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Speaker 1: Days for seven days at the Home Depot now through

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Speaker 1: for details.

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Speaker 2: It's very difficult to keep the line between the past

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Speaker 2: and the price.

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Speaker 3: You believe that someone out of the past, we can

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Speaker 3: enter and take possession of a living being.

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Speaker 1: We may be through with the past, but the past

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Speaker 1: is not through with us.

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Speaker 4: Welcome back to the Next Picture Show, a Movie of

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Speaker 4: the Week podcast to go to to a classic film

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Speaker 4: in the way it's shaped our thoughts on a recent release.

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Speaker 4: I'm Tasha Robinson here again with.

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Speaker 3: Genevieve Kowski Scots to Bias Keith Thipps.

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Speaker 4: On the first half of this episod, so we discussed

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Speaker 4: the staying power and startling landscapes of Ridley Scott's nineteen

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Speaker 4: eighty two could hit Blade Runner, about a future bounty

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Speaker 4: hunter chasing rogue androids through the startling, far flung future

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Speaker 4: of twenty nineteen. In this half, we'll bring in the

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Speaker 4: new sequel, Blade Runner twenty forty nine and consider how

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Speaker 4: a rival director Denis Villeneuve takes up the story. We

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Speaker 4: should warn you upfront that Warner Brothers and Sony have

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Speaker 4: been extremely careful to not spoil pretty much anything about

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Speaker 4: this film for viewers. Generally speaking, that's a positive development,

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Speaker 4: and we're entirely in favor of viewers going into a

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Speaker 4: film as open minded and unspoiled as possible. But a

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Speaker 4: studio statement read after the film screened listed off things

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Speaker 4: we shouldn't spoil, including the basic nature of many of

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Speaker 4: the characters, things we learn literally on their first introductions,

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Speaker 4: or in some cases in the first minutes of the movie.

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Speaker 4: We were advised that if asked about a certain character,

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Speaker 4: I'm quoting the studio here, please say we meet many

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Speaker 4: striking characters over the course of the film, and she

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Speaker 4: is one of them. I wouldn't want to single anyone out.

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Speaker 4: You'll have to see the film for yourself to truly

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Speaker 4: appreciate where everyone fits in now. Needless to say, if

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Speaker 4: we tried to leave this podcast discussion at that, it

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Speaker 4: would be very short and very repetitive. So we are

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Speaker 4: necessarily going to give away plot points here, including right now.

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Speaker 4: In my basic setup of the film, you were warned

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Speaker 4: if you are not ready to listen to this podcast,

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Speaker 4: feel free to go hang out in your virtual reality

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Speaker 4: paradise with your wooden toy horse until it's safe. Okay,

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Speaker 4: so for the rest of you. Denis vel Nieve's Blade

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Speaker 4: Runner twenty forty nine takes up the action thirty years

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Speaker 4: after the first Blade Runner. The Tyral Corporation has gone

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Speaker 4: bankrupt and been replaced. There's a new generation of replicants

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Speaker 4: wandering around Earth obediently doing whatever they're told, and an

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Speaker 4: android called Ka played by Ryan Gosling, is placidly working

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Speaker 4: for the police, running down and murdering older replicant models.

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Speaker 4: Then his boss, played by Robin Wright, orders him to

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Speaker 4: look into a case that may suggest a replicant has

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Speaker 4: given birth, which should be a physical impossibility. From there,

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Speaker 4: the case expands to take in characters from the first film,

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Speaker 4: a new set of villains, and some ancillary business, including

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Speaker 4: Kay's love affair with a hologram named Joy. What starts

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Speaker 4: out as a mystery becomes a fairly wandering movie that's

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Speaker 4: more about characters and moods than about plot, which you

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Speaker 4: could say about the first Blade Runner as well. But

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Speaker 4: Blade Runner twenty forty nine feels more divided against itself

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Speaker 4: than the first film. Like the original Blade Runner, it

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Speaker 4: has an unusual structure that bucks against the usual conventions

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Speaker 4: of more movies, mystery films, and science fiction adventures. Also,

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Speaker 4: like the original Blade Runner, it's as concerned with urban

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Speaker 4: landscapes and the compositions of crowds as it is with

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Speaker 4: any given character decisions. We'll look at how these two

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Speaker 4: films work together and where they seem to be opposed

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Speaker 4: to each other. After this break.

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Speaker 5: There is an order to things.

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Speaker 1: That's what we do here.

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Speaker 3: We keep order.

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Speaker 2: The world is built on a wall that separates kind

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Speaker 2: Now either side therees no wall. You bought a war,

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Speaker 2: you're a cop?

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Speaker 6: How did your job? Once more?

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Speaker 5: That was good?

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Speaker 6: I know.

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Speaker 5: What do you want?

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Speaker 7: I want to ask you some questions.

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Speaker 5: The key to the future.

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Speaker 6: He's finally honest. I know you're here.

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Speaker 4: I always told you you're a special.

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Speaker 5: M There's story isn't over yet.

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Speaker 2: There's still a page left.

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Speaker 4: All right, guys, what did you think of Blade Runner

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Speaker 4: twenty forty nine?

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Speaker 8: Okay, you are gonna have to help me out with

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Speaker 8: this movie, because I don't trust my reaction to it.

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Speaker 8: My reaction to the film, if I'm being completely honest,

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Speaker 8: was that I was bored out of my mind. But

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Speaker 8: I also feel like that is the reaction that a

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Speaker 8: lot of people had to Blade Runner, in that I've

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Speaker 8: come around to seeing the merits of the original Blade Runner,

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Speaker 8: and so that is the that is central to my

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Speaker 8: mistrust of my own reaction. On top of which there

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Speaker 8: are obviously wonderful things about Blade Runner twenty forty nine

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Speaker 8: that my level of engagement aside.

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Speaker 6: You have to appreciate it. Mean, it's freaking beautiful this movie.

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Speaker 7: Yeah, I'm still wrestling with this movie. I want to

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Speaker 7: see it again, which is a good thing. I was

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Speaker 7: never bored with it, and it is beautiful. It is

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Speaker 7: a beautiful film. I just never quite saw the point

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Speaker 7: of it, and I have feel like a second viewing,

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Speaker 7: my change is for me. I'm not really shy about

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Speaker 7: my affection for the first Blade Runner and this one

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Speaker 7: kind of had It's gonna sound worse than I really

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Speaker 7: mean it, but it kind of has like a matrix

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Speaker 7: reloaded feel to me, where like the first one is

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Speaker 7: visually amazing and raises the interesting philosophical questions, and to

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Speaker 7: stay compelling, the sequel has to like come up with

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Speaker 7: like sort of these strange, twisty variations on those philosophical

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Speaker 7: questions that are probably less interesting than the questions raised

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Speaker 7: in the first one. I don't know, though, I think

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Speaker 7: a second viewing might change that. But there's things that

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Speaker 7: stuck with me that really kind of buter me about it.

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Speaker 7: Like Robin Wright is quite good in the movie, but

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Speaker 7: all her monologues about how there's a wall and we

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Speaker 7: need to keep the wall up and if the wall

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Speaker 7: falls down, chaos breaks out. It's like, I think you're

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Speaker 7: spelling this. The themes out of this out a little

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Speaker 7: too explicitly in the way the first one never would,

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Speaker 7: and in a way that the rest of the film doesn't.

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Speaker 7: But it does it in such a way that it's

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Speaker 7: kind of like it's too explicit for this movie.

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Speaker 6: I don't know, I mean, you know what.

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Speaker 4: It wasn't too explicit for a few good men where

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Speaker 4: we first.

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Speaker 7: Got there's Wallah speech.

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Speaker 5: Ye.

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Speaker 3: General, I think I'm a little more positive on it

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Speaker 3: than the two of you are, which I think is

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Speaker 3: maybe correlated to me being somewhat less enamored of the

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Speaker 3: original Blade Runer. I still like it quite a bit,

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Speaker 3: but it's just not like crazy passionate about it, Nor

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Speaker 3: am I crazy passionate about blade around twenty four nine.

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Speaker 3: But but I liked it quite a bit, and I

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Speaker 3: did find it in general engaging throughout. And I think

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Speaker 3: just in terms of kind of what we were talking

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Speaker 3: about in the first half about like there's not that

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Speaker 3: much that actually happens in Blade Runner. He doesn't like

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Speaker 3: actually do that much detective work, Like there is a

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Speaker 3: mystery here, there is something that is unfolding throughout, and

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Speaker 3: that kept me engaged in the story in a way

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Speaker 3: that I'm never really engaged in the story of Blade Runner.

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Speaker 3: I agree that it is trying to do way too much,

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Speaker 3: and there's a lot that gets dropped, and it does

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Speaker 3: bring to the surface a lot of what Blade Runner

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Speaker 3: allows to kind of percolate beneath it. You know, if

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Speaker 3: Blade Runners, you know, still waters run deep. This is rough, choppy,

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Speaker 3: you know, and then Harris almost round.

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Speaker 6: Yeah, yeah, exactly, Yeah, But I.

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Speaker 3: Mean it's it's so freaking gorgeous, Like I could just

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Speaker 3: look at this movie the way that I could just

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Speaker 3: look at Blade Runner, well, I guess, and listen to

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Speaker 3: it because it's also orally impressive, albeit in a different

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Speaker 3: way because this is a Hans Zimmer score, so you

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Speaker 3: know what that means. But yeah, I mean I also

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Speaker 3: want to revisit it again. I don't know if I

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Speaker 3: want to sit through almost three hours of it again. Like,

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Speaker 3: this is definitely not a tight movie and could probably

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Speaker 3: stand to have two or three plot threads just kind

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Speaker 3: of chopped off completely. But I'm pro Blade Runner twenty

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Speaker 3: forty nine.

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Speaker 7: It has a strong story until it doesn't.

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Speaker 3: I do like the very it has a third act problem.

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Speaker 7: Yeah, I do like the very end of this film

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Speaker 7: quite a bit. But yeah, the third act is to

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Speaker 7: me kind of disastrous. I feel like a lot of

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Speaker 7: things get raised and then dropped. I had a hard

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Speaker 7: time following what the motivations of some of the characters

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Speaker 7: were toward the end. And again there's something I just

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Speaker 7: I honestly just don't understand about the final.

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Speaker 6: Arts of this film.

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Speaker 3: Yeah, I think it peaks in Vegas and then it

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Speaker 3: takes a steep drop until that final scene.

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Speaker 6: I want to know what Tasha thinks. I don't think

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Speaker 6: she weighed in and you waited in.

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Speaker 4: I have not waited.

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Speaker 3: The last time I talked about this movie, you were

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Speaker 3: nauseated from the rumble seats.

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Speaker 6: We were forced to.

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Speaker 4: The rumble seats. That is that is entirely Uh wow.

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Speaker 4: I just had the word rumbled straight out of my mind.

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Speaker 4: Scott's bias. What is your word for stuff that doesn't matter?

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Speaker 7: Extra textual?

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Speaker 4: Thank you? The rumble seats are extra textual bias. You're

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Speaker 4: playing Scott to bias on this podcast, Scott to feel

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Speaker 4: like we need one of our infrequent high fives. You

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Speaker 4: described my my reaction to the movie so perfectly that

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Speaker 4: and this this rarely happens. But no, I'm completely SYMPATICO there.

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Speaker 4: I was bored. I was really bored, and yet pieces

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Speaker 4: of this movie keep resurfacing in my mind over and

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Speaker 4: over and over. I keep coming back to things and

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Speaker 4: thinking what, I'm not sure I appreciated that at the time,

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Speaker 4: that was really cool, and I really want to see

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Speaker 4: the movie again. Despite the fact that I found my

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Speaker 4: first viewing so tedious. Yes, it's really visually gorgeous in

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Speaker 4: a lot of ways, although so emily sheeted. My former

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Speaker 4: editor at The Verge just wrote a really interesting piece

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Speaker 4: about fantasy giant women in science fiction, the imagery of

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Speaker 4: the giant woman and how it keeps recurring in science fiction,

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Speaker 4: And that was one of the many things in this

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Speaker 4: movie that was just a huge turnoff for me, just

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Speaker 4: the fetishization of the giant naked woman, the giant naked,

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Speaker 4: glowing woman hovering over everything or looming over everything in Vegas,

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Speaker 4: where we just kept getting these dislocated, fetishy body parts

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Speaker 4: of women. I found that just really creepy. But also

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Speaker 4: the giant glowing joy.

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Speaker 3: Yeah, which is a nod to the original film too,

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Speaker 3: which also had giant you know, neon billboard women.

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Speaker 4: Oh sure you so.

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Speaker 3: So much of this movie is calling to the original

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Speaker 3: Blade Runner, including while we're getting extratextual, the first scene

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Speaker 3: of this movie where Ryan Gosling's character Kay hunts down

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Speaker 3: replicant played by de Bautista named Sapper Morton. Sure that

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Speaker 3: scene is taken from one of the scrapped opening scenes

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Speaker 3: of the original Blade Runner, right, am? I correct?

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Speaker 5: Here?

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Speaker 4: Like where he hadn't already.

