,560 --> 01:10:18,360
Speaker 1: Well yeah, and that I think was such a huge

1384
01:10:18,640 --> 01:10:20,840
Speaker 1: like you know, like I said, I didn't see this

1385
01:10:20,880 --> 01:10:23,240
Speaker 1: movie when it came out, and it was kind of

1386
01:10:23,280 --> 01:10:25,800
Speaker 1: this like weird notion when I was watching it was

1387
01:10:25,800 --> 01:10:27,479
Speaker 1: and I was just like, oh, yeah, remember when like

1388
01:10:27,720 --> 01:10:31,160
Speaker 1: people used to get their photos developed by complete fucking

1389
01:10:31,200 --> 01:10:35,240
Speaker 1: strangers working at like a Walgreens or whatever, And it

1390
01:10:35,320 --> 01:10:38,759
Speaker 1: was like we I think we had so much trust

1391
01:10:39,760 --> 01:10:42,920
Speaker 1: back then that that you were just gonna like have

1392
01:10:43,000 --> 01:10:46,160
Speaker 1: somebody who didn't care and wouldn't keep the photos or

1393
01:10:46,200 --> 01:10:48,880
Speaker 1: you know, And I'm just like, damn, I can't believe

1394
01:10:48,920 --> 01:10:51,600
Speaker 1: I used to drop photos off at a stranger.

1395
01:10:51,760 --> 01:10:56,759
Speaker 2: Like that's crazy, Like it's wild. Look at this movie.

1396
01:10:57,080 --> 01:10:57,920
Speaker 2: Look what's happening.

1397
01:11:00,160 --> 01:11:01,559
Speaker 4: And you didn't even know what was going to come

1398
01:11:01,600 --> 01:11:03,240
Speaker 4: back because you didn't know if you got the shot

1399
01:11:03,360 --> 01:11:04,680
Speaker 4: or you got the right, Like you just take a

1400
01:11:04,720 --> 01:11:06,360
Speaker 4: pictures with your friends and you're like, I don't know,

1401
01:11:06,400 --> 01:11:07,599
Speaker 4: maybe this will come out.

1402
01:11:07,439 --> 01:11:09,600
Speaker 3: Maybe it won't, so they know before you do what

1403
01:11:09,680 --> 01:11:13,439
Speaker 3: even works. It's wild. It's wild. But yeah, Side takes

1404
01:11:13,439 --> 01:11:15,040
Speaker 3: a job very seriously, but he's.

1405
01:11:15,400 --> 01:11:19,360
Speaker 4: He's clearly having an inappropriate reaction or inappropriate relationship with

1406
01:11:19,400 --> 01:11:21,880
Speaker 4: this family from the first time we see them, and

1407
01:11:22,080 --> 01:11:24,320
Speaker 4: Nita is really nice about it. It's kind of there's

1408
01:11:24,360 --> 01:11:27,240
Speaker 4: a sweet scene where they go home and Jake feels

1409
01:11:27,280 --> 01:11:29,719
Speaker 4: bad because he thinks that Si is a sad person

1410
01:11:29,800 --> 01:11:32,880
Speaker 4: who doesn't have any friends, and that kid is fucking right, Like,

1411
01:11:32,920 --> 01:11:35,640
Speaker 4: I hope he is in my mind. This character of

1412
01:11:35,720 --> 01:11:39,280
Speaker 4: Jake goes on to create like a Miscleo style clairvoyant

1413
01:11:39,680 --> 01:11:42,760
Speaker 4: phone line because he could not have been more His

1414
01:11:42,800 --> 01:11:46,200
Speaker 4: gut instinct about this dude was spot on. But part

1415
01:11:46,240 --> 01:11:49,720
Speaker 4: of what's set up in this film, in the creepiness

1416
01:11:49,720 --> 01:11:51,479
Speaker 4: of it, is that he's creepy with the whole family.

1417
01:11:51,520 --> 01:11:53,200
Speaker 4: So he's creepy with the kid, he's creepy with the mom,

1418
01:11:53,280 --> 01:11:55,479
Speaker 4: he's creepy with the dad, all in very different ways,

1419
01:11:56,240 --> 01:11:58,920
Speaker 4: and he you know. So they come in, they bring

1420
01:11:58,920 --> 01:12:01,439
Speaker 4: in this this camera and he's like, oh, you've got

1421
01:12:01,439 --> 01:12:03,519
Speaker 4: one more picture. He takes a picture of himself to

1422
01:12:03,560 --> 01:12:06,400
Speaker 4: finish the role. When they get the pictures developed, he

1423
01:12:06,439 --> 01:12:11,880
Speaker 4: puts the picture in there fucking envelope and when they

1424
01:12:11,920 --> 01:12:12,759
Speaker 4: go home, they're.

1425
01:12:12,520 --> 01:12:13,040
Speaker 3: Like, who's this.

1426
01:12:13,240 --> 01:12:15,360
Speaker 4: Oh, it's SI and they kind of put it on

1427
01:12:15,400 --> 01:12:17,920
Speaker 4: their fridge in a joking manner that we'll come back

1428
01:12:17,920 --> 01:12:23,040
Speaker 4: to haunt them. So we're seeing him kind of escalate slowly.

1429
01:12:23,080 --> 01:12:26,880
Speaker 4: The movie escalates about how deep this obsession goes. So

1430
01:12:27,000 --> 01:12:30,639
Speaker 4: at first, when he goes home, you see he has

1431
01:12:31,040 --> 01:12:36,040
Speaker 4: framed photos of the York And family where he has

1432
01:12:36,040 --> 01:12:38,680
Speaker 4: like their Christmas card and like pictures of them as

1433
01:12:38,680 --> 01:12:41,880
Speaker 4: if they're his own family. And he's at a diner

1434
01:12:41,920 --> 01:12:43,960
Speaker 4: and he's looking at copies of the pictures that he

1435
01:12:44,160 --> 01:12:48,280
Speaker 4: just made, of the pictures they just brought in, So

1436
01:12:48,520 --> 01:12:51,280
Speaker 4: he made some pictures for himself of like he doubled them,

1437
01:12:51,360 --> 01:12:54,760
Speaker 4: or you know, he maybe whenever he develops their pictures.

1438
01:12:55,120 --> 01:12:58,920
Speaker 4: You're realizing that he makes a set for himself. And

1439
01:12:59,320 --> 01:13:02,360
Speaker 4: then there's this point where he's sitting down watching TV

1440
01:13:03,680 --> 01:13:07,120
Speaker 4: and you pull back to reveal that he has an

1441
01:13:07,360 --> 01:13:12,280
Speaker 4: entire wall of photos of this family from the time

1442
01:13:12,320 --> 01:13:14,920
Speaker 4: that Jacob, before Jacob was born, like when she was

1443
01:13:15,000 --> 01:13:18,760
Speaker 4: pregnant with this kid. So for over nine years he

1444
01:13:18,880 --> 01:13:24,719
Speaker 4: has been obsessed with this family, and he has pictures

1445
01:13:24,840 --> 01:13:30,320
Speaker 4: like lining his wall like wallpaper. It is so fucking intense,

1446
01:13:30,439 --> 01:13:32,160
Speaker 4: and he's just sitting there like, you know, this is

1447
01:13:32,160 --> 01:13:37,120
Speaker 4: my family. And so the escalation, and you know, kind

1448
01:13:37,160 --> 01:13:42,240
Speaker 4: of the narration of it is is him talking about

1449
01:13:42,240 --> 01:13:44,360
Speaker 4: how pictures are supposed to connect people. But then you

1450
01:13:44,439 --> 01:13:47,360
Speaker 4: realize that he lives alone, and again his apartment is

1451
01:13:47,400 --> 01:13:49,479
Speaker 4: just as stark as the rest of his life, and

1452
01:13:49,520 --> 01:13:52,479
Speaker 4: he has no connection with people other than the photos

1453
01:13:52,479 --> 01:13:55,400
Speaker 4: he develops. And he's not obsessing over any one particular

1454
01:13:55,479 --> 01:13:59,160
Speaker 4: family besides the Orcans. But there is kind of a

1455
01:13:59,240 --> 01:14:03,360
Speaker 4: tinge of this is how he's learned to be part

1456
01:14:03,439 --> 01:14:07,960
Speaker 4: of society is just by obsession and stalking. So his

1457
01:14:08,040 --> 01:14:11,880
Speaker 4: obsession does take a turn towards stalking. His boss played

1458
01:14:11,880 --> 01:14:15,120
Speaker 4: by Gary Cole, kind of sees him pop off on

1459
01:14:15,160 --> 01:14:17,040
Speaker 4: a photo tech and it's like.

1460
01:14:16,960 --> 01:14:18,880
Speaker 3: Don't you have some vacation time stored up? I kind

1461
01:14:18,880 --> 01:14:19,240
Speaker 3: of love that.

1462
01:14:19,320 --> 01:14:21,120
Speaker 4: Whenever a boss is like, don't you have some vacation,

1463
01:14:21,200 --> 01:14:22,599
Speaker 4: You're like, oh, I should, I should take a few

1464
01:14:22,640 --> 01:14:23,639
Speaker 4: days off, I should.

1465
01:14:23,560 --> 01:14:26,759
Speaker 3: Calm myself, get out of here, out here.

1466
01:14:28,080 --> 01:14:32,040
Speaker 4: But it escalates to him like fantasizing about breaking into

1467
01:14:32,080 --> 01:14:35,320
Speaker 4: their house. The creepiest part of that fantasy for me

1468
01:14:35,360 --> 01:14:39,360
Speaker 4: is when he took a shit on their toilet, and

1469
01:14:39,439 --> 01:14:44,080
Speaker 4: I'm like, damn, cy.

1470
01:14:42,880 --> 01:14:45,439
Speaker 2: I was like, you really want to get in there,

1471
01:14:45,600 --> 01:14:48,080
Speaker 2: like you want to leave your mark.

1472
01:14:48,080 --> 01:14:50,799
Speaker 4: You want to really leave your mark on this bowl

1473
01:14:51,040 --> 01:14:54,080
Speaker 4: and then this family's life, and then he starts, you know,

1474
01:14:54,080 --> 01:14:55,880
Speaker 4: so that's like a fantasy that he's having and we're

1475
01:14:55,880 --> 01:14:57,800
Speaker 4: watching him kind of stare at the house, but he's

1476
01:14:57,800 --> 01:14:59,120
Speaker 4: fantasizing about breaking in.

1477
01:14:59,720 --> 01:15:01,000
Speaker 3: Then he in real.

1478
01:15:00,800 --> 01:15:03,280
Speaker 4: Life shows up to Jake's soccer practice and they have

1479
01:15:03,360 --> 01:15:05,240
Speaker 4: a weird interaction where he tries to give him a

1480
01:15:05,240 --> 01:15:07,760
Speaker 4: toy that he kind of saw him looking at in

1481
01:15:07,800 --> 01:15:10,880
Speaker 4: the store. He's already given the kid a free camera.

1482
01:15:11,040 --> 01:15:15,519
Speaker 4: He sees the mom at a food court and in

1483
01:15:15,560 --> 01:15:17,280
Speaker 4: the mall where he works, and it's like, you know,

1484
01:15:17,400 --> 01:15:20,479
Speaker 4: what a coincidence. We're both reading Deepak Chopra. And then

1485
01:15:20,520 --> 01:15:24,200
Speaker 4: you realize that every element of his life is designed

1486
01:15:24,280 --> 01:15:26,640
Speaker 4: to attract these people to him. So he's kind of

1487
01:15:26,680 --> 01:15:29,280
Speaker 4: mimicking the things that they do, and he could have

1488
01:15:29,320 --> 01:15:32,200
Speaker 4: seen that book on a nightstand photo that they took.

1489
01:15:32,520 --> 01:15:36,960
Speaker 4: But every element of his life is kind of designed

1490
01:15:37,000 --> 01:15:39,160
Speaker 4: to bring him closer to these people in his mind.

1491
01:15:39,640 --> 01:15:42,000
Speaker 4: And that conversation is kind of weird too, because he's like, oh,

1492
01:15:42,040 --> 01:15:44,240
Speaker 4: I feel like I'm like uncle PSI because I've watched

1493
01:15:44,280 --> 01:15:52,040
Speaker 4: your family grow. And she's like, ah yeah, a bye.

1494
01:15:50,240 --> 01:15:54,400
Speaker 2: So don't say that shit, not in this economy. Do

1495
01:15:54,560 --> 01:15:57,479
Speaker 2: not say that like that in this economy, is right?

1496
01:15:57,800 --> 01:16:01,920
Speaker 1: No, I mean like there was there were moments where

1497
01:16:01,960 --> 01:16:05,639
Speaker 1: I was like, this guy is trying to get busted,

1498
01:16:05,680 --> 01:16:07,480
Speaker 1: Like he's basically like going.

1499
01:16:08,360 --> 01:16:12,240
Speaker 2: He's doing the thing, he's going over the edge and

1500
01:16:12,280 --> 01:16:13,959
Speaker 2: he knows it way.

1501
01:16:13,760 --> 01:16:14,519
Speaker 3: Over the edge.

1502
01:16:14,560 --> 01:16:17,479
Speaker 4: And then you you kind of wonder too, like he's

1503
01:16:17,479 --> 01:16:20,200
Speaker 4: doing all these things that anyone who's worked a retail

1504
01:16:20,240 --> 01:16:22,439
Speaker 4: job or any kind of service job would realize, like

1505
01:16:22,520 --> 01:16:24,160
Speaker 4: any one of these things will get you fired.

1506
01:16:24,520 --> 01:16:25,840
Speaker 3: So how is he getting away with this?