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Speaker 3: Yeah, yeah, Like I watched the first half hour of

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Speaker 3: the three and a half hour making of documentary before

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Speaker 3: I came here. I wasn't able to get it all in,

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Speaker 3: but I did get to like the storyboarded original introduction

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Speaker 3: of Deckard where he is like sitting in this cabin

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Speaker 3: and there's soup boiling and he kills this replicant and

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Speaker 3: we don't know why. That's the reveal that is replican

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Speaker 3: It's structured exactly the way it was storyboarded in Blade Reunners.

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Speaker 4: Okayness, it's kind of fascinating.

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Speaker 5: Yeah.

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Speaker 4: I cannot in any way fault denny Ville News like

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Speaker 4: fascination with or respect for the original Blade Runner. I

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Speaker 4: think it shows through here over and over that he

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Speaker 4: was paying attention that he really passionately cares about things

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Speaker 4: like the Atari logo and the PanAm logo in the background,

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Speaker 4: like he cares about all of these themes, and I

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Speaker 4: think to some degree, Blade Reunner twenty forty nine does

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Speaker 4: feel like he's aware that all of these things were

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Speaker 4: undercurrents that maybe weren't fully developed or fully expressed, and

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Speaker 4: so he wants to both bring them out more overtly

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Speaker 4: and not have anybody say, Gosh, I just don't know

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Speaker 4: what it means to be human. Perhaps there is some

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Speaker 4: way that we could explore that, even though I myself

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Speaker 4: I'm not human, Like, he doesn't want to overplay it

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Speaker 4: more than he has to. So I think there are

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Speaker 4: still some like fairly subtle things here about the whole

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Speaker 4: question of humanity and the nature of what it means

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Speaker 4: to be human. But at the same time, this film

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Speaker 4: does need an edit. I'm really curious about the things

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Speaker 4: that you don't understand about the third act. There are

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Speaker 4: things that completely baffle me.

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Speaker 7: What happens to the rebellion? Where does Jared leto go?

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Speaker 7: Does he go anywhere? Yeah, it's just a lot going on.

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Speaker 7: Was not following all all that? Well, maybe it's just

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Speaker 7: it was so deep into the night at that point.

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Speaker 7: But uh, I also felt like the movie was had

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Speaker 7: done a pretty good job like moving me along in

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Speaker 7: a coherent fashion.

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Speaker 6: Uh, and then then stop doing being jostled by the

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Speaker 6: seat there.

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Speaker 7: You know, it is a part fect the movie we

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Speaker 7: got to talk about. We all saw this movie and

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Speaker 7: Adobe autmost outfitted theater here in Chicago.

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Speaker 4: It's specifically AMC Prime because apparently there are at most

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Speaker 4: theaters that don't have the rumble seats.

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Speaker 8: Almost is really just about sound, very vivid sound, which

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Speaker 8: which another theater we go to here called Icon has it.

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Speaker 6: It's great.

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Speaker 7: Yeah, it looks look great. Movie sounded great, except for

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Speaker 7: it had very deep bass, which I like, like a

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Speaker 7: deep bass turn that sub up. Sounds great, except when

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Speaker 7: the bass would rumble, the seat would rumble along with it.

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Speaker 4: Like hard hard You're sitting in a roller coaster level rumbling.

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Speaker 7: You'll kind of like, you know, one of those motion

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Speaker 7: control rides, you know. And it was very annoying, and

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Speaker 7: there was a lot of it was throughout the film,

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Speaker 7: so distract you actually got a headache, right, I.

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Speaker 4: Got a headache. And I am not subject to motion sickness.

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Speaker 4: I am the kind of person I can read on

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Speaker 4: a train, I can read on a bus. I have

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Speaker 4: never had a problem with motion sickness. I walked out

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Speaker 4: of this film so nauseated. I did think I was

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Speaker 4: going to throw up.

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Speaker 7: We're to say, cool it, cool it with that whole

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Speaker 7: deep bass rumble seat.

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Speaker 4: That is one of the reasons I think I could

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Speaker 4: stand to rewatch this film is it literally felt like

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Speaker 4: an army of toddlers kicking my chair throughout. I would

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Speaker 4: say roughly eighty percent of the film so distracted you

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Speaker 4: watch it?

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Speaker 6: I did, I did, and I'm behind you.

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Speaker 8: That is that is another reason why I throw my

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Speaker 8: own reaction to the film into the big question you.

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Speaker 7: But getting back on track, am I wrong to be

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Speaker 7: confused about those things? And the third out of this movie?

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Speaker 4: I think Jared Lado's motivations are really confusing. I think

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Speaker 4: that he it is obvious that he wants to play

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Speaker 4: god and cross lines that no one should cross, and

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Speaker 4: then eventually his creations are going to come for him,

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Speaker 4: because that's how science movies work. But apart from that,

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Speaker 4: he has a lot of big, windy speechifying that reminded

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Speaker 4: me a lot of the architect in the Latter Matrix movies,

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Speaker 4: and just that sense of here's a big, heady philosophical

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Speaker 4: thing that maybe is tied into the concept of the movie,

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Speaker 4: but is in no way interesting to the action of it.

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Speaker 4: And he talks and he talks, and he talks and

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Speaker 4: he talks, and the whole time I'm thinking, yes, but

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Speaker 4: what do you want? And then he produces his big

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Speaker 4: grand standing effect, which Scott may give away I don't

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Speaker 4: particularly want to, but when he does it, it's supposed

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Speaker 4: to be a hugely jarring emotional moment, and for me

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Speaker 4: it was like, yeah, but how does this further his

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Speaker 4: goals that we don't understand? What does he want to

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Speaker 4: happen here?

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Speaker 3: Yeah, Like, at a very basic level, what does the

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Speaker 3: maker of replicants stand to gain from self perpetuating replicants?

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Speaker 3: His business is making replicants. Why does he want that?

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Speaker 8: Here we get into facing a self by automation.

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Speaker 4: Well, here we get into alien covenant business, or just

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Speaker 4: the recent redle Scott alien sequels. In general, we're back

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Speaker 4: to that feeling of if I create life that can

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Speaker 4: create life, if I create life that has intelligence in

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Speaker 4: the way of normal biological life, then I am a

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Speaker 4: god and I deserve to be elevated to godhood, which

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Speaker 4: is a thing that comes up a lot in movies

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Speaker 4: about science in the future and is very rarely done

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Speaker 4: in a way that I think is interesting and certainly

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Speaker 4: not here.

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Speaker 7: I also didn't find the performance all that great, and

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Speaker 7: a film that is otherwise nicely acted, people reflectively don't

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Speaker 7: like Jared Leto. I don't want to be one of

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Speaker 7: those people.

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Speaker 5: But I like it.

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Speaker 7: I didn't care for him in this film.

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Speaker 3: Now I think it definitely played into what people think

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Speaker 3: makes Jared Letto performances bad.

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Speaker 4: This is a man that sends dead rats and used

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Speaker 4: condoms to his coworkers because he thinks it it helps

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Speaker 4: his method. I reflexively dislike.

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Speaker 6: Him single handedly just killed over now it needed to die.

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Speaker 7: I kept thinking there's a scene where he comes up

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Speaker 7: to Decker played by Harris Ford and touches him and says,

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Speaker 7: I'm so happy to meet you. I've always wanted to

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Speaker 7: see to meet you. And I'm like, is this actually

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Speaker 7: in the film where this is an outtake of that?

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Speaker 7: Because he has a stiff on his face, like get

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Speaker 7: away from me, kid.

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Speaker 4: Maybe it's meant to parallel that moment where Deckard is

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Speaker 4: trying to make out with Rachel and she's trying to scare.

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Speaker 4: It's just it's all a gender reverse thing, like this

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Speaker 4: is how uncomfortable you made.

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Speaker 6: Her, you jerk.

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Speaker 8: One thing I would say about this film and my

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Speaker 8: reaction to it, is that so much of it is

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Speaker 8: so reflective of the first film that it feels.

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Speaker 6: Trapped by it.

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Speaker 8: And I would say that, by far my favorite moment

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Speaker 8: of the film. My favorite sequence of the film is

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Speaker 8: All the Stuff in Las Vegas, because I feel like

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Speaker 8: it's both it's visually extends the world of the film

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Speaker 8: so much. It's such a you know, I mean, the

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Speaker 8: film is beautiful all the way through, but you don't

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Speaker 8: feel like you're getting a really souped up version of

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Speaker 8: something you've already seen before. That this is a new

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Speaker 8: place in a new environment. And then you get this

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Speaker 8: relationship that starts to develop between Kay and Decorated and

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Speaker 8: all that seems exciting and not so tethered to the

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Speaker 8: original film.

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Speaker 4: I think one of the most striking moments of the

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Speaker 4: film is where the two of them confront each other

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Speaker 4: in a basically a virtual cabaret that's malfunctioning, and we

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Speaker 4: have these Marilyn Monroe and Elvis and other characters blinking

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Speaker 4: in and out of existence while the soundtrack blairs the

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Speaker 4: music that they're playing, and then it cuts in and out,

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Speaker 4: and it's unsettling. It's very disjointed, deliberately because the system

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Speaker 4: around them is breaking down. And like so many things

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Speaker 4: in this film, I found that fascinating, and then it

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Speaker 4: just seemed to overextend. I felt it went on twice

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Speaker 4: as long as it needed to to make its point,

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Speaker 4: to put us in the moment, to actually play out

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Speaker 4: the action of the fight that they were playing out,

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Speaker 4: and it reached a level of tedium for me.

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Speaker 3: And I never got that tedium. But just the Vegas

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Speaker 3: sequence in general speaks to something that I think this

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Speaker 3: film takes Blade Runner a step further. I think, in

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Speaker 3: a positive way, is showing us this world beyond Los Angeles.

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Speaker 3: You know, we go to several places outside of the

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Speaker 3: city limits. You know, in addition to Vegas, there's the

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Speaker 3: protein farm. I guess that Deve Bautista is that, and

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Speaker 3: then there's San Diego, which is a literal.

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Speaker 7: Dump now you know, like my city too.

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Speaker 5: Yeah.

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Speaker 3: Yeah, So I just kind of what you were speaking

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Speaker 3: to in the first half Scott about how there's just

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Speaker 3: a lot left to viewers to like mole or wonder

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Speaker 3: about this world. There's a lot left on said, this

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Speaker 3: says more about the world in a way that like,

404
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Speaker 3: I found satisfying. You know, I love world building in general,

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Speaker 3: and I liked what this movie added to the world.

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Speaker 4: The thing that I most loved was the relationship between

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Speaker 4: k and Joe. His iteration his copy of this software

408
00:20:04,760 --> 00:20:08,159
Speaker 4: that is meant to please you and bring you everything

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Speaker 4: that you want and satisfy you. And it's very much

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Speaker 4: it feels like a riff on her the movie a

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Speaker 4: little bit too much at times, a little bit too

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Speaker 4: much essentially with absolutely agreed, but at the same time,

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Speaker 4: you know, it does visual things that her couldn't do,

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Speaker 4: because Samantha is not a physical visual presence. The way

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Speaker 4: Joy is perpetually trying to touch him and can't and

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Speaker 4: has to bring in a surrogate for that, I found

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Speaker 4: visually fascinating, especially when she brings in the surrogate and

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Speaker 4: they don't quite overlap, but she keeps trying to make

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Speaker 4: it happen. That whole sequence I found really interesting, But

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Speaker 4: even more so the idea that because k is a

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Speaker 4: replicant and people seem to know he's a replicant, though

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Speaker 4: I don't know how just casual encounters, people on the

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Speaker 4: street call him a skin job and insult him and

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Speaker 4: yell at him. The fact that he is just this

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Speaker 4: loathed creature sure that cannot form a relationship with other

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Speaker 4: people or other replicants, and so he attaches himself to

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Speaker 4: this virtual presence that is designed to love him. I

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Speaker 4: find that to be a really poignant science fiction concept

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Speaker 4: that I think the movie carries out really well. And

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Speaker 4: the scenes where they're alone together and the movie is

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Speaker 4: about the two of them are the most compelling in

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Speaker 4: the movie for me.

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Speaker 3: By the way, Joy is a character Tasha mentioned in

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Speaker 3: the intro that we couldn't reveal the nature of her character.

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Speaker 4: She's a hologram. We know because we see the hologram

436
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Speaker 4: emit her before we see her. She's introduced as a hologram.

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Speaker 7: I think, you know, the expiration date maybe be up

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Speaker 7: on those.

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Speaker 4: I'm mostly just I find it fascinating that we were

440
00:21:40,560 --> 00:21:42,760
Speaker 4: read off this list of things that we weren't supposed

441
00:21:42,760 --> 00:21:45,520
Speaker 4: to cover, and that they it was so all encompassing.

442
00:21:45,560 --> 00:21:46,640
Speaker 4: I find that just fascinating.

443
00:21:47,080 --> 00:21:49,720
Speaker 8: And then the suggested language please.