1507
01:16:26,120 --> 01:16:28,719
Speaker 4: Well, as it turns out, he's not because his manager

1508
01:16:28,800 --> 01:16:31,200
Speaker 4: is really starting to pay attention to how creepy the

1509
01:16:31,280 --> 01:16:35,560
Speaker 4: dude is, and he's like, so there have been hundreds

1510
01:16:35,600 --> 01:16:39,280
Speaker 4: of photos that have been developed without being checked, Like basically,

1511
01:16:39,840 --> 01:16:42,719
Speaker 4: we know you've been printing and stealing photos of something

1512
01:16:42,840 --> 01:16:46,000
Speaker 4: or someone somehow, and you gave away a free camera

1513
01:16:46,080 --> 01:16:48,400
Speaker 4: and like you're kind of like the manager just kind

1514
01:16:48,400 --> 01:16:50,280
Speaker 4: of calls him on how creepy he is, and he

1515
01:16:50,320 --> 01:16:54,840
Speaker 4: fires him, and that kicks off a creep count to

1516
01:16:54,920 --> 01:16:58,360
Speaker 4: this movie that goes to a place that I could

1517
01:16:58,400 --> 01:17:01,320
Speaker 4: never envision. So at first kind of left wondering, like

1518
01:17:01,600 --> 01:17:06,160
Speaker 4: when he gets fired, it's devastating for him, and he's

1519
01:17:06,800 --> 01:17:09,479
Speaker 4: just had an experience where he saw this woman who

1520
01:17:09,600 --> 01:17:11,640
Speaker 4: brought in a role of pictures to develop and he

1521
01:17:11,720 --> 01:17:13,559
Speaker 4: kind of thought he knew her, but he wasn't sure.

1522
01:17:13,840 --> 01:17:16,400
Speaker 4: He goes home and looks at his wall of Yorkin

1523
01:17:17,160 --> 01:17:21,519
Speaker 4: and realizes that this woman works for Will. So he's

1524
01:17:21,560 --> 01:17:23,640
Speaker 4: been given a week after he gets fired, he's been

1525
01:17:23,680 --> 01:17:26,360
Speaker 4: given a week to leave, which again, never do that

1526
01:17:26,439 --> 01:17:28,040
Speaker 4: if you're ever a person who's in the position to

1527
01:17:28,040 --> 01:17:30,840
Speaker 4: fire someone. They are gone that day. Don't let them

1528
01:17:30,880 --> 01:17:33,519
Speaker 4: come back and start stealing computers and files and shit

1529
01:17:33,560 --> 01:17:36,720
Speaker 4: and fucking with your shit. Take their keys, take those

1530
01:17:36,760 --> 01:17:38,479
Speaker 4: take their keys.

1531
01:17:38,600 --> 01:17:39,280
Speaker 2: Very important.

1532
01:17:39,840 --> 01:17:45,120
Speaker 4: So he starts to really fuck with people on the

1533
01:17:45,160 --> 01:17:48,200
Speaker 4: heels of being fired, and he goes through Maya's photos

1534
01:17:48,400 --> 01:17:52,040
Speaker 4: and realizes that she's having an affair with She and

1535
01:17:52,080 --> 01:17:56,800
Speaker 4: Will are having an affair, so he slides one of

1536
01:17:56,840 --> 01:18:01,759
Speaker 4: the photos of her and Will together into an envelope

1537
01:18:01,760 --> 01:18:05,679
Speaker 4: of pictures that the Yorkers have just developed that Jake

1538
01:18:05,720 --> 01:18:09,040
Speaker 4: took with his camera that Say gave him for his birthday.

1539
01:18:09,320 --> 01:18:11,200
Speaker 4: So he's like, got all these cute pictures of like

1540
01:18:11,240 --> 01:18:14,559
Speaker 4: toys and you know, like really close up overblown shots

1541
01:18:14,600 --> 01:18:17,599
Speaker 4: of like being a Great Adventure or Disneyland, and then

1542
01:18:17,640 --> 01:18:19,519
Speaker 4: there's a picture of his dad kissing another woman.

1543
01:18:21,320 --> 01:18:22,080
Speaker 3: Whoo.

1544
01:18:22,640 --> 01:18:25,760
Speaker 4: So he's already laying the groundwork to creep this up.

1545
01:18:27,240 --> 01:18:30,439
Speaker 4: I do not want to ruin the end of the movie,

1546
01:18:30,680 --> 01:18:33,440
Speaker 4: but the wheels come off after this point.

1547
01:18:33,880 --> 01:18:36,479
Speaker 3: And it starts with.

1548
01:18:36,960 --> 01:18:41,000
Speaker 4: He takes a bunch of pictures that we don't know

1549
01:18:41,040 --> 01:18:43,920
Speaker 4: what he's looking at, but he's talking about how taking

1550
01:18:43,960 --> 01:18:47,360
Speaker 4: pictures was originally the word snapshot was developed as a

1551
01:18:47,439 --> 01:18:50,000
Speaker 4: hunting term. Then he takes them into the store to

1552
01:18:50,000 --> 01:18:53,479
Speaker 4: get developed and Gary Cole is like, what the fuck

1553
01:18:53,520 --> 01:18:56,760
Speaker 4: are you doing here? Yoshi develops the photos and he's like,

1554
01:18:56,760 --> 01:18:59,360
Speaker 4: we got a problem. He went and took all of

1555
01:18:59,439 --> 01:19:02,840
Speaker 4: these pictures of his manager's kid playing outside their house.

1556
01:19:03,640 --> 01:19:06,799
Speaker 4: So the manager calls the cops. Now the cops are involved,

1557
01:19:06,840 --> 01:19:09,160
Speaker 4: and the movie takes an intense turn. But let's just

1558
01:19:09,200 --> 01:19:15,200
Speaker 4: say Cy one hundred percent does something so fucked up

1559
01:19:15,800 --> 01:19:20,320
Speaker 4: with Will and Maya, and I didn't expect that. I

1560
01:19:20,360 --> 01:19:21,920
Speaker 4: thought for sure he was going to like kidnap the

1561
01:19:22,000 --> 01:19:24,080
Speaker 4: kid or like, you know, the movie is set up

1562
01:19:24,080 --> 01:19:25,519
Speaker 4: in a way that you think it's gonna go one

1563
01:19:25,560 --> 01:19:28,040
Speaker 4: way and then it absolutely does not. But what he

1564
01:19:28,120 --> 01:19:33,760
Speaker 4: does is devastating to everyone involved. Yeah, so I'm curious,

1565
01:19:34,240 --> 01:19:38,160
Speaker 4: having never seen this film, what were your initial thoughts

1566
01:19:38,200 --> 01:19:40,679
Speaker 4: on the darkness of it? You know, did he pull

1567
01:19:40,720 --> 01:19:42,519
Speaker 4: off the darkness in a way that Michael J. Fox

1568
01:19:42,560 --> 01:19:44,120
Speaker 4: didn't like?

1569
01:19:44,200 --> 01:19:47,040
Speaker 3: What were your thoughts on seeing this and knowing this

1570
01:19:47,240 --> 01:19:49,519
Speaker 3: ending is coming? Like what what did you think?

1571
01:19:50,600 --> 01:19:56,320
Speaker 1: I mean, quite honestly, I like totally was not rooting

1572
01:19:56,560 --> 01:20:02,720
Speaker 1: for the character, but was like rooting for Robin Williams,

1573
01:20:03,720 --> 01:20:05,799
Speaker 1: like in a way that was like this is awesome.

1574
01:20:05,920 --> 01:20:08,080
Speaker 1: Like I like, I was actually just like looking at

1575
01:20:08,120 --> 01:20:10,559
Speaker 1: his like I did some research after watching the movie,

1576
01:20:10,600 --> 01:20:13,320
Speaker 1: of course, and I was like kind of looking at

1577
01:20:13,360 --> 01:20:16,519
Speaker 1: his film career like right like before you know, I mean,

1578
01:20:16,560 --> 01:20:18,840
Speaker 1: I was obviously he had been he had done so

1579
01:20:18,840 --> 01:20:21,479
Speaker 1: many movies before this, but like I was like, oh,

1580
01:20:21,600 --> 01:20:23,200
Speaker 1: but all the movies that he had done were like

1581
01:20:23,280 --> 01:20:26,799
Speaker 1: kind of big movies like you know, Dead Poet, Society

1582
01:20:26,880 --> 01:20:29,400
Speaker 1: and Awakenings, and I mean he had done a couple

1583
01:20:29,439 --> 01:20:32,160
Speaker 1: of things that were like interesting, yeah, Goodwill Hunting and

1584
01:20:32,240 --> 01:20:33,960
Speaker 1: you know, yeah.

1585
01:20:33,600 --> 01:20:34,920
Speaker 2: A Laddin, Missus, Dallfire.

1586
01:20:34,920 --> 01:20:38,320
Speaker 1: I mean, like all these huge movies, and there were,

1587
01:20:38,520 --> 01:20:41,320
Speaker 1: like you said, I think at the beginning, you know,

1588
01:20:41,360 --> 01:20:44,120
Speaker 1: you were saying that he had done movies that weren't

1589
01:20:44,120 --> 01:20:47,479
Speaker 1: as like, you know, because obviously, like his performance style

1590
01:20:47,680 --> 01:20:51,519
Speaker 1: was very like big and buffoonish and kind of manic,

1591
01:20:51,600 --> 01:20:54,599
Speaker 1: and he was like this just this you know, big

1592
01:20:54,800 --> 01:20:58,120
Speaker 1: you know, comic performer. So anytime you would see him

1593
01:20:58,120 --> 01:21:02,320
Speaker 1: in like a smaller, like quieter role, it was a

1594
01:21:02,360 --> 01:21:05,639
Speaker 1: little like wow, okay. And I think that that did happen,

1595
01:21:06,080 --> 01:21:07,840
Speaker 1: like even when he was in like stuff like The

1596
01:21:07,840 --> 01:21:09,679
Speaker 1: Bird Cage. I mean, there were moments of The Bird

1597
01:21:09,680 --> 01:21:12,160
Speaker 1: Cage where he was actually like really thoughtful and interesting.

1598
01:21:12,640 --> 01:21:15,040
Speaker 1: But for some reason, I was like, I don't know

1599
01:21:15,120 --> 01:21:18,920
Speaker 1: why I thought this movie because I remember when the

1600
01:21:18,920 --> 01:21:20,840
Speaker 1: movie came out and I felt like everybody was like,

1601
01:21:20,920 --> 01:21:25,720
Speaker 1: holy shit, like Robin Williams plays like a fucking maniac

1602
01:21:25,960 --> 01:21:30,759
Speaker 1: stalker killer, right, because that's what I really remember about

1603
01:21:30,760 --> 01:21:33,760
Speaker 1: the movie when when I think when I thought about

1604
01:21:33,800 --> 01:21:36,760
Speaker 1: it before, and so I was like, I don't know,

1605
01:21:36,800 --> 01:21:38,719
Speaker 1: in a weird way. I was kind of like, yeah, dude,

1606
01:21:38,840 --> 01:21:41,759
Speaker 1: like go this way. And then I remember the movie

1607
01:21:41,760 --> 01:21:44,400
Speaker 1: that came out after was Death the Smoochy, which I

1608
01:21:44,400 --> 01:21:46,519
Speaker 1: saw in the movie theater and was like, yo, this

1609
01:21:46,680 --> 01:21:49,240
Speaker 1: is cool. Like I was like kind of rooting for

1610
01:21:49,320 --> 01:21:53,080
Speaker 1: him to go in kind of a more artsy, weird yeah,

1611
01:21:53,320 --> 01:21:57,439
Speaker 1: you know, less like Patch Adams and more like Shakes

1612
01:21:57,479 --> 01:21:59,960
Speaker 1: the Clown, right, I mean, like go in a different

1613
01:22:01,040 --> 01:22:05,080
Speaker 1: and so I don't know, like obviously, like now knowing

1614
01:22:05,120 --> 01:22:08,160
Speaker 1: about his entire career and everything, I'm like it felt

1615
01:22:08,200 --> 01:22:12,200
Speaker 1: like almost in a way like we talked about this,

1616
01:22:12,240 --> 01:22:14,679
Speaker 1: I think before with like one of his movies where

1617
01:22:14,680 --> 01:22:15,760
Speaker 1: we felt like we missed him.

1618
01:22:15,840 --> 01:22:17,479
Speaker 3: Yeah, Dead Post the Side, we talked about it.

1619
01:22:17,560 --> 01:22:19,880
Speaker 1: Yeah yeah, And that's kind of how I felt was.

1620
01:22:19,920 --> 01:22:21,559
Speaker 1: I was like, yo, I miss this. I missed this

1621
01:22:21,640 --> 01:22:25,559
Speaker 1: era of like when Robin Williams went from you know,

1622
01:22:25,680 --> 01:22:30,000
Speaker 1: being like America sweetheart to like this creepy ass, fucking dude.

1623
01:22:30,320 --> 01:22:33,559
Speaker 4: And we talked about that insomnia too, like he's done. Yeah,

1624
01:22:33,600 --> 01:22:36,880
Speaker 4: this isn't his first dark turn, but he definitely he was.

1625
01:22:36,920 --> 01:22:39,000
Speaker 4: He's someone who I think was was so good at

1626
01:22:39,040 --> 01:22:43,800
Speaker 4: it and so able to act with restraint in a

1627
01:22:43,840 --> 01:22:46,519
Speaker 4: way that made it feel like he was a totally

1628
01:22:46,560 --> 01:22:49,000
Speaker 4: different person because we were used to that that big

1629
01:22:49,720 --> 01:22:50,800
Speaker 4: personality guy.

1630
01:22:51,320 --> 01:22:53,439
Speaker 3: And it was really cool to me, not just from

1631
01:22:53,479 --> 01:22:56,880
Speaker 3: a visual perspective, but just like from a you know,

1632
01:22:57,000 --> 01:22:59,200
Speaker 3: like knowing this guy exists in the world, Like it's

1633
01:22:59,240 --> 01:23:02,120
Speaker 3: cool to see that he was able to harness something

1634
01:23:02,800 --> 01:23:05,400
Speaker 3: different for each of these dramatic roles that made me

1635
01:23:05,439 --> 01:23:06,880
Speaker 3: see him in a totally different light.

1636
01:23:07,200 --> 01:23:07,639
Speaker 2: Yeah.

1637
01:23:08,000 --> 01:23:11,599
Speaker 1: Yeah, I mean, obviously, I feel like this movie might

1638
01:23:11,640 --> 01:23:14,960
Speaker 1: have actually like given people the opportunity to see what

1639
01:23:15,080 --> 01:23:18,400
Speaker 1: he could actually do with like weirder, darker stuff, because

1640
01:23:18,400 --> 01:23:20,040
Speaker 1: I feel like you don't have a movie like World's

1641
01:23:20,040 --> 01:23:22,720
Speaker 1: Greatest Dad without this movie. Like I feel like, you know,

1642
01:23:23,080 --> 01:23:25,360
Speaker 1: this kind of like opened the door for him to

1643
01:23:25,439 --> 01:23:26,479
Speaker 1: do like a lot.