444
00:21:50,320 --> 00:21:53,040
Speaker 4: Yeah, the point where they scripted what we were supposed

445
00:21:53,080 --> 00:21:55,639
Speaker 4: to say. If anybody asked us about the film, it's hilarious.

446
00:21:56,760 --> 00:21:58,119
Speaker 7: Characters, and she has one of them.

447
00:21:59,320 --> 00:22:01,680
Speaker 4: We've all kind of covered, like a favorite aspect of

448
00:22:01,800 --> 00:22:05,040
Speaker 4: this film that is doing so many different things, except you, Keith, Like,

449
00:22:05,119 --> 00:22:07,480
Speaker 4: do you have a standout moment or seeing or thought?

450
00:22:07,680 --> 00:22:08,920
Speaker 7: I mean, I'm gonna I'm gonna have to say the

451
00:22:08,960 --> 00:22:12,159
Speaker 7: Las Vegas sequence as well, and and just him wandering

452
00:22:12,240 --> 00:22:15,600
Speaker 7: around and just sort of this sense of Las Vegas

453
00:22:15,720 --> 00:22:18,720
Speaker 7: that's gotten even more defudent than our Vegas, like in

454
00:22:18,800 --> 00:22:21,840
Speaker 7: part because of these sort of giant sexualized statues and

455
00:22:22,040 --> 00:22:24,280
Speaker 7: the elements like that. I mean, one thing this film

456
00:22:24,320 --> 00:22:26,960
Speaker 7: does really well is rather than starting from scratch, it

457
00:22:27,080 --> 00:22:29,880
Speaker 7: ages the world we saw in Blade Runner thirty years

458
00:22:29,920 --> 00:22:32,399
Speaker 7: in a really convincing way. I thought that was that

459
00:22:32,520 --> 00:22:35,240
Speaker 7: was one of the best things about it. Although I

460
00:22:35,320 --> 00:22:37,920
Speaker 7: think it's less interesting looking than Runner. I think the

461
00:22:37,960 --> 00:22:40,200
Speaker 7: Los Angeles this film is a little I didn't want

462
00:22:40,200 --> 00:22:41,840
Speaker 7: to wander around it the way I want to wander

463
00:22:41,960 --> 00:22:45,200
Speaker 7: wander around the original Blade Runners a Los Angeles.

464
00:22:45,480 --> 00:22:46,359
Speaker 6: It's probably true.

465
00:22:46,400 --> 00:22:49,320
Speaker 8: One thing that just occurred to me now about Vegas

466
00:22:49,400 --> 00:22:52,000
Speaker 8: and how against striking it is and what extends the

467
00:22:52,080 --> 00:22:54,480
Speaker 8: visual language of the film is just that the idea

468
00:22:54,640 --> 00:22:58,640
Speaker 8: that the desert is reclaiming that city, which is interesting, right,

469
00:22:58,720 --> 00:23:01,720
Speaker 8: I mean, like, that's that's interest thought about Vegas. Because Vegas,

470
00:23:02,080 --> 00:23:04,920
Speaker 8: as we know it does everything it can to keep

471
00:23:05,119 --> 00:23:06,879
Speaker 8: from reminding you that it is in the middle of

472
00:23:06,960 --> 00:23:11,800
Speaker 8: the desert. It's all electricity and modernity, and this in

473
00:23:11,920 --> 00:23:14,240
Speaker 8: defiance of nature, and now nature is coming back to

474
00:23:14,400 --> 00:23:18,040
Speaker 8: reclaim it. I really like that aspect of that sequence.

475
00:23:18,160 --> 00:23:20,600
Speaker 7: I like the giant dump too. I just see the

476
00:23:21,240 --> 00:23:23,359
Speaker 7: miles of garbage pile on top of each other. That

477
00:23:23,640 --> 00:23:24,720
Speaker 7: was a striking image as well.

478
00:23:25,119 --> 00:23:27,440
Speaker 4: This is a film of very striking images. I thought

479
00:23:27,480 --> 00:23:29,920
Speaker 4: that some of the stuff done around virtual reality or

480
00:23:30,520 --> 00:23:34,400
Speaker 4: virtual memory in the film was really visually interesting. It's

481
00:23:34,440 --> 00:23:37,639
Speaker 4: sometimes visually interesting in a very show Offye we have

482
00:23:37,720 --> 00:23:40,240
Speaker 4: a big budget, we can create whatever we want here

483
00:23:40,400 --> 00:23:43,399
Speaker 4: kind of way. But even so, I guess I just

484
00:23:43,600 --> 00:23:47,000
Speaker 4: overall find the way that people interact with virtual reality

485
00:23:47,080 --> 00:23:50,119
Speaker 4: and augmented reality in this film to be pretty interesting,

486
00:23:50,560 --> 00:23:55,880
Speaker 4: because it's both visually dynamic and thematically rich. Thematically interesting.

487
00:23:55,960 --> 00:23:59,640
Speaker 4: It's explored in a very interesting way. What memory. You're

488
00:23:59,680 --> 00:24:04,360
Speaker 4: talking about memory? What that actually means for these characters,

489
00:24:04,680 --> 00:24:06,880
Speaker 4: And that is something that is kind of drawn out

490
00:24:06,880 --> 00:24:10,359
Speaker 4: of Blade Runner, this idea of artificially implanted memories, but

491
00:24:10,560 --> 00:24:13,560
Speaker 4: the new film expands it to a greater degree by

492
00:24:13,920 --> 00:24:16,040
Speaker 4: figuring out sort of what that looks like, what it

493
00:24:16,080 --> 00:24:18,440
Speaker 4: looks like to build them, what it looks like to

494
00:24:18,880 --> 00:24:21,800
Speaker 4: experience them, what it looks like to discover that they're false.

495
00:24:21,880 --> 00:24:24,280
Speaker 3: Well, it and it makes it the center of its mystery,

496
00:24:24,720 --> 00:24:27,040
Speaker 3: you know, like this memory of a wooden horse that

497
00:24:27,240 --> 00:24:28,840
Speaker 3: propels k through the story.

498
00:24:29,359 --> 00:24:32,080
Speaker 7: I thought she was great too, Karla Jury, who played

499
00:24:32,440 --> 00:24:35,840
Speaker 7: Anna the dream Maker. She was in Wetlands and Moorish

500
00:24:35,840 --> 00:24:36,400
Speaker 7: from America.

501
00:24:37,480 --> 00:24:39,639
Speaker 6: My gosh, yes, Wetlands, holy smoke.

502
00:24:39,800 --> 00:24:40,040
Speaker 8: Yeah.

503
00:24:40,119 --> 00:24:42,320
Speaker 3: Yeah, Like her performance was like at a slightly different

504
00:24:42,400 --> 00:24:44,359
Speaker 3: tone than everyone else in the way in a way

505
00:24:44,400 --> 00:24:46,160
Speaker 3: that I really like. There was a I don't want

506
00:24:46,160 --> 00:24:48,760
Speaker 3: to say it was funny, but there's a lightness to

507
00:24:48,920 --> 00:24:52,560
Speaker 3: it and a movie just characterized by very heavy performance

508
00:24:52,640 --> 00:24:54,159
Speaker 3: it needed you know, yeah, it did, for.

509
00:24:54,200 --> 00:24:56,359
Speaker 7: Sure, it needed a couple It was a couple of

510
00:24:56,400 --> 00:24:56,800
Speaker 7: nice moments.

511
00:24:57,080 --> 00:24:59,440
Speaker 3: Ckenzie Davis kind of gives a little bit of that

512
00:24:59,680 --> 00:25:02,840
Speaker 3: energy too, although her character is a little more serious.

513
00:25:02,800 --> 00:25:04,800
Speaker 7: And Goslin has like he carries himself in a very

514
00:25:04,840 --> 00:25:06,920
Speaker 7: light way even when the material is heavy, and I

515
00:25:06,960 --> 00:25:07,480
Speaker 7: thought that was.

516
00:25:07,640 --> 00:25:09,760
Speaker 3: I thought he was great. Yeah, I thought I really

517
00:25:09,880 --> 00:25:10,840
Speaker 3: enjoyed Ryan Gosling.

518
00:25:11,000 --> 00:25:12,800
Speaker 7: Yeah, well, cast.

519
00:25:12,800 --> 00:25:15,760
Speaker 4: I generally do. I mean, he's just he's a very

520
00:25:15,880 --> 00:25:16,560
Speaker 4: rich performer.

521
00:25:16,680 --> 00:25:19,240
Speaker 7: I think I miss its a sad smile. I think

522
00:25:19,320 --> 00:25:20,920
Speaker 7: that that serves a well and it serves a while

523
00:25:21,080 --> 00:25:22,440
Speaker 7: thing like La La Land, it serves a wild and

524
00:25:22,440 --> 00:25:23,280
Speaker 7: something like this as well.

525
00:25:23,760 --> 00:25:26,000
Speaker 4: I miss having a little bit of that, like the

526
00:25:26,080 --> 00:25:30,000
Speaker 4: Harrison Ford smirk, like in that central character, that sort

527
00:25:30,040 --> 00:25:32,600
Speaker 4: of feeling of swagger, because you really do get the

528
00:25:32,640 --> 00:25:36,399
Speaker 4: feeling that Kay is burdened by life, is burdened by

529
00:25:36,560 --> 00:25:38,680
Speaker 4: the things that he is asked to do that he

530
00:25:38,720 --> 00:25:40,879
Speaker 4: has no choice to do. There's a kind of creepy

531
00:25:41,040 --> 00:25:43,800
Speaker 4: sexual harassment moment with him and Robin Wright where Robin

532
00:25:43,840 --> 00:25:46,200
Speaker 4: white Wright is basically like, I got a bottle of

533
00:25:46,240 --> 00:25:48,159
Speaker 4: booz and I could order you to do anything that

534
00:25:48,240 --> 00:25:51,320
Speaker 4: I want. And it's creepy and unsettling, but you kind

535
00:25:51,320 --> 00:25:53,320
Speaker 4: of get the feeling that that's sort of just what

536
00:25:53,520 --> 00:25:55,920
Speaker 4: he's used to in his life. Is this feeling of

537
00:25:56,040 --> 00:25:59,440
Speaker 4: being at everyone's back in Call and we're told the

538
00:25:59,600 --> 00:26:03,520
Speaker 4: new order of Replicants obey without question, but we see

539
00:26:03,600 --> 00:26:04,760
Speaker 4: the weight of that on him.

540
00:26:04,800 --> 00:26:08,080
Speaker 3: I think I think Harrison Ford's performance is interesting in

541
00:26:08,160 --> 00:26:10,400
Speaker 3: that I feel like his decord here is a lot

542
00:26:10,480 --> 00:26:13,760
Speaker 3: different than his decord in the original Blade Runner, and

543
00:26:14,080 --> 00:26:16,760
Speaker 3: I think we can maybe talk about that more in

544
00:26:16,840 --> 00:26:17,680
Speaker 3: the next section.

545
00:26:18,200 --> 00:26:20,600
Speaker 4: That is a really good point. We can talk about

546
00:26:20,720 --> 00:26:23,879
Speaker 4: both how the two decords mesh with each other and

547
00:26:24,000 --> 00:26:26,399
Speaker 4: kind of how old a Decord and New k our

548
00:26:26,480 --> 00:26:28,960
Speaker 4: similar characters in a way. So we'll be right back

549
00:26:29,000 --> 00:26:31,080
Speaker 4: after this break to talk about the connections between blade

550
00:26:31,119 --> 00:26:32,720
Speaker 4: Runner and Blade Runner twenty forty nine.

551
00:26:39,760 --> 00:26:42,840
Speaker 2: Starting a business can seem like a daunting task unless

552
00:26:43,040 --> 00:26:45,760
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553
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554
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555
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556
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557
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558
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Speaker 2: month trial at shopify dot com Slash special offer the.

560
00:27:08,600 --> 00:27:12,520
Speaker 5: Nicholas for the colonial ships closest any of them or

561
00:27:12,960 --> 00:27:15,040
Speaker 5: any of us is going to get to that grand

562
00:27:15,200 --> 00:27:21,760
Speaker 5: life off world. So come on now, we'll showed you

563
00:27:21,840 --> 00:27:22,600
Speaker 5: have in mind.

564
00:27:26,760 --> 00:27:29,200
Speaker 6: Because I got all kinds.

565
00:27:32,480 --> 00:27:34,080
Speaker 2: Oh no, I'm not buying.

566
00:27:34,280 --> 00:27:36,320
Speaker 6: No no, no, this is just my game and I

567
00:27:36,440 --> 00:27:37,080
Speaker 6: play it fair.

568
00:27:37,600 --> 00:27:40,040
Speaker 5: No, I mean bigger than you.

569
00:27:43,640 --> 00:27:45,560
Speaker 3: Bigger than you are trying to shut me down, bigger

570
00:27:45,600 --> 00:27:49,560
Speaker 3: than you, and take what men are there.

571
00:27:50,359 --> 00:27:52,399
Speaker 4: Now, it's time for connections, where we bring these two

572
00:27:52,440 --> 00:27:54,720
Speaker 4: films together and talk about all the things they have

573
00:27:54,840 --> 00:27:56,880
Speaker 4: in common. Why don't we start off with that whole

574
00:27:57,000 --> 00:27:58,600
Speaker 4: Decker versus Decker thing gent of you?