1644
01:23:27,040 --> 01:23:31,360
Speaker 2: More weird stuff, you know. I and I fucking love

1645
01:23:31,400 --> 01:23:33,920
Speaker 2: that for him, Like, you know, that's great.

1646
01:23:33,960 --> 01:23:35,720
Speaker 1: I mean, I know he's obviously deceased, but you know

1647
01:23:35,720 --> 01:23:37,799
Speaker 1: what I mean, Like in the trajectory of his career,

1648
01:23:37,840 --> 01:23:41,880
Speaker 1: that felt like a good move. And there were times

1649
01:23:41,920 --> 01:23:45,320
Speaker 1: where I did really feel sorry for his character, like

1650
01:23:46,520 --> 01:23:49,920
Speaker 1: you know, to talk about like the loneliness of people

1651
01:23:50,040 --> 01:23:53,559
Speaker 1: and you know him wanting to connect so badly. But

1652
01:23:53,600 --> 01:23:55,120
Speaker 1: then there were times where he showed up at the

1653
01:23:55,120 --> 01:23:58,040
Speaker 1: fucking kids soccer game and I'm like, why are you there, bro,

1654
01:23:58,240 --> 01:24:01,160
Speaker 1: Like this is not good. Yeah, you know, and that's

1655
01:24:01,240 --> 01:24:04,920
Speaker 1: his parents aren't even here exactly exactly, like this.

1656
01:24:04,960 --> 01:24:07,200
Speaker 3: Kid's going home on his own bike, Like nobody is

1657
01:24:07,200 --> 01:24:09,599
Speaker 3: here for this kid. But it's wild.

1658
01:24:09,840 --> 01:24:13,479
Speaker 4: And again, to me, it's a good relationship between directing

1659
01:24:13,600 --> 01:24:16,920
Speaker 4: and acting that we were able to feel sympathy for

1660
01:24:16,960 --> 01:24:20,639
Speaker 4: this guy who was so clearly damaged and you learn

1661
01:24:20,720 --> 01:24:23,240
Speaker 4: a little bit more about his damage by the end

1662
01:24:23,240 --> 01:24:26,720
Speaker 4: of the movie, and it's very shocking and sad, but

1663
01:24:27,760 --> 01:24:30,840
Speaker 4: it's not used until that point, Like it's not a

1664
01:24:31,000 --> 01:24:33,760
Speaker 4: plot point that you know, kind of fuels this guy.

1665
01:24:33,840 --> 01:24:37,400
Speaker 4: So you're really left in a questioning role that I

1666
01:24:37,439 --> 01:24:40,880
Speaker 4: really appreciate that you can't quite nail him down. You

1667
01:24:41,000 --> 01:24:44,080
Speaker 4: just know that something is not right, like something is

1668
01:24:44,160 --> 01:24:45,439
Speaker 4: really off about this dude.

1669
01:24:45,600 --> 01:24:49,240
Speaker 1: Yeah no, and listen, I definitely think that there's a huge,

1670
01:24:50,160 --> 01:24:54,280
Speaker 1: huge gulf between my film and your film in that way,

1671
01:24:54,320 --> 01:24:56,840
Speaker 1: Like I feel like, you know, as much as I

1672
01:24:56,960 --> 01:24:59,759
Speaker 1: felt like Michael J. Fox just couldn't hit it, couldn't

1673
01:24:59,800 --> 01:25:03,639
Speaker 1: hit darkness, couldn't like get into the character, that very

1674
01:25:03,680 --> 01:25:05,920
Speaker 1: dark character. I feel like Robin Williams did it like

1675
01:25:05,960 --> 01:25:08,440
Speaker 1: he just really he really.

1676
01:25:08,200 --> 01:25:09,120
Speaker 2: Made it convincing.

1677
01:25:09,880 --> 01:25:13,320
Speaker 1: And I just think he was a he was older,

1678
01:25:13,400 --> 01:25:16,320
Speaker 1: he was a different type of you know, comic actor.

1679
01:25:17,000 --> 01:25:19,000
Speaker 1: He had started in stand up. I mean, I don't know,

1680
01:25:19,040 --> 01:25:20,880
Speaker 1: I don't know if Michael J. Fox ever did stand up,

1681
01:25:20,880 --> 01:25:22,000
Speaker 1: but you know what I mean, it just had he

1682
01:25:22,040 --> 01:25:24,920
Speaker 1: had a different trajectory which I think allowed him to

1683
01:25:24,960 --> 01:25:28,200
Speaker 1: be able to play a character like this versus Michael J. Fox,

1684
01:25:28,200 --> 01:25:30,320
Speaker 1: who I think at the time he was young, he

1685
01:25:30,400 --> 01:25:32,120
Speaker 1: was just kind of at the height of his career.

1686
01:25:32,640 --> 01:25:35,800
Speaker 1: He hadn't made too many movies by that point, so

1687
01:25:36,840 --> 01:25:40,479
Speaker 1: we weren't ready. But I think I was ready for

1688
01:25:40,560 --> 01:25:42,960
Speaker 1: this for with Robin Williams completely.

1689
01:25:43,240 --> 01:25:46,240
Speaker 4: And it's also just again like not to constantly compare

1690
01:25:46,280 --> 01:25:47,960
Speaker 4: the two, but we did put them in a theme together.

1691
01:25:48,680 --> 01:25:51,000
Speaker 4: But I think that the one of the big differences

1692
01:25:51,000 --> 01:25:54,600
Speaker 4: for me is that maybe it's because you know the

1693
01:25:54,680 --> 01:25:58,720
Speaker 4: character of SI, you were able to see some vulnerability

1694
01:25:58,840 --> 01:26:02,000
Speaker 4: or some way into feeling for him, And I didn't

1695
01:26:02,000 --> 01:26:04,080
Speaker 4: really feel anything for Jamie, I'm like, so, he's this

1696
01:26:04,160 --> 01:26:06,280
Speaker 4: guy who's got a job who's being shitty to his

1697
01:26:06,320 --> 01:26:08,160
Speaker 4: wife because his career hasn't taken off the way he

1698
01:26:08,200 --> 01:26:10,240
Speaker 4: wants it to, like it didn't give me anything to

1699
01:26:10,320 --> 01:26:13,000
Speaker 4: hold on to. And then by the time the scenes

1700
01:26:13,000 --> 01:26:15,240
Speaker 4: with his mom come up, I'm like, oh, I get it,

1701
01:26:15,280 --> 01:26:17,200
Speaker 4: but I don't know if I care, whereas with.

1702
01:26:17,200 --> 01:26:18,200
Speaker 2: This it's little too late.