575
00:27:58,920 --> 00:28:03,199
Speaker 3: Yeah, I mean I actually liked Harrison Ford's performance here,

576
00:28:03,320 --> 00:28:05,639
Speaker 3: I think more than I did in the original Blade Runner,

577
00:28:05,680 --> 00:28:07,840
Speaker 3: and maybe because it does have a little bit of

578
00:28:07,880 --> 00:28:10,720
Speaker 3: that quality that we discussed is what you think of

579
00:28:10,840 --> 00:28:13,280
Speaker 3: when you think of a Harrison Ford performance that is

580
00:28:13,440 --> 00:28:15,960
Speaker 3: absent in Blade Runner. There is a little bit more

581
00:28:16,040 --> 00:28:19,480
Speaker 3: of not exactly swagger to Deckard here because he is

582
00:28:19,720 --> 00:28:22,960
Speaker 3: hiding out. He's not in necessarily control of his situation

583
00:28:23,280 --> 00:28:25,359
Speaker 3: in any way, but you get the sense of this

584
00:28:25,560 --> 00:28:28,680
Speaker 3: character has been through things and has changed and that

585
00:28:28,760 --> 00:28:31,000
Speaker 3: there is more to him, Whereas I feel like the

586
00:28:31,119 --> 00:28:34,080
Speaker 3: Deckord of original Blade Runner is a little more of

587
00:28:34,200 --> 00:28:36,760
Speaker 3: a blank and like you project things onto him that

588
00:28:36,840 --> 00:28:39,479
Speaker 3: the performance doesn't necessarily give you. And I think here

589
00:28:39,600 --> 00:28:42,800
Speaker 3: the performance is giving you things about the character.

590
00:28:43,280 --> 00:28:46,120
Speaker 7: I think young Decker thinks he's out of fs to give,

591
00:28:46,800 --> 00:28:49,800
Speaker 7: and this old Deckert realizes he fewer.

592
00:28:50,720 --> 00:28:52,880
Speaker 3: That is a beautiful way to put it, Keith, thank you, and.

593
00:28:53,480 --> 00:28:55,840
Speaker 7: Not as an explosit ratiing, but by phrasing it such

594
00:28:55,880 --> 00:28:56,560
Speaker 7: a lot well done.

595
00:28:56,760 --> 00:28:59,080
Speaker 6: That's a good point. And he's not the lead of

596
00:28:59,200 --> 00:29:02,200
Speaker 6: this movie. This is not his story, you know.

597
00:29:02,560 --> 00:29:05,600
Speaker 8: We find him apart from the world of the film,

598
00:29:05,680 --> 00:29:08,840
Speaker 8: and it affects And I'm glad that that's been thought through,

599
00:29:09,520 --> 00:29:12,280
Speaker 8: that those differences have been thought through. You know, I'm

600
00:29:12,280 --> 00:29:15,200
Speaker 8: both on a scripted territorial level and on a performance level,

601
00:29:15,240 --> 00:29:17,400
Speaker 8: because you're right there and not the same performance.

602
00:29:17,640 --> 00:29:19,520
Speaker 7: How great would it be? I know it would be

603
00:29:19,560 --> 00:29:22,200
Speaker 7: a marketing disaster, not that this film necessarily performing well

604
00:29:22,240 --> 00:29:24,200
Speaker 7: at the box office, but but how great would it

605
00:29:24,200 --> 00:29:26,160
Speaker 7: be to not know that Harrison Ford was in this

606
00:29:26,280 --> 00:29:28,320
Speaker 7: movie to have him show up in the third half.

607
00:29:28,560 --> 00:29:29,760
Speaker 6: You wait for a long time.

608
00:29:29,840 --> 00:29:33,400
Speaker 4: I know, I expecting it. I mean, if nothing else,

609
00:29:33,480 --> 00:29:37,040
Speaker 4: because of Force Awakens, I was honestly expecting him to

610
00:29:37,120 --> 00:29:40,880
Speaker 4: show up here and die. And I'm expecting Indiana Jones

611
00:29:40,960 --> 00:29:42,800
Speaker 4: five for him to show up and die. I feel

612
00:29:42,800 --> 00:29:44,400
Speaker 4: like Harrison Ford just wants to kill off all of

613
00:29:44,440 --> 00:29:45,360
Speaker 4: this character.

614
00:29:45,800 --> 00:29:48,440
Speaker 6: And regarding Henry too, he shows wait go ahead.

615
00:29:48,520 --> 00:29:50,680
Speaker 4: One of the things I find really interesting about, like

616
00:29:50,800 --> 00:29:53,800
Speaker 4: looking at these two films together, is that Rachel is

617
00:29:54,240 --> 00:29:57,200
Speaker 4: kind of fem fatale, but she's also kind of a

618
00:29:57,400 --> 00:30:01,120
Speaker 4: classic like Damsel in Distress. She finds out that she's

619
00:30:01,120 --> 00:30:02,720
Speaker 4: a replicant, she doesn't know what to do with it.

620
00:30:03,120 --> 00:30:06,080
Speaker 4: She is now under a death sentence. She comes to

621
00:30:06,240 --> 00:30:09,160
Speaker 4: a dude. The dude is like, let's have sex. She's like,

622
00:30:09,320 --> 00:30:11,800
Speaker 4: I don't think I'm into this. He's like, I don't care.

623
00:30:12,360 --> 00:30:14,160
Speaker 4: And then she trails him around for the rest of

624
00:30:14,200 --> 00:30:17,200
Speaker 4: the movie and is hapless and cannot really think or

625
00:30:17,280 --> 00:30:20,640
Speaker 4: act for herself. She is an object. In Bladeberger twenty

626
00:30:20,680 --> 00:30:23,640
Speaker 4: forty nine, I would argue that Harrison Ford is more

627
00:30:23,720 --> 00:30:26,120
Speaker 4: or less an object. He tries to fight off k

628
00:30:26,440 --> 00:30:28,400
Speaker 4: and he kind of can't, and then he kind of

629
00:30:28,440 --> 00:30:30,200
Speaker 4: gives up, and then he spends the rest of the

630
00:30:30,280 --> 00:30:33,160
Speaker 4: movie being hauled around by the arm by one person

631
00:30:33,280 --> 00:30:36,320
Speaker 4: or the other. He gets kidnapped, he gets threatened in

632
00:30:36,440 --> 00:30:39,240
Speaker 4: a kind of brutal and maybe a little sexual way,

633
00:30:39,760 --> 00:30:41,360
Speaker 4: and then he ends up tied up in a van

634
00:30:41,560 --> 00:30:44,440
Speaker 4: watching somebody else fight for his freedom. The role that

635
00:30:44,520 --> 00:30:47,400
Speaker 4: he is in in this movie is a classic woman

636
00:30:47,600 --> 00:30:51,360
Speaker 4: in an eighties action movie, like he has practically no agency,

637
00:30:51,760 --> 00:30:54,400
Speaker 4: and the more that developed, the more fascinating I found it.

638
00:30:54,600 --> 00:30:57,160
Speaker 3: That is really interesting because I was kind of thinking

639
00:30:57,240 --> 00:31:01,080
Speaker 3: that the deckerd Rachel relationship and Blade Runner had kind

640
00:31:01,080 --> 00:31:04,960
Speaker 3: of impoored over onto K and Joy, and resuing those

641
00:31:05,120 --> 00:31:07,960
Speaker 3: relationships is kind of speaking to each other. But that

642
00:31:08,160 --> 00:31:10,480
Speaker 3: is a really cool interpretation that I like a lot.

643
00:31:10,800 --> 00:31:13,320
Speaker 4: It didn't come up for me until we were watching him.

644
00:31:13,880 --> 00:31:17,640
Speaker 4: Like in the We kind of reference the storm tossed waters.

645
00:31:18,080 --> 00:31:22,040
Speaker 4: He spends that entire sequence just waiting to be rescued.

646
00:31:22,160 --> 00:31:22,360
Speaker 6: See.

647
00:31:22,360 --> 00:31:24,440
Speaker 8: It's this sort of thing that again makes me mistressed

648
00:31:24,440 --> 00:31:27,320
Speaker 8: by own reaction. Like so that these things after the

649
00:31:27,400 --> 00:31:30,000
Speaker 8: fact that maybe I did not acknowledge that I should have.

650
00:31:30,440 --> 00:31:32,160
Speaker 4: I think they will all have a different reaction to

651
00:31:32,240 --> 00:31:32,840
Speaker 4: it the second time.

652
00:31:33,600 --> 00:31:34,480
Speaker 6: I can't be jostled.

653
00:31:36,280 --> 00:31:38,640
Speaker 4: We will all go to a non jostle theater and

654
00:31:38,720 --> 00:31:39,320
Speaker 4: see it together.

655
00:31:39,560 --> 00:31:41,040
Speaker 7: I was hoping at least one of us would be

656
00:31:41,200 --> 00:31:43,640
Speaker 7: of the it's even better than the first one camp,

657
00:31:44,400 --> 00:31:47,600
Speaker 7: and we're not. But I found that reaction fascinating. I

658
00:31:47,640 --> 00:31:51,400
Speaker 7: don't agree with that. I really don't like that. A

659
00:31:51,480 --> 00:31:53,720
Speaker 7: lot of the writing around this has been a chance

660
00:31:53,880 --> 00:31:57,040
Speaker 7: to kind of throw the first movie under a bus

661
00:31:57,200 --> 00:31:59,560
Speaker 7: in some ways. You know, I don't like the blad

662
00:31:59,640 --> 00:32:02,160
Speaker 7: Runer will not very good. This movie is much better

663
00:32:02,240 --> 00:32:04,280
Speaker 7: than the original because the original is not very good.

664
00:32:04,560 --> 00:32:07,960
Speaker 7: That I'm not a fan of that that school of thought.

665
00:32:08,680 --> 00:32:10,480
Speaker 7: But it is interesting to me that there's there are

666
00:32:10,520 --> 00:32:14,120
Speaker 7: people for whom this will be the equivalent Blade Runner.

667
00:32:14,440 --> 00:32:16,000
Speaker 7: You know, maybe I'll be a convert of one of

668
00:32:16,040 --> 00:32:18,040
Speaker 7: those one these days. I'm not sure I do want

669
00:32:18,040 --> 00:32:19,680
Speaker 7: to see it again. I don't think there's as much

670
00:32:19,720 --> 00:32:20,480
Speaker 7: going on here though.

671
00:32:20,920 --> 00:32:22,920
Speaker 8: Respect your elders is what I mean, as far as

672
00:32:22,960 --> 00:32:25,600
Speaker 8: like the original film, and come on, the whole look

673
00:32:25,640 --> 00:32:27,680
Speaker 8: of the movie, the whole concene is that that was

674
00:32:27,760 --> 00:32:28,960
Speaker 8: done before you got to give.

675
00:32:28,960 --> 00:32:29,760
Speaker 6: Show us some respect.

676
00:32:30,200 --> 00:32:32,520
Speaker 4: Yeah, I'm sorry. I feel it's a little like saying

677
00:32:32,560 --> 00:32:34,360
Speaker 4: Alien Covenant is better than Alien.

678
00:32:35,000 --> 00:32:36,440
Speaker 7: No, I want to talk to you about that now.

679
00:32:38,080 --> 00:32:40,760
Speaker 4: I think that both of these movies question what it

680
00:32:40,840 --> 00:32:43,600
Speaker 4: means to be human, and both of them kind of

681
00:32:44,760 --> 00:32:48,200
Speaker 4: address the idea that it maybe is your behavior. But

682
00:32:48,320 --> 00:32:50,480
Speaker 4: then twenty forty nine kind of goes into this whole

683
00:32:51,480 --> 00:32:54,680
Speaker 4: apparently coming out of a womb is super important. I'm

684
00:32:55,040 --> 00:32:58,400
Speaker 4: really wondering why it doesn't interrogate that impulse a little more,

685
00:32:58,560 --> 00:33:01,800
Speaker 4: or maybe it does in that by the end, perhaps

686
00:33:01,880 --> 00:33:04,440
Speaker 4: we come to c K as human and having a soul,

687
00:33:04,600 --> 00:33:06,840
Speaker 4: regardless of the fact that he did not come out

688
00:33:06,840 --> 00:33:11,400
Speaker 4: of a womb. I find his almost religious belief in

689
00:33:11,560 --> 00:33:15,640
Speaker 4: that concept really fascinating, since we're kind of given to

690
00:33:15,760 --> 00:33:20,120
Speaker 4: understand that everything that he is, his memories, his mental processes,

691
00:33:20,600 --> 00:33:23,480
Speaker 4: was supposedly programmed into him. Where did he come up

692
00:33:23,520 --> 00:33:24,200
Speaker 4: with that idea?

693
00:33:24,600 --> 00:33:28,400
Speaker 7: I mean the first scene de Bautiste's character Spooner Older

694
00:33:28,560 --> 00:33:34,800
Speaker 7: or whatever, spoon oldman, you know, he talks about as

695
00:33:34,840 --> 00:33:37,840
Speaker 7: a miracle, And I think, to me, it's less that

696
00:33:38,560 --> 00:33:41,840
Speaker 7: this replicant has a soul where others doesn't than this

697
00:33:42,000 --> 00:33:45,600
Speaker 7: is proof that replicants can have souls, that there can

698
00:33:45,680 --> 00:33:47,680
Speaker 7: be people too. And I almost feel like in some

699
00:33:47,880 --> 00:33:51,680
Speaker 7: ways this film treats the do replicants have souls or

700
00:33:51,760 --> 00:33:53,840
Speaker 7: replicents on the level of humanity is kind of a

701
00:33:53,880 --> 00:33:56,560
Speaker 7: subtle issue, and then moves that on to the artificial

702
00:33:56,600 --> 00:34:00,640
Speaker 7: intelligence of joy that's the question. Then it's less a

703
00:34:00,680 --> 00:34:04,280
Speaker 7: matter of how replicants reflect on humanity than how this

704
00:34:04,520 --> 00:34:08,680
Speaker 7: other artificial being reflects on both replicants and humans.

705
00:34:09,320 --> 00:34:12,920
Speaker 3: I can't get over the fact that the two most

706
00:34:13,239 --> 00:34:16,839
Speaker 3: prominent forms of female AI in this movie are named

707
00:34:16,920 --> 00:34:19,640
Speaker 3: joy and Love. It seems like the whole movie is

708
00:34:19,719 --> 00:34:23,440
Speaker 3: kind of like commenting on like the ephemeral experiences that

709
00:34:23,560 --> 00:34:26,880
Speaker 3: defining humanity. The first Blade Runner is very fixated on

710
00:34:26,920 --> 00:34:29,880
Speaker 3: the idea of memories and memory is what makes replicants

711
00:34:30,239 --> 00:34:32,759
Speaker 3: more human than human or is what gives them that

712
00:34:33,080 --> 00:34:38,600
Speaker 3: extra push into humanity, And Rachel discovering her memories aren't

713
00:34:38,719 --> 00:34:41,719
Speaker 3: real is what causes her to question her own existence.

714
00:34:42,360 --> 00:34:45,040
Speaker 3: And in Blade around twenty forty nine, like the question

715
00:34:45,200 --> 00:34:47,880
Speaker 3: of memories is it's a subtled thing. You know, replicants

716
00:34:47,880 --> 00:34:50,839
Speaker 3: are aware of what their memories are, so I think

717
00:34:51,160 --> 00:34:53,640
Speaker 3: Kay's kind of wrestling over this idea of a soul

718
00:34:54,440 --> 00:34:57,440
Speaker 3: is sort of like the next logical progression of that

719
00:34:57,960 --> 00:35:01,439
Speaker 3: that questioning the replicants have of like what makes them

720
00:35:01,840 --> 00:35:03,000
Speaker 3: humanss for me.

721
00:35:03,320 --> 00:35:08,200
Speaker 4: I guess the original films idea that somehow, like the

722
00:35:08,360 --> 00:35:11,719
Speaker 4: choices that you make are what make you human is

723
00:35:11,840 --> 00:35:14,440
Speaker 4: so much more resonant and interesting to me than the

724
00:35:14,640 --> 00:35:18,800
Speaker 4: idea that childbirth makes you human. The whole miracle of

725
00:35:18,920 --> 00:35:22,560
Speaker 4: childbirth thing in twenty forty nine sits really poorly with

726
00:35:22,719 --> 00:35:24,360
Speaker 4: me for a variety of reasons.

727
00:35:24,360 --> 00:35:27,759
Speaker 3: See I don't think it's about childbirth necessarily so much

728
00:35:27,760 --> 00:35:31,680
Speaker 3: as being created by two of your own kind, or

729
00:35:31,760 --> 00:35:32,839
Speaker 3: like being created.

730
00:35:32,560 --> 00:35:34,120
Speaker 4: By one of your own kind or one of your

731
00:35:34,160 --> 00:35:34,520
Speaker 4: own kind.

732
00:35:34,600 --> 00:35:38,120
Speaker 3: Yes, but like not being created by human hands as

733
00:35:38,280 --> 00:35:44,280
Speaker 3: a slave, being born into the world as a free being.

734
00:35:44,600 --> 00:35:46,280
Speaker 6: Organic beat it's the next step.

735
00:35:46,520 --> 00:35:49,479
Speaker 4: But the whole miracle thing, they hit it so hard,

736
00:35:49,719 --> 00:35:52,320
Speaker 4: like starting with Dave Fatista and in the opening scene

737
00:35:52,719 --> 00:35:55,279
Speaker 4: and carrying on through the revolution, the idea that this

738
00:35:55,440 --> 00:36:00,000
Speaker 4: is a miracle, and I hear to me the choice

739
00:36:00,040 --> 00:36:02,880
Speaker 4: choices that people make that is an interesting that is

740
00:36:02,920 --> 00:36:06,240
Speaker 4: always an interesting and resonant thing. Like cinema, it becomes

741
00:36:06,400 --> 00:36:10,120
Speaker 4: hugely important. It so often drives the plot. The choices

742
00:36:10,160 --> 00:36:12,520
Speaker 4: that you make define who you are, but they also

743
00:36:13,280 --> 00:36:16,920
Speaker 4: model a behavior for people. You know, you have a choice,

744
00:36:16,960 --> 00:36:19,480
Speaker 4: you have options in the world. The things that you

745
00:36:19,640 --> 00:36:22,520
Speaker 4: choose to do are important. You don't choose to get

746
00:36:22,600 --> 00:36:26,719
Speaker 4: born from a replicant, like the least interesting thing to

747
00:36:26,840 --> 00:36:31,200
Speaker 4: me is where that character like originated. And then when

748
00:36:31,280 --> 00:36:35,480
Speaker 4: you pile on the sort of weird like messianic qualities

749
00:36:35,680 --> 00:36:38,960
Speaker 4: of born of a replicant slash born of a virgin,

750
00:36:39,440 --> 00:36:42,000
Speaker 4: and then you pile into the way that everybody sort

751
00:36:42,000 --> 00:36:44,160
Speaker 4: of worships her, And then you pile in the fact

752
00:36:44,200 --> 00:36:47,440
Speaker 4: that Rachel died in childbirth so we never have to

753
00:36:47,520 --> 00:36:50,440
Speaker 4: contend with that character on screen. All of that just

754
00:36:50,520 --> 00:36:55,080
Speaker 4: adds up into this weird fetisi. I can't fetisistic fetization.

755
00:36:55,760 --> 00:36:58,840
Speaker 4: For somebody who says fetestization as often as I do,

756
00:36:58,920 --> 00:37:00,360
Speaker 4: you would think I would learn how to say it.

757
00:37:00,800 --> 00:37:04,520
Speaker 4: But there's so much of that around, like motherhood and

758
00:37:04,600 --> 00:37:07,239
Speaker 4: the ability to reproduce in this movie, and I find

759
00:37:07,280 --> 00:37:10,200
Speaker 4: it both interfering with the interesting parts of the plot

760
00:37:10,320 --> 00:37:12,160
Speaker 4: and just not very interesting in and of itself.

761
00:37:12,520 --> 00:37:15,480
Speaker 3: Yeah, I don't know. I just I think it just

762
00:37:15,680 --> 00:37:21,320
Speaker 3: comes down to the motivations or the emotions behind one's creation,

763
00:37:22,000 --> 00:37:25,320
Speaker 3: you know, and whether it comes out of a place

764
00:37:25,600 --> 00:37:30,120
Speaker 3: of capitalism and consumerism and slave labor or a place

765
00:37:30,200 --> 00:37:35,960
Speaker 3: of love and joy, you know, between two beings who

766
00:37:36,280 --> 00:37:41,239
Speaker 3: love each other. So I think that's maybe the contrast

767
00:37:41,680 --> 00:37:45,440
Speaker 3: that is being grappled with there, though obviously not in

768
00:37:45,520 --> 00:37:48,040
Speaker 3: a very straightforward or satisfying manner.

769
00:37:48,880 --> 00:37:51,400
Speaker 4: As with so many other things. Yeah, I maybe if

770
00:37:51,440 --> 00:37:55,680
Speaker 4: they did actually grapple with the whole love thing, because

771
00:37:55,960 --> 00:37:59,200
Speaker 4: to me, we're just coming out of that weird, uncomfortable

772
00:37:59,360 --> 00:38:00,520
Speaker 4: rapec Yeah.

773
00:38:00,800 --> 00:38:04,080
Speaker 3: Not having any idea of like Rachel and Deckard's relationship

774
00:38:04,400 --> 00:38:07,480
Speaker 3: after the events of Blade Runners like kind of hinders

775
00:38:07,560 --> 00:38:08,200
Speaker 3: that I think.

776
00:38:08,200 --> 00:38:10,840
Speaker 4: Yeah, and then the fact that he left her like

777
00:38:11,239 --> 00:38:16,440
Speaker 4: immediately for what is presented as good reasons, but emotionally

778
00:38:16,560 --> 00:38:19,520
Speaker 4: I just didn't buy into it. The whole jump from

779
00:38:20,320 --> 00:38:22,719
Speaker 4: we don't know much about their relationship because there isn't

780
00:38:22,760 --> 00:38:25,080
Speaker 4: much there in the first film too, we don't know

781
00:38:25,200 --> 00:38:28,080
Speaker 4: much about their relationship because it's over in the second film,

782
00:38:28,520 --> 00:38:31,520
Speaker 4: leaves a huge gap in what's supposed to be, in

783
00:38:31,960 --> 00:38:35,080
Speaker 4: some kind of way an important part of all of

784
00:38:35,200 --> 00:38:39,480
Speaker 4: the story. We could jump to a variety of less

785
00:38:39,680 --> 00:38:42,600
Speaker 4: heavy and miserable things. We should talk about the cinematography

786
00:38:42,840 --> 00:38:45,680
Speaker 4: in these two movies. Uh Rogers Deacons in the new

787
00:38:45,760 --> 00:38:50,920
Speaker 4: film and Jordan Cronin with who was among other things,

788
00:38:50,960 --> 00:38:54,240
Speaker 4: he was the DP on Altered States and Stopped making Sense.

789
00:38:54,600 --> 00:38:57,360
Speaker 4: Did a lot of music videos, especially with Madonna in

790
00:38:57,560 --> 00:39:01,080
Speaker 4: U two. Pasu got married, I mean, he's not a

791
00:39:01,320 --> 00:39:05,160
Speaker 4: hugely prolific cinematographer, but he did some really memory he was.

792
00:39:05,320 --> 00:39:08,480
Speaker 8: He was on Alien three, he was David Picture's photographer,

793
00:39:08,560 --> 00:39:12,960
Speaker 8: and I think was ultimately fired for being too slow. Yeah, yeah,

794
00:39:13,000 --> 00:39:14,600
Speaker 8: so I think he was a very deliberate worker, and

795
00:39:15,280 --> 00:39:17,759
Speaker 8: the picture would go on to work with his son.

796
00:39:17,680 --> 00:39:19,399
Speaker 6: Right Jeff, Yeah, yeah.

797
00:39:19,440 --> 00:39:22,440
Speaker 7: And he died relatively young, sixty one, so we might

798
00:39:22,480 --> 00:39:25,400
Speaker 7: have might have gotten more films with him if that

799
00:39:25,480 --> 00:39:26,080
Speaker 7: were not the case.

800
00:39:26,120 --> 00:39:27,719
Speaker 6: It did a good job. That's great. Blade Runner.

801
00:39:27,880 --> 00:39:29,560
Speaker 8: I mean, both of these films a sorry god, I know,

802
00:39:29,640 --> 00:39:32,279
Speaker 8: and I love that Blade Runner twenty forty nine. He

803
00:39:32,280 --> 00:39:36,320
Speaker 8: can continue his Villeneuve's interest in landscapes. He loves His

804
00:39:36,440 --> 00:39:41,160
Speaker 8: signature shot is that overhead of whatever, you know, very

805
00:39:41,280 --> 00:39:43,640
Speaker 8: textured surface is I.

806
00:39:43,680 --> 00:39:47,000
Speaker 3: Mean the opening sequence of this movie where Cayz is

807
00:39:47,160 --> 00:39:50,200
Speaker 3: flying over that protein farm and there's just it's like

808
00:39:50,239 --> 00:39:55,120
Speaker 3: a horrible like white patchwork quilt of desolation, and it's

809
00:39:55,200 --> 00:39:58,680
Speaker 3: it's a really fascinating like way into this movie, especially

810
00:39:58,760 --> 00:40:03,239
Speaker 3: contrasted with Blade Runner, which opens with blackness and light

811
00:40:03,480 --> 00:40:07,120
Speaker 3: in this incredibly striking way, and it feels very much

812
00:40:07,239 --> 00:40:09,320
Speaker 3: like the end to the Yang of The Blade Runner.