1703
01:26:18,320 --> 01:26:20,880
Speaker 4: Yeah, and so with say, I feel like you're kind

1704
01:26:20,920 --> 01:26:22,720
Speaker 4: of like, all right, something like I feel bad for

1705
01:26:22,800 --> 01:26:25,759
Speaker 4: anyone who feels so out of place in our culture,

1706
01:26:26,160 --> 01:26:29,240
Speaker 4: but I also feel like I can't be around that person,

1707
01:26:29,360 --> 01:26:31,040
Speaker 4: Like I don't want to be around like they creeped

1708
01:26:31,080 --> 01:26:32,960
Speaker 4: me out. So I but I feel bad for them.

1709
01:26:33,000 --> 01:26:36,439
Speaker 4: So it's kind of gives you something more tangible to

1710
01:26:36,560 --> 01:26:37,639
Speaker 4: access in the film.

1711
01:26:38,000 --> 01:26:39,760
Speaker 2: Yeah, no, no, I totally agree. I think it's just

1712
01:26:39,800 --> 01:26:40,639
Speaker 2: a matter of setup.

1713
01:26:40,680 --> 01:26:43,559
Speaker 1: I think, you know, uh, I look, I was a

1714
01:26:43,680 --> 01:26:46,439
Speaker 1: huge fan of Mark Rumineck when I was in the nineties.

1715
01:26:46,520 --> 01:26:51,160
Speaker 1: I mean, I remember when Closer came out on HIMTV

1716
01:26:51,400 --> 01:26:56,320
Speaker 1: freaked people to fuck out. It was like a fucking event. Like,

1717
01:26:56,479 --> 01:26:58,400
Speaker 1: I don't know if people actually know this. If you're

1718
01:26:58,400 --> 01:27:00,240
Speaker 1: a little bit younger and you don't remember like the

1719
01:27:00,479 --> 01:27:03,479
Speaker 1: empty like the high era of MTV playing music videos,

1720
01:27:03,520 --> 01:27:06,400
Speaker 1: but like there were certain videos that were like world

1721
01:27:06,439 --> 01:27:10,639
Speaker 1: premiere events, like you know Madonna when she did.

1722
01:27:11,920 --> 01:27:12,479
Speaker 2: Like a Prayer.

1723
01:27:13,640 --> 01:27:16,960
Speaker 1: I remember running home from school to watch I Want

1724
01:27:16,960 --> 01:27:18,479
Speaker 1: Your Sex by George Buckle.

1725
01:27:19,200 --> 01:27:19,400
Speaker 3: You know.

1726
01:27:19,479 --> 01:27:21,400
Speaker 2: It was like these things where it was.

1727
01:27:21,360 --> 01:27:23,040
Speaker 1: Like, oh my god, they're about to play like the

1728
01:27:23,479 --> 01:27:26,000
Speaker 1: premiere of the video for this artist, and it was

1729
01:27:26,040 --> 01:27:30,240
Speaker 1: like this like scandalous like sexy thing. And I remember

1730
01:27:30,320 --> 01:27:32,800
Speaker 1: when because at the time I was a huge Niner

1731
01:27:32,880 --> 01:27:35,920
Speaker 1: Snales fan, and I fucking loved the downward spiral when

1732
01:27:35,960 --> 01:27:37,160
Speaker 1: I came When it came out, I.

1733
01:27:37,080 --> 01:27:43,040
Speaker 2: Was like, this video is so crazy, like.

1734
01:27:44,560 --> 01:27:47,000
Speaker 1: The whole like Trent Restors spinning in air and his

1735
01:27:47,280 --> 01:27:49,759
Speaker 1: you know, and like the scenes missing.

1736
01:27:49,800 --> 01:27:51,400
Speaker 2: Do you remember when they took out this and I

1737
01:27:51,479 --> 01:27:52,680
Speaker 2: was like freaked.

1738
01:27:52,240 --> 01:27:54,720
Speaker 3: Out by Yeah, I'm like, how bad was it? Then

1739
01:27:54,760 --> 01:27:55,439
Speaker 3: they took it out?

1740
01:27:56,200 --> 01:27:58,960
Speaker 1: Yeah yeah, yeah, And I and I remember when they

1741
01:27:59,160 --> 01:28:01,800
Speaker 1: so knowing that he had made like all these videos,

1742
01:28:01,840 --> 01:28:05,320
Speaker 1: like he made Fiona Apple's Criminal video, which remember when

1743
01:28:05,320 --> 01:28:07,479
Speaker 1: that shit came out, everybody was like, oh my god,

1744
01:28:07,560 --> 01:28:10,400
Speaker 1: this is like sleazy seventies porn, like its.

1745
01:28:10,360 --> 01:28:14,320
Speaker 4: Teenagers, it's teenagers and underwear, and like now it's like

1746
01:28:14,680 --> 01:28:18,240
Speaker 4: they would show that on fucking kids Morning TV on Saturday.

1747
01:28:18,880 --> 01:28:20,280
Speaker 1: Yeah, and I was like, that's like an episode of

1748
01:28:20,280 --> 01:28:23,799
Speaker 1: euphoria and not even a that's like a light episode.

1749
01:28:26,800 --> 01:28:27,439
Speaker 2: But yeah.

1750
01:28:27,479 --> 01:28:31,920
Speaker 1: And so that to me was so great finally seeing

1751
01:28:31,960 --> 01:28:34,559
Speaker 1: one Hour Photo because I was like, oh, this is

1752
01:28:34,600 --> 01:28:38,040
Speaker 1: the style that I remember from this director, and it

1753
01:28:38,120 --> 01:28:41,519
Speaker 1: was definitely in the film, Like the whole style of

1754
01:28:41,960 --> 01:28:43,479
Speaker 1: his prior work.

1755
01:28:43,400 --> 01:28:44,440
Speaker 2: Was in the film.

1756
01:28:45,160 --> 01:28:49,920
Speaker 1: Like I loved Robin Williams playing this creepy ass, fucking dude.

1757
01:28:50,160 --> 01:28:52,680
Speaker 1: I want to say this, and I really hope that

1758
01:28:52,720 --> 01:28:57,920
Speaker 1: it's not a spoiler, but I was genuinely shocked when

1759
01:28:57,920 --> 01:29:02,040
Speaker 1: this happened. There's a scene in the film with Michael Vartan,

1760
01:29:03,439 --> 01:29:07,639
Speaker 1: So I just learned of the term dick root.

1761
01:29:08,400 --> 01:29:13,920
Speaker 3: What do go on and explain what the fuck that means?

1762
01:29:15,000 --> 01:29:16,559
Speaker 2: I don't know if I want to explain it.

1763
01:29:16,640 --> 01:29:18,920
Speaker 4: Oh, but you have to, because I don't know what

1764
01:29:18,920 --> 01:29:19,960
Speaker 4: the fun you're talking about.

1765
01:29:20,520 --> 01:29:20,840
Speaker 5: I was.

1766
01:29:20,880 --> 01:29:24,839
Speaker 1: I was when I was in Europe. I was watching

1767
01:29:24,840 --> 01:29:32,240
Speaker 1: a documentary where somebody referred to the male like upper

1768
01:29:32,439 --> 01:29:36,240
Speaker 1: pubic region as the dick root.

1769
01:29:39,840 --> 01:29:53,400
Speaker 5: Ah, like I was used like in this term.