813
00:40:09,440 --> 00:40:11,360
Speaker 7: I thought they went that way too. You try, you

814
00:40:11,480 --> 00:40:13,640
Speaker 7: open on Los Angeles, and you're just setting yourself up

815
00:40:13,680 --> 00:40:14,240
Speaker 7: to be compared.

816
00:40:15,200 --> 00:40:17,759
Speaker 8: I mean, it's one of the most famous opening sequences

817
00:40:17,800 --> 00:40:19,520
Speaker 8: in film history. You really don't want to try to

818
00:40:20,160 --> 00:40:21,719
Speaker 8: top it or replicate it.

819
00:40:21,920 --> 00:40:23,680
Speaker 7: Yeah, and he Deacons brings a lot of different looks

820
00:40:23,719 --> 00:40:25,560
Speaker 7: to the film too, And I feel like his Los

821
00:40:25,560 --> 00:40:28,400
Speaker 7: Angeles kind of has the same look and feel up

822
00:40:28,400 --> 00:40:31,120
Speaker 7: to a point of the original, but then those excursions

823
00:40:31,120 --> 00:40:34,880
Speaker 7: away from Los Angeles, everyone is a little different, and

824
00:40:36,160 --> 00:40:38,719
Speaker 7: Las Vegas especially, I mean that is among his career

825
00:40:38,840 --> 00:40:42,960
Speaker 7: best moments was that, let's say, I guess stretch and.

826
00:40:43,040 --> 00:40:46,080
Speaker 4: You know, I dissed the whole sequence where Kay is

827
00:40:46,160 --> 00:40:49,719
Speaker 4: talking to or really just sort of being advertised at

828
00:40:50,440 --> 00:40:53,719
Speaker 4: by the giant glowing woman who is an advertisement for

829
00:40:53,920 --> 00:40:58,600
Speaker 4: the Joy operating software basically. But I mean, you can't

830
00:40:58,640 --> 00:41:02,760
Speaker 4: fault how that looks. The inner glow of the hologram

831
00:41:02,920 --> 00:41:05,640
Speaker 4: character and the bright pink skin and the blue hair,

832
00:41:06,680 --> 00:41:08,879
Speaker 4: and then the way she just sort of towers over

833
00:41:08,960 --> 00:41:11,800
Speaker 4: him and everything that is not her is just this

834
00:41:11,960 --> 00:41:15,320
Speaker 4: sort of like dark, very exquisitely detailed, but sort of

835
00:41:15,480 --> 00:41:19,200
Speaker 4: just dark shadows and shapes. I mean, it's the things

836
00:41:19,239 --> 00:41:22,719
Speaker 4: that Deacons does with light are always impressive, and some

837
00:41:22,840 --> 00:41:24,719
Speaker 4: of the things that he does here in the contrast

838
00:41:24,800 --> 00:41:29,279
Speaker 4: between neon light and the darkness of the world, the buildings,

839
00:41:29,400 --> 00:41:32,600
Speaker 4: the architecture, it just really really impressive.

840
00:41:32,719 --> 00:41:36,239
Speaker 3: At the same time, twenty forty nine doesn't have as

841
00:41:36,360 --> 00:41:39,719
Speaker 3: much of the shadow equality that I associate with noir.

842
00:41:39,880 --> 00:41:43,439
Speaker 3: Like I see very little noir in twenty forty nine.

843
00:41:44,000 --> 00:41:46,799
Speaker 3: I think it noir film, Yeah, exactly, like I think

844
00:41:46,800 --> 00:41:48,840
Speaker 3: to the extent it's there. It is there because it

845
00:41:48,960 --> 00:41:52,120
Speaker 3: is picking up like visual cues from Blade Runner, but

846
00:41:52,360 --> 00:41:56,080
Speaker 3: it is very much I don't even know that there

847
00:41:56,160 --> 00:41:59,520
Speaker 3: is a genre that I would connect its style to,

848
00:42:00,320 --> 00:42:03,120
Speaker 3: specifically the way that I would connect Blade Runner to

849
00:42:03,600 --> 00:42:05,800
Speaker 3: more style pure science fiction.

850
00:42:05,680 --> 00:42:08,440
Speaker 7: I guess, yeah, or kind of like an eighties nineties

851
00:42:08,920 --> 00:42:10,839
Speaker 7: you know, police thriller in some way.

852
00:42:11,000 --> 00:42:14,600
Speaker 3: Yeah, it definitely has the look of a much more

853
00:42:14,640 --> 00:42:15,680
Speaker 3: action heavy film.

854
00:42:15,520 --> 00:42:16,800
Speaker 4: Than it is, you know.

855
00:42:17,760 --> 00:42:21,040
Speaker 8: Yeah, sorry, sorry that that it hasn't common with Blade On. Yeah,

856
00:42:21,040 --> 00:42:24,560
Speaker 8: but I did appreciate that aspect of the film. Is

857
00:42:24,640 --> 00:42:27,080
Speaker 8: it Because as much as you can criticize twenty forty

858
00:42:27,200 --> 00:42:29,200
Speaker 8: nine for being too much of a kind of an

859
00:42:29,239 --> 00:42:33,160
Speaker 8: overlay of what we'd seen before, or taking up themes

860
00:42:33,280 --> 00:42:36,000
Speaker 8: or in subplots and doing them again or highlighting them

861
00:42:36,040 --> 00:42:38,840
Speaker 8: in some way. I think there is a real effort

862
00:42:39,160 --> 00:42:43,440
Speaker 8: on Deacon's part and on Valdev's part to extend the

863
00:42:43,560 --> 00:42:46,520
Speaker 8: visual language of the film and make it something new

864
00:42:46,680 --> 00:42:50,080
Speaker 8: or at least more expansive and you know, exciting than

865
00:42:50,160 --> 00:42:52,080
Speaker 8: what we'd seen before. And that's that's a hard thing

866
00:42:52,160 --> 00:42:55,040
Speaker 8: to do get given the reputation of the first film,

867
00:42:55,080 --> 00:42:56,600
Speaker 8: and I think the film pulls it off quite well.

868
00:42:56,800 --> 00:42:58,759
Speaker 3: I think it carries through to the music too, which

869
00:42:58,800 --> 00:43:01,080
Speaker 3: I don't know how deep we'll go into this connection,

870
00:43:01,120 --> 00:43:03,440
Speaker 3: so just kind of like peg it onto cinematography and

871
00:43:03,520 --> 00:43:06,640
Speaker 3: or make this just connection about style in general. But

872
00:43:06,960 --> 00:43:10,880
Speaker 3: we have Hans Zimmer taking over for the Evangelist score,

873
00:43:10,920 --> 00:43:14,880
Speaker 3: which it has echoes throughout twenty forty nine, but is

874
00:43:15,560 --> 00:43:18,480
Speaker 3: very different in its way in and does move it

875
00:43:18,600 --> 00:43:22,160
Speaker 3: into a different tonal direction. Because the thing that I

876
00:43:22,320 --> 00:43:24,680
Speaker 3: always like that always stands out to me and that

877
00:43:24,800 --> 00:43:29,120
Speaker 3: Evangelists score is kind of the SYNTHI saxophone line throughout,

878
00:43:29,200 --> 00:43:31,880
Speaker 3: and just like because you know that saxophone is just

879
00:43:32,000 --> 00:43:37,560
Speaker 3: such a detective noir cliche or touch point, you know,

880
00:43:38,040 --> 00:43:40,440
Speaker 3: and like to have it filtered through. This very synthy

881
00:43:41,200 --> 00:43:43,600
Speaker 3: sound is just really kind of spot on for a

882
00:43:43,640 --> 00:43:46,200
Speaker 3: Blade Runner and then a Blade around twenty forty nine,

883
00:43:46,280 --> 00:43:50,040
Speaker 3: you have so much of kind of the modern blockbuster

884
00:43:50,400 --> 00:43:54,800
Speaker 3: action movie, just like Rumble, you know, kind of aggressiveness

885
00:43:54,920 --> 00:43:58,080
Speaker 3: you know that I think defines a lot of modern

886
00:43:58,280 --> 00:43:59,680
Speaker 3: sci fi and action films.

887
00:44:00,040 --> 00:44:03,840
Speaker 6: It's still artful, that'd be like it's like an ambiance.

888
00:44:03,880 --> 00:44:07,080
Speaker 8: It's so thick and twenty forty nine, whereas Mad Jealous

889
00:44:07,120 --> 00:44:08,640
Speaker 8: has that romantic score.

890
00:44:09,000 --> 00:44:11,120
Speaker 4: The thing that strikes me most about the music is

891
00:44:11,160 --> 00:44:14,480
Speaker 4: that the Evangelic score is, uh, it's very moody. It's

892
00:44:14,680 --> 00:44:18,400
Speaker 4: very as you say, just evocative of that sad trombone,

893
00:44:18,600 --> 00:44:22,560
Speaker 4: sad trombone in the rain. Whereas because of the rumble

894
00:44:22,600 --> 00:44:25,439
Speaker 4: seats in part which struck me most about twenty forty

895
00:44:25,520 --> 00:44:28,800
Speaker 4: nine was the base. There is an incredible amount of

896
00:44:28,840 --> 00:44:31,400
Speaker 4: low end in that movie that I think if the

897
00:44:31,520 --> 00:44:34,520
Speaker 4: seats weren't shaking, it would just sort of come across

898
00:44:34,560 --> 00:44:38,400
Speaker 4: as like this this kind of like dull, low rumble

899
00:44:38,680 --> 00:44:43,160
Speaker 4: of discontent running through the entire film. This sense of ominousness,

900
00:44:43,680 --> 00:44:45,640
Speaker 4: and it's my One of my big problems with the

901
00:44:45,680 --> 00:44:49,520
Speaker 4: Rumble Seats was it is impossible to take ominousness seriously

902
00:44:49,920 --> 00:44:52,799
Speaker 4: when you're like listening to all of these little servos vile.

903
00:44:53,200 --> 00:44:54,560
Speaker 3: Feels like your seat is farting.

904
00:44:54,920 --> 00:44:57,760
Speaker 6: Yeah, exact was my least favorite se hit novel, Rubble Seats.

905
00:44:59,280 --> 00:45:00,719
Speaker 7: I don't know if it all her surface, but I

906
00:45:00,719 --> 00:45:04,120
Speaker 7: would love to hear the original score to this. Johann Johnson,

907
00:45:04,160 --> 00:45:07,040
Speaker 7: who did the music for Our Prisoners in Sakario, did

908
00:45:07,080 --> 00:45:09,000
Speaker 7: a whole score for this. It was not yous Hans.

909
00:45:09,080 --> 00:45:11,120
Speaker 7: Everyone was brought in. I'd love to I mean his

910
00:45:11,280 --> 00:45:13,800
Speaker 7: music and arrival especially, this was so key to that.

911
00:45:14,080 --> 00:45:16,840
Speaker 7: I'd love to lease sample and see what it was like.

912
00:45:17,120 --> 00:45:20,560
Speaker 4: Hmm. That's fascinating. I guess before we head out on

913
00:45:20,680 --> 00:45:22,880
Speaker 4: this one and go cry in the rain as is

914
00:45:22,960 --> 00:45:25,640
Speaker 4: our want. One of the things that connects these movies

915
00:45:25,719 --> 00:45:28,439
Speaker 4: most for me is a as I said, I guess,

916
00:45:29,040 --> 00:45:32,000
Speaker 4: the idea that what you do is what matters, as

917
00:45:32,040 --> 00:45:34,480
Speaker 4: opposed to how you were designed, where you came from,

918
00:45:34,560 --> 00:45:36,520
Speaker 4: what your origins are. But it seems to me that

919
00:45:36,640 --> 00:45:39,879
Speaker 4: both of these movies end up being about what makes

920
00:45:39,960 --> 00:45:43,440
Speaker 4: life meaningful if you have a very short lifespan, if

921
00:45:43,480 --> 00:45:45,840
Speaker 4: it's defined for you, and all of us have a

922
00:45:45,920 --> 00:45:49,239
Speaker 4: lifespan that is defined for us, not entirely by our

923
00:45:49,280 --> 00:45:49,840
Speaker 4: own choice.

924
00:45:49,920 --> 00:45:51,280
Speaker 3: Not me, I'm gonna live forever.

925
00:45:51,239 --> 00:45:54,839
Speaker 4: Okay, everybody except to Genevieve, who's immortal, and that has

926
00:45:54,880 --> 00:45:58,440
Speaker 4: not been proven wrong yet, so probably true. So I

927
00:45:58,520 --> 00:46:02,480
Speaker 4: think that both of these movies, especially given where they end,

928
00:46:02,719 --> 00:46:07,120
Speaker 4: with Roy's choice regarding Decerd and with Kay's choice regarding

929
00:46:07,480 --> 00:46:10,640
Speaker 4: his purpose, kind of come down to the idea that

930
00:46:11,080 --> 00:46:13,800
Speaker 4: you have a short period of life, you need to

931
00:46:14,320 --> 00:46:16,560
Speaker 4: do something to define it, you need to make that

932
00:46:16,640 --> 00:46:19,560
Speaker 4: life meaningful. And I think that they both actually take

933
00:46:19,600 --> 00:46:22,000
Speaker 4: that up in a really strong and interesting way. I mean,

934
00:46:22,160 --> 00:46:24,360
Speaker 4: I think one of the most interesting things about the

935
00:46:24,400 --> 00:46:27,360
Speaker 4: original Blade Runner is what Roy chooses to do at

936
00:46:27,360 --> 00:46:27,600
Speaker 4: the end.