1770
01:29:53,280 --> 01:29:55,840
Speaker 1: Where like somebody there was like a photograph of somebody

1771
01:29:55,960 --> 01:30:00,880
Speaker 1: of a man like wearing very low rise jeanes and

1772
01:30:00,960 --> 01:30:03,120
Speaker 1: like the top part of this you could see it

1773
01:30:03,280 --> 01:30:07,439
Speaker 1: like the beginning part of his penis, and some somebody

1774
01:30:07,479 --> 01:30:09,200
Speaker 1: said like, that's the dick root.

1775
01:30:09,240 --> 01:30:13,920
Speaker 2: And I was like screaming when I heard that term.

1776
01:30:14,560 --> 01:30:17,000
Speaker 1: Never heard of it before until like a few weeks ago.

1777
01:30:17,640 --> 01:30:23,720
Speaker 1: And there was a scene where I believe we saw Fard.

1778
01:30:23,320 --> 01:30:26,920
Speaker 2: Tans Oh he did, Okay. I didn't stop it because I.

1779
01:30:26,880 --> 01:30:29,040
Speaker 3: Was like, yeah, I don't want to either, but but

1780
01:30:29,280 --> 01:30:30,840
Speaker 3: like if you want, like you could stop him.

1781
01:30:31,240 --> 01:30:33,720
Speaker 4: But it's it's it's it's like the ben Affleck Gone

1782
01:30:33,760 --> 01:30:36,679
Speaker 4: Girl dick scene where it's like it's there for a second,

1783
01:30:37,640 --> 01:30:40,439
Speaker 4: yes it's a flash, but then it's all dick root

1784
01:30:40,520 --> 01:30:40,960
Speaker 4: after that.

1785
01:30:44,040 --> 01:30:44,720
Speaker 2: I don't know why.

1786
01:30:44,760 --> 01:30:48,559
Speaker 1: I was shocked that that happened, Like I was like,

1787
01:30:48,600 --> 01:30:51,040
Speaker 1: oh my god. I guess it wasn't prepared for this.

1788
01:30:51,760 --> 01:30:53,360
Speaker 3: Because it was before the Donaissance.

1789
01:30:54,240 --> 01:30:54,920
Speaker 2: Yes it was.

1790
01:30:55,800 --> 01:31:01,280
Speaker 4: It was like twenty years before the Donaissance. We were

1791
01:31:01,439 --> 01:31:04,680
Speaker 4: used to seeing full frontal male. Ever in films, it

1792
01:31:04,720 --> 01:31:05,639
Speaker 4: in a TV show.

1793
01:31:06,040 --> 01:31:10,120
Speaker 1: It's certainly not with like the haughty of the moment, right,

1794
01:31:10,160 --> 01:31:10,800
Speaker 1: you know what I mean?

1795
01:31:11,000 --> 01:31:14,000
Speaker 2: Right? So I was fucking shocked.

1796
01:31:14,000 --> 01:31:17,040
Speaker 3: Maybe maybe that's his dark turn is He's like, I

1797
01:31:17,080 --> 01:31:19,640
Speaker 3: will show you dick root and you will know that

1798
01:31:19,680 --> 01:31:26,760
Speaker 3: I'm a serious actor. I'm willing to show you Mom's pubis.

1799
01:31:29,560 --> 01:31:33,400
Speaker 2: Where is is Michael Vartan from? Like? Like is he

1800
01:31:33,479 --> 01:31:36,680
Speaker 2: from Germany? Like? What's his story.

1801
01:31:38,600 --> 01:31:38,880
Speaker 3: To me?

1802
01:31:38,960 --> 01:31:40,200
Speaker 2: I'm like this was his like.

1803
01:31:40,400 --> 01:31:43,960
Speaker 1: Fast Bender moment, like his like Michael Fastbender moment of

1804
01:31:44,120 --> 01:31:48,080
Speaker 1: like I got the goods, Ladies, I'm just gonna I'm

1805
01:31:48,080 --> 01:31:48,960
Speaker 1: gonna put in a movie.

1806
01:31:49,120 --> 01:31:52,200
Speaker 3: I'm gonna most And here's the thing they didn't even advertise.

1807
01:31:52,240 --> 01:31:55,720
Speaker 2: It says he's French. That explains literally everything.

1808
01:31:55,960 --> 01:32:00,760
Speaker 1: Ah, thank you, Casey, that explains everything.

1809
01:32:01,960 --> 01:32:05,240
Speaker 4: Ah, we love the French. They're willing to show us

1810
01:32:05,240 --> 01:32:10,200
Speaker 4: a dick root at any moment. And also his girlfriend

1811
01:32:10,240 --> 01:32:12,920
Speaker 4: Maya in the movies is Aaron Daniels, who people might

1812
01:32:12,960 --> 01:32:15,719
Speaker 4: recognize from the original L word, and she's full frontal

1813
01:32:15,720 --> 01:32:20,559
Speaker 4: two yes, yes, like this movie is with there also,

1814
01:32:20,600 --> 01:32:21,599
Speaker 4: I have to I have to be said.

1815
01:32:21,600 --> 01:32:25,400
Speaker 1: This is the second week, second movie where Nick Cercy

1816
01:32:26,000 --> 01:32:26,559
Speaker 1: plays a.

1817
01:32:28,240 --> 01:32:30,800
Speaker 2: Southern side character.

1818
01:32:31,200 --> 01:32:33,439
Speaker 4: And listen, I don't like that man's politics. I don't

1819
01:32:33,520 --> 01:32:35,479
Speaker 4: like that man, but he shows up in the role

1820
01:32:35,680 --> 01:32:36,920
Speaker 4: and just choose it up.

1821
01:32:37,680 --> 01:32:40,800
Speaker 2: Yeah, he really does. He does a lot of southernness

1822
01:32:40,840 --> 01:32:44,439
Speaker 2: in that brief Yeah, five minutes that he's on screen.

1823
01:32:44,520 --> 01:32:48,200
Speaker 1: But I'm so happy that you picked this movie. I

1824
01:32:48,200 --> 01:32:51,120
Speaker 1: mean I was like secretly praying that you would. I

1825
01:32:51,120 --> 01:32:53,599
Speaker 1: I'm so glad I finally saw it. I thought it

1826
01:32:53,640 --> 01:32:58,960
Speaker 1: was like, actually pretty great, yeah and good definitely like

1827
01:32:59,080 --> 01:33:04,200
Speaker 1: definitely appreciated the Dark Turn. I thought again, like I

1828
01:33:04,600 --> 01:33:07,360
Speaker 1: remember when it came out, and I remember when everybody

1829
01:33:07,400 --> 01:33:10,320
Speaker 1: was scantalized by it slightly. But now I'm like, yo,

1830
01:33:10,479 --> 01:33:13,880
Speaker 1: this is the beginning. This is the beginning of everything else.

1831
01:33:14,040 --> 01:33:15,760
Speaker 1: Like this opens the door to so much.

1832
01:33:16,080 --> 01:33:19,280
Speaker 3: Truly it was I was really really it holds up.

1833
01:33:19,360 --> 01:33:21,280
Speaker 3: It holds up. I will say that the creep factor

1834
01:33:21,320 --> 01:33:21,720
Speaker 3: holds up.