937
00:46:27,719 --> 00:46:29,200
Speaker 7: I think one of the most interesting things about this

938
00:46:29,280 --> 00:46:33,359
Speaker 7: one is Kay or Joe. I don't sure what's going

939
00:46:33,400 --> 00:46:34,640
Speaker 7: through his head at the end of this movie. I

940
00:46:34,680 --> 00:46:37,080
Speaker 7: don't think we'll ever know, But maybe he feels like

941
00:46:37,120 --> 00:46:40,080
Speaker 7: he's made the right choices and he's contributed in some

942
00:46:40,239 --> 00:46:44,600
Speaker 7: way to furthering the replicant existence, or maybe he feels

943
00:46:44,600 --> 00:46:47,440
Speaker 7: like he's wasted at all, I think, just as like

944
00:46:47,480 --> 00:46:49,439
Speaker 7: I don't think we know his final thoughts on Joy

945
00:46:49,480 --> 00:46:51,600
Speaker 7: as to whether or not that love was real or

946
00:46:51,840 --> 00:46:54,800
Speaker 7: just programming. I don't think we really know what he's thinking.

947
00:46:54,640 --> 00:46:55,040
Speaker 5: Of the end.

948
00:46:55,440 --> 00:46:59,040
Speaker 4: Really, I get a very strong sense that that interaction

949
00:46:59,200 --> 00:47:03,040
Speaker 4: with the big verse the hologram, where she she uses

950
00:47:03,120 --> 00:47:06,600
Speaker 4: some of the same words and it obviously emotionally hits him.

951
00:47:06,920 --> 00:47:09,080
Speaker 4: I thought that was where he made the decision that

952
00:47:09,719 --> 00:47:12,960
Speaker 4: maybe this level wasn't real, it was programmed, and he

953
00:47:13,080 --> 00:47:15,399
Speaker 4: has to do something to define himself. And in those

954
00:47:15,480 --> 00:47:18,840
Speaker 4: last moments I really got a sense of accomplishment and

955
00:47:18,920 --> 00:47:22,080
Speaker 4: achievement and satisfaction from him that were very similar to

956
00:47:22,160 --> 00:47:22,759
Speaker 4: Roys last year.

957
00:47:23,080 --> 00:47:24,920
Speaker 7: That's more or less where I am too. But I

958
00:47:25,000 --> 00:47:26,640
Speaker 7: don't think the film spells it out for you, and

959
00:47:26,680 --> 00:47:27,480
Speaker 7: I appreciate that.

960
00:47:28,200 --> 00:47:30,240
Speaker 4: I think there's a lot in both of these movies

961
00:47:30,320 --> 00:47:33,080
Speaker 4: that isn't spelled out. Then we can all probably appreciate

962
00:47:33,120 --> 00:47:36,840
Speaker 4: it more for that well. Blade Runner is available on

963
00:47:36,920 --> 00:47:39,360
Speaker 4: DVD and Blu ray and many many forms, which you

964
00:47:39,400 --> 00:47:41,520
Speaker 4: can read about all of the different cuts online, though

965
00:47:41,520 --> 00:47:43,200
Speaker 4: as Keith said, there are only a couple that really

966
00:47:43,239 --> 00:47:45,839
Speaker 4: matter It's also available for digital rental on the usual

967
00:47:45,880 --> 00:47:49,480
Speaker 4: streaming services. Blade Runner twenty forty nine is currently in theaters,

968
00:47:49,520 --> 00:47:52,279
Speaker 4: but its box office performance has been somewhat dire and

969
00:47:52,400 --> 00:47:54,400
Speaker 4: it may be on its way out sooner than expected.

970
00:47:55,080 --> 00:47:57,759
Speaker 4: We'll be right back with our usual recommendation segment, Your

971
00:47:57,840 --> 00:48:10,719
Speaker 4: Next Picture Show. Finally, it's time to catch each other

972
00:48:10,880 --> 00:48:13,120
Speaker 4: up on films or film related items we've seen in

973
00:48:13,160 --> 00:48:15,880
Speaker 4: the interim since our last podcast. We call this Your

974
00:48:15,960 --> 00:48:17,960
Speaker 4: Next Picture Show in the hopes that will put some

975
00:48:18,080 --> 00:48:21,040
Speaker 4: interesting choices on your radar. Scott, what in the film

976
00:48:21,080 --> 00:48:22,319
Speaker 4: world has been good for you lately?

977
00:48:23,120 --> 00:48:25,640
Speaker 6: Well, the film I'm most excited about it? And is

978
00:48:25,680 --> 00:48:28,360
Speaker 6: this my favorite film of the year. It seems absurd

979
00:48:28,840 --> 00:48:29,240
Speaker 6: to think.

980
00:48:29,120 --> 00:48:32,279
Speaker 8: So, but I saw it and really loved Brawl in

981
00:48:32,440 --> 00:48:35,520
Speaker 8: cub Bloc ninety nine. This is the new film by

982
00:48:35,719 --> 00:48:38,799
Speaker 8: s Craig Zalar, who had previously done a film called

983
00:48:39,120 --> 00:48:42,440
Speaker 8: Bone Tomahawk Western with Kurt Russell that's gotten got a

984
00:48:42,440 --> 00:48:46,480
Speaker 8: lot of acclaim for good reason. He's a director who really,

985
00:48:47,480 --> 00:48:51,760
Speaker 8: very deep in his bones, understands, you know, grindhouse cinema,

986
00:48:51,800 --> 00:48:55,960
Speaker 8: exploitation cinema. But also it is not wrapped up in homage.

987
00:48:56,120 --> 00:48:59,520
Speaker 8: She's somebody who has his own style, of his own approach.

988
00:49:00,120 --> 00:49:01,880
Speaker 8: Both of these films, for example, are are like one

989
00:49:01,960 --> 00:49:04,719
Speaker 8: hundred and thirty some minutes long, so that makes a

990
00:49:04,760 --> 00:49:05,239
Speaker 8: difference too.

991
00:49:05,280 --> 00:49:06,960
Speaker 6: In any case, this stars Vince.

992
00:49:06,880 --> 00:49:10,719
Speaker 8: Vaughan, who's really never been better or more interesting, as

993
00:49:11,000 --> 00:49:14,640
Speaker 8: a former boxer who loses his job at a towing

994
00:49:14,680 --> 00:49:17,560
Speaker 8: company and takes a job as a drug dealer, basically

995
00:49:17,640 --> 00:49:20,960
Speaker 8: a distributor of a runner of a drug runner. He

996
00:49:21,160 --> 00:49:23,520
Speaker 8: gets involved in a job that goes wrong with a

997
00:49:23,560 --> 00:49:25,560
Speaker 8: couple of guys that he did want to be involved

998
00:49:25,600 --> 00:49:26,120
Speaker 8: with to begin with.

999
00:49:27,040 --> 00:49:27,920
Speaker 6: He takes a.

1000
00:49:28,080 --> 00:49:32,000
Speaker 8: Noble action that gets him in very very serious trouble

1001
00:49:32,000 --> 00:49:33,759
Speaker 8: at lands him in jail for one but then it

1002
00:49:33,880 --> 00:49:37,799
Speaker 8: also results in him having to do some extraordinary things

1003
00:49:37,840 --> 00:49:40,600
Speaker 8: in order to save his wife and his unborn child.

1004
00:49:41,000 --> 00:49:44,760
Speaker 6: And boy, it is a very harsh film.

1005
00:49:45,040 --> 00:49:47,359
Speaker 8: It just like Bone Tomac was to Bone Tomacer has

1006
00:49:47,480 --> 00:49:50,680
Speaker 8: maybe one of the more notorious scenes of violence of

1007
00:49:50,760 --> 00:49:53,600
Speaker 8: the last ten years or so. But it just gives

1008
00:49:53,640 --> 00:49:56,040
Speaker 8: you so much, so much good vivid stuff. I mean,

1009
00:49:56,160 --> 00:49:59,200
Speaker 8: you have Don Johnson and Udo kir and all these

1010
00:49:59,239 --> 00:50:02,120
Speaker 8: wonderful care directors in the movie, and then he'll just

1011
00:50:02,160 --> 00:50:04,439
Speaker 8: spend a lot of time on things that movies don't

1012
00:50:04,480 --> 00:50:06,360
Speaker 8: usually spend a lot of time with, like getting to

1013
00:50:06,560 --> 00:50:09,239
Speaker 8: know what a medium security prison is like and what

1014
00:50:09,320 --> 00:50:11,680
Speaker 8: the process is of being there. It's just it's just

1015
00:50:11,800 --> 00:50:16,280
Speaker 8: a fascinating film that seems driven by a very distinct sensibility.

1016
00:50:16,320 --> 00:50:18,560
Speaker 8: It reminds me a little bit of like of a

1017
00:50:18,680 --> 00:50:21,880
Speaker 8: director like Quentin Tarantino or you know, Rob Zombie on

1018
00:50:21,960 --> 00:50:25,520
Speaker 8: his best days, who really has internalized a certain type

1019
00:50:25,560 --> 00:50:30,360
Speaker 8: of filmmaking and is doing more than just paying homage

1020
00:50:30,440 --> 00:50:34,040
Speaker 8: to it. This He's extending a filmmaking tradition in a

1021
00:50:34,200 --> 00:50:36,880
Speaker 8: meaningful way. So I really like this movie. It is

1022
00:50:36,920 --> 00:50:39,840
Speaker 8: obviously not not not for the faint of heart. It

1023
00:50:40,000 --> 00:50:43,440
Speaker 8: is you know, there are some extraordinarily violent scenes in

1024
00:50:43,560 --> 00:50:47,000
Speaker 8: the film, but totally at my alley brawl and cell

1025
00:50:47,040 --> 00:50:49,680
Speaker 8: blocked and you can watch it on VOD at this point.

1026
00:50:50,120 --> 00:50:53,520
Speaker 8: It really only got a very small release theatrically and

1027
00:50:53,600 --> 00:50:55,920
Speaker 8: then and then immediately went to VOD on the thirteenth

1028
00:50:55,960 --> 00:50:56,480
Speaker 8: of October.

1029
00:50:56,680 --> 00:50:58,560
Speaker 4: Yeah, I want to back Scott up on this one.

1030
00:50:58,640 --> 00:51:01,440
Speaker 4: I actually I saw that's a fantastic fest I was

1031
00:51:01,480 --> 00:51:03,400
Speaker 4: thinking of you the whole time Scott we had a

1032
00:51:03,440 --> 00:51:06,359
Speaker 4: conversation on Twitter about this. I was the whole time,

1033
00:51:06,400 --> 00:51:08,160
Speaker 4: I was thinking, Scott's either gonna love this or he's

1034
00:51:08,160 --> 00:51:13,080
Speaker 4: gonna disappoint me. I wouldn't compare him to Tarantino because

1035
00:51:13,080 --> 00:51:15,759
Speaker 4: it might give people the wrong impression because Tarantino is

1036
00:51:15,800 --> 00:51:19,399
Speaker 4: such a the man drules over his violence, Like all

1037
00:51:19,440 --> 00:51:22,400
Speaker 4: of his films have kind of a over excited quality

1038
00:51:22,520 --> 00:51:26,359
Speaker 4: to me, and this film is so chilly and intellectual

1039
00:51:26,600 --> 00:51:30,000
Speaker 4: and like quietly intelligent in a way that I find

1040
00:51:30,239 --> 00:51:34,160
Speaker 4: really fascinating. Do not go in expecting a brawl in

1041
00:51:34,280 --> 00:51:37,400
Speaker 4: Cell Black ninety nine to happen like really early on

1042
00:51:38,480 --> 00:51:40,720
Speaker 4: it is. It is absolutely the last act.

1043
00:51:40,920 --> 00:51:44,560
Speaker 8: I mean, You've got this incredible title, this like the

1044
00:51:44,680 --> 00:51:48,640
Speaker 8: most b movie title imaginable, and yet it's still totally understated,

1045
00:51:48,760 --> 00:51:51,040
Speaker 8: like brawl doesn't even come close to describe what goes

1046
00:51:51,080 --> 00:51:52,480
Speaker 8: on Cell Block ninety nine.

1047
00:51:52,920 --> 00:51:55,200
Speaker 4: It's true, but he makes you wait the entire movie

1048
00:51:55,239 --> 00:51:57,000
Speaker 4: for it, which is one of the many reasons I

1049
00:51:57,160 --> 00:51:59,920
Speaker 4: really enjoyed this film. It surprised me on all levels.