1835
01:33:21,720 --> 01:33:24,280
Speaker 1: Everything holds up absolutely and like even he had his

1836
01:33:24,479 --> 01:33:30,680
Speaker 1: bad like bleach job, I missed, deeply missed Robin Williams again.

1837
01:33:30,720 --> 01:33:32,599
Speaker 4: Always every time I see him in one of these

1838
01:33:32,600 --> 01:33:34,360
Speaker 4: fucking roles, I'm like, god, damn, he was good, Like

1839
01:33:34,360 --> 01:33:37,200
Speaker 4: what could he be doing now he was just so good.

1840
01:33:39,960 --> 01:33:42,880
Speaker 1: Well, thank you for going down this road with me.

1841
01:33:42,960 --> 01:33:45,920
Speaker 1: I just I just really wanted to do this theme

1842
01:33:46,000 --> 01:33:48,880
Speaker 1: and you came up with an amazing name for.

1843
01:33:48,760 --> 01:33:50,880
Speaker 2: It and brought an amazing movie. So thank you.

1844
01:33:50,960 --> 01:33:53,320
Speaker 4: Thank you for going down this road with me, especially

1845
01:33:53,360 --> 01:33:55,439
Speaker 4: as hopped up on caffeine as I am.

1846
01:33:57,000 --> 01:34:00,120
Speaker 2: This is this is a wild one, I swear.

1847
01:34:00,000 --> 01:34:01,519
Speaker 4: I mean, this is one of those where I'm like,

1848
01:34:01,640 --> 01:34:03,360
Speaker 4: I'm going to listen back to the edit and be like,

1849
01:34:03,360 --> 01:34:04,200
Speaker 4: what was I saying?

1850
01:34:04,280 --> 01:34:05,200
Speaker 2: What?

1851
01:34:05,200 --> 01:34:06,000
Speaker 3: What? Hey?

1852
01:34:08,160 --> 01:34:08,719
Speaker 2: Well listen.

1853
01:34:08,720 --> 01:34:10,880
Speaker 1: If you want to email us, of course, we're at

1854
01:34:10,960 --> 01:34:13,000
Speaker 1: I Saw What you Did Pod at gmail dot com.

1855
01:34:13,000 --> 01:34:16,919
Speaker 1: Please send us, you know, messages and emails for bonus episodes,

1856
01:34:17,120 --> 01:34:18,880
Speaker 1: which are now on the main feed. We read them

1857
01:34:18,960 --> 01:34:22,960
Speaker 1: if they're good and cool and we love hearing from

1858
01:34:23,000 --> 01:34:23,479
Speaker 1: all of you.

1859
01:34:23,600 --> 01:34:25,280
Speaker 4: So and you can also you can find us on

1860
01:34:25,280 --> 01:34:28,280
Speaker 4: our socials at I Saw Pod, on Twitter and Instagram,

1861
01:34:28,280 --> 01:34:30,639
Speaker 4: and if you click on Instagram on a link our

1862
01:34:30,640 --> 01:34:32,880
Speaker 4: link tree you can find our po box. So if

1863
01:34:32,920 --> 01:34:36,040
Speaker 4: you want to physically send mail to pile up for

1864
01:34:36,160 --> 01:34:39,120
Speaker 4: Millie to get, then yeah, go for it.

1865
01:34:41,200 --> 01:34:44,759
Speaker 1: Well, and we also have merch which some people were

1866
01:34:44,800 --> 01:34:47,599
Speaker 1: like oh, you have merch. I'm like, yes, we say

1867
01:34:47,640 --> 01:34:51,080
Speaker 1: it every time in every amp zone. We actually have

1868
01:34:51,160 --> 01:34:53,680
Speaker 1: a hoodie that is that has Carrot and Sophie are

1869
01:34:53,760 --> 01:34:56,920
Speaker 1: pets on it, which is super cute. But if you

1870
01:34:57,040 --> 01:34:59,240
Speaker 1: want it and other things, go to the I Saw

1871
01:34:59,240 --> 01:35:01,200
Speaker 1: what you did section the exactly right shop.

1872
01:35:01,240 --> 01:35:03,720
Speaker 4: Get on it and don't forget Our bonus episodes are

1873
01:35:04,479 --> 01:35:06,560
Speaker 4: now on the main feed. We're rolling out some of

1874
01:35:06,600 --> 01:35:10,599
Speaker 4: the old episodes every Wednesday, every couple of Wednesdays, so

1875
01:35:10,760 --> 01:35:13,080
Speaker 4: you'll have a chance to kind of go back and

1876
01:35:13,080 --> 01:35:14,960
Speaker 4: and either re listen or listen to you for the

1877
01:35:14,960 --> 01:35:18,240
Speaker 4: first time. How unhinged we have been since we started

1878
01:35:18,240 --> 01:35:19,160
Speaker 4: this podcast.

1879
01:35:22,080 --> 01:35:24,679
Speaker 1: Well, Danielle, do you want to tell the folks about

1880
01:35:24,680 --> 01:35:25,840
Speaker 1: the movies for next week?

1881
01:35:26,120 --> 01:35:30,240
Speaker 4: I do, because our films next week are Full Metal

1882
01:35:30,320 --> 01:35:34,759
Speaker 4: Jacket from nineteen eighty seven and Reflections in a Golden

1883
01:35:34,760 --> 01:35:36,799
Speaker 4: Eye from nineteen sixty seven.

1884
01:35:37,200 --> 01:35:39,320
Speaker 2: Wooh, guess the theme. Guess the theme.

1885
01:35:39,439 --> 01:35:41,519
Speaker 4: I think you're gonna you're gonna think you know the theme,

1886
01:35:42,000 --> 01:35:44,760
Speaker 4: and then we're gonna give you something truly out of

1887
01:35:44,760 --> 01:35:45,240
Speaker 4: this world.

1888
01:35:48,520 --> 01:35:50,880
Speaker 2: We have a lot to live up to by next week.

1889
01:35:50,920 --> 01:35:51,759
Speaker 3: No press, no presh.

1890
01:35:52,520 --> 01:35:54,839
Speaker 1: Well, Danielle is always a fucking pleasure doing this podcast

1891
01:35:54,840 --> 01:35:55,200
Speaker 1: with you.

1892
01:35:55,600 --> 01:35:58,000
Speaker 3: Love it until next time, Bye you.

1893
01:36:04,880 --> 01:36:07,959
Speaker 4: This has been an exactly right production. Produced by Ksey O'Brien,

1894
01:36:08,160 --> 01:36:10,720
Speaker 4: mixed by Edson Choi. Our theme song is by Tom

1895
01:36:10,720 --> 01:36:14,519
Speaker 4: bry Fogel. Artwork by Garrett Ross. Our executive producers are

1896
01:36:14,560 --> 01:36:17,599
Speaker 4: Georgia Hartstart Caring, Tile Gareff, and Daniel Kramer. You can

1897
01:36:17,640 --> 01:36:20,360
Speaker 4: follow us on Instagram and Twitter at I Saw pod,

1898
01:36:20,760 --> 01:36:22,760
Speaker 4: and you can email us at I Saw What You

1899
01:36:22,800 --> 01:36:24,000
Speaker 4: Did Pod at gmail