1050
00:52:00,120 --> 00:52:02,960
Speaker 4: I actually interviewed Zola for The Verge, and one of

1051
00:52:03,000 --> 00:52:05,120
Speaker 4: the things I found out that made me. Even happier

1052
00:52:05,640 --> 00:52:08,280
Speaker 4: was that there's no digital effects in this movie. Everything

1053
00:52:08,320 --> 00:52:11,840
Speaker 4: that he does is a practical effect. All of the brawling,

1054
00:52:12,239 --> 00:52:14,279
Speaker 4: all of the Cell Block ninety nine ing, and all

1055
00:52:14,360 --> 00:52:18,240
Speaker 4: of the extreme violence he did as much as possible

1056
00:52:18,600 --> 00:52:21,080
Speaker 4: on the set on the day, Like that's his aesthetic.

1057
00:52:21,600 --> 00:52:26,600
Speaker 4: Really like this at the very least, Jenivieve, what do

1058
00:52:26,680 --> 00:52:27,279
Speaker 4: you have for us?

1059
00:52:27,520 --> 00:52:27,759
Speaker 6: Okay?

1060
00:52:27,840 --> 00:52:30,160
Speaker 3: Well, I was going to recommend a movie that I

1061
00:52:30,320 --> 00:52:32,680
Speaker 3: absolutely loved, but I think it is going to be

1062
00:52:32,840 --> 00:52:36,600
Speaker 3: our next pairing inspiration, so instead I will recommend a

1063
00:52:36,680 --> 00:52:40,640
Speaker 3: movie that I liked quite a bit. It's a new

1064
00:52:40,880 --> 00:52:44,200
Speaker 3: HBO documentary called Spielberg, which, as you might glean from

1065
00:52:44,239 --> 00:52:47,319
Speaker 3: the title, is about one Steven Spielberg. This is sort

1066
00:52:47,360 --> 00:52:51,719
Speaker 3: of a biopic by way of career retrospective approach that

1067
00:52:51,800 --> 00:52:55,200
Speaker 3: I think works really well for Spielberg in particular because

1068
00:52:55,239 --> 00:52:57,960
Speaker 3: he is such a personal filmmaker, even though he's known

1069
00:52:58,040 --> 00:53:02,880
Speaker 3: for working in this big blockbuster paradigm that he more

1070
00:53:02,960 --> 00:53:08,720
Speaker 3: or less defined. But formally, this is a pretty traditional documentary, Sorry, Scott.

1071
00:53:09,440 --> 00:53:13,440
Speaker 3: It's It's packed with film footage and many many, many

1072
00:53:13,640 --> 00:53:17,680
Speaker 3: famous talking heads, most prominently among them Spielberg himself, who

1073
00:53:17,880 --> 00:53:21,680
Speaker 3: sat for extensive interviews with director Susan Lacy, but was

1074
00:53:21,719 --> 00:53:25,560
Speaker 3: otherwise uninvolved with this film's production. As such, it is

1075
00:53:25,600 --> 00:53:28,480
Speaker 3: a pretty admiring portrait, but it's not quite at the

1076
00:53:28,680 --> 00:53:32,239
Speaker 3: level of like hagiography. It does engage with some of

1077
00:53:32,320 --> 00:53:35,279
Speaker 3: the criticisms Spielberg has received as a director, namely his

1078
00:53:35,440 --> 00:53:39,600
Speaker 3: sentimental streak and his early reputation as a studio director

1079
00:53:39,719 --> 00:53:43,200
Speaker 3: among the more aesthetically inclined movie brats of the late

1080
00:53:43,400 --> 00:53:46,680
Speaker 3: seventies and early eighties, most of whom show up here.

1081
00:53:47,360 --> 00:53:50,640
Speaker 3: But it approaches those criticisms and everything else about Spielberg's

1082
00:53:50,680 --> 00:53:53,080
Speaker 3: work in the context of his personal history and his

1083
00:53:53,239 --> 00:53:56,440
Speaker 3: growth as both a director and a person. One of

1084
00:53:56,480 --> 00:53:59,480
Speaker 3: the film's most engaging threads to me was him slowly

1085
00:53:59,600 --> 00:54:02,040
Speaker 3: convinced seeing himself that he had to make Schindler's List

1086
00:54:02,120 --> 00:54:05,880
Speaker 3: after years of avoiding it, and how that decision dubtailed

1087
00:54:05,880 --> 00:54:10,520
Speaker 3: with him embracing his judaism after years spent feeling embarrassed

1088
00:54:10,520 --> 00:54:13,320
Speaker 3: about it growing up. You know, this is Spielberg, so

1089
00:54:13,480 --> 00:54:16,760
Speaker 3: it's not going to be a scandalous or salacious account,

1090
00:54:16,840 --> 00:54:19,080
Speaker 3: but I do think it's a very engaging approach to

1091
00:54:19,160 --> 00:54:21,799
Speaker 3: a body of work we all know very well, sort

1092
00:54:21,840 --> 00:54:25,000
Speaker 3: of looking at what was motivating the man behind these

1093
00:54:25,200 --> 00:54:28,160
Speaker 3: iconic movies at any given point in his life. Plus,

1094
00:54:28,280 --> 00:54:29,800
Speaker 3: it's just an excuse to revel once some of the

1095
00:54:29,840 --> 00:54:32,360
Speaker 3: most iconic and memorable films ever made, often from a

1096
00:54:32,440 --> 00:54:36,000
Speaker 3: sort of unexpected new angle. So I found it highly enjoyable,

1097
00:54:36,080 --> 00:54:38,560
Speaker 3: and I think anyone who's ever enjoyed a Spielberg film,

1098
00:54:38,560 --> 00:54:41,359
Speaker 3: which I imagine is just about everyone, would also find

1099
00:54:41,400 --> 00:54:44,279
Speaker 3: it so So Spielberg, It's on each bo if you

1100
00:54:44,320 --> 00:54:47,120
Speaker 3: have each bog or now you can check it out

1101
00:54:47,160 --> 00:54:49,440
Speaker 3: on that platform. Awesome, Tasha, what about you?

1102
00:54:50,239 --> 00:54:52,719
Speaker 4: Well, I was actually going to talk up brawl in

1103
00:54:52,840 --> 00:54:55,719
Speaker 4: til Block ninety nine, but Scott stole my funder.

1104
00:54:55,520 --> 00:54:56,840
Speaker 6: So you had to know it.

1105
00:54:57,840 --> 00:54:59,880
Speaker 4: I knew it was coming, so I'm going to go

1106
00:55:00,080 --> 00:55:03,600
Speaker 4: with some lovers instead of some fighters. Professor Marston and

1107
00:55:03,640 --> 00:55:06,360
Speaker 4: the Wonder Women just hit theaters, And this is a

1108
00:55:06,440 --> 00:55:11,960
Speaker 4: movie about the man who created Wonder Woman, the character

1109
00:55:12,280 --> 00:55:16,960
Speaker 4: who the original version of the character. There was a

1110
00:55:17,840 --> 00:55:20,120
Speaker 4: lot of bondage in the comics. There was a lot

1111
00:55:20,280 --> 00:55:26,520
Speaker 4: of heavy implication of lesbian romance. There was a lot

1112
00:55:26,680 --> 00:55:29,840
Speaker 4: of fetishy stuff that people who were in the fetish

1113
00:55:29,840 --> 00:55:33,200
Speaker 4: scene could recognize that was kind of coded for children,

1114
00:55:33,600 --> 00:55:36,320
Speaker 4: but it was always sort of a little bit sallacious

1115
00:55:36,440 --> 00:55:40,239
Speaker 4: and a lot controversial. And it's kind of amazing the

1116
00:55:40,880 --> 00:55:43,919
Speaker 4: history that this comic came out of, but it's even

1117
00:55:43,960 --> 00:55:46,640
Speaker 4: more amazing the personal history that it came out of.

1118
00:55:47,000 --> 00:55:49,960
Speaker 4: This is about his relationship with his wife and another

1119
00:55:50,040 --> 00:55:54,160
Speaker 4: woman who they formed a long term, stable triad relationship

1120
00:55:54,280 --> 00:55:56,920
Speaker 4: with each other during a period where such things were

1121
00:55:57,239 --> 00:56:01,560
Speaker 4: completely inconceivable. They're barely conceived today. But one of the

1122
00:56:01,640 --> 00:56:06,000
Speaker 4: things that this film addresses is the difficulty of navigating

1123
00:56:06,120 --> 00:56:10,160
Speaker 4: an unconventional relationship in a world that very much expects

1124
00:56:10,239 --> 00:56:15,000
Speaker 4: conventional relationships, and the difficulty of creating unconventional art in

1125
00:56:15,120 --> 00:56:19,160
Speaker 4: a popular medium that was kind of centered around a

1126
00:56:19,480 --> 00:56:23,080
Speaker 4: very few certain kinds of art. With Wonder Woman enjoying

1127
00:56:23,160 --> 00:56:27,680
Speaker 4: such a cultural moment, this has a really interesting kind

1128
00:56:27,719 --> 00:56:30,960
Speaker 4: of tie into the zeitgeist, but just in and of itself,

1129
00:56:31,040 --> 00:56:34,800
Speaker 4: it's a really artful film. The writer director Angela Robinson

1130
00:56:35,080 --> 00:56:37,880
Speaker 4: is a queer Black woman, and she kind of brings

1131
00:56:37,920 --> 00:56:42,040
Speaker 4: her experience with racism and with sexism, and with judgment

1132
00:56:42,160 --> 00:56:46,640
Speaker 4: and with homophobic attitudes into this story. She but she

1133
00:56:46,719 --> 00:56:49,000
Speaker 4: doesn't overplay it. I think one of the things that's

1134
00:56:49,280 --> 00:56:51,200
Speaker 4: most interesting about this movie is that, in a way,

1135
00:56:51,280 --> 00:56:55,640
Speaker 4: it's a biopic that's almost mainstream acceptable, but that is

1136
00:56:55,719 --> 00:57:00,560
Speaker 4: fairly fearless about portraying the sexuality and the think that

1137
00:57:01,160 --> 00:57:04,480
Speaker 4: these three individuals were involved in, and it makes it

1138
00:57:04,560 --> 00:57:08,080
Speaker 4: all seem warm and playful. It makes it's one of

1139
00:57:08,080 --> 00:57:11,520
Speaker 4: those movies that make sex seem fun, that acknowledge that

1140
00:57:11,840 --> 00:57:16,280
Speaker 4: sexual relationships are neither intensely passionate things that happen one

1141
00:57:16,360 --> 00:57:18,680
Speaker 4: time and then you run off together into the north

1142
00:57:18,760 --> 00:57:22,360
Speaker 4: to avoid being hunted down as replicants or sort of

1143
00:57:22,960 --> 00:57:25,440
Speaker 4: things that you don't really think about because you're in

1144
00:57:25,440 --> 00:57:28,960
Speaker 4: a long term relationship. It makes sex into a fun

1145
00:57:29,040 --> 00:57:31,160
Speaker 4: and important part of a relationship and a fun and

1146
00:57:31,240 --> 00:57:33,960
Speaker 4: important part of the film. I just I really recommend

1147
00:57:33,960 --> 00:57:36,080
Speaker 4: seeing this film for a lot of reasons, one of

1148
00:57:36,120 --> 00:57:40,400
Speaker 4: which is supporting a film that's all about representation in

1149
00:57:40,480 --> 00:57:42,880
Speaker 4: a variety of ways. But I also recommend it because

1150
00:57:42,920 --> 00:57:47,000
Speaker 4: it's really enjoyable. The acting is great, the storytelling is great,

1151
00:57:47,120 --> 00:57:50,000
Speaker 4: the imagery is great. I just really enjoyed Professor Marston

1152
00:57:50,040 --> 00:57:50,600
Speaker 4: and the Wonder Woman.

1153
00:57:50,880 --> 00:57:52,960
Speaker 7: I'm glad to hear that, because that's such a fascinating story,

1154
00:57:53,040 --> 00:57:55,640
Speaker 7: and I wasn't sure that it would translate well into

1155
00:57:55,800 --> 00:57:59,760
Speaker 7: a movie. I wasn't sure how you would translate it. Frankly,

1156
00:58:00,080 --> 00:58:03,400
Speaker 7: so cool I were going along and so I'll be fast.

1157
00:58:03,440 --> 00:58:06,480
Speaker 7: I got two quick recommendations. One is the film Lucky,

1158
00:58:07,000 --> 00:58:11,560
Speaker 7: which is Harding Stanton's last film, and it is terrific.

1159
00:58:11,680 --> 00:58:15,040
Speaker 7: It is, I believe is only a second starring role, right,

1160
00:58:17,080 --> 00:58:20,040
Speaker 7: and he plays Lucky, who's sort of this small town

1161
00:58:20,120 --> 00:58:23,600
Speaker 7: guy who's in his nineties as Stanton lived to be.

1162
00:58:23,720 --> 00:58:27,000
Speaker 7: And there's no conflict in it. It's basically a man

1163
00:58:27,080 --> 00:58:30,600
Speaker 7: who realizes he's not dead yet and what does it

1164
00:58:30,680 --> 00:58:35,040
Speaker 7: all mean? And it's kind of inspiring into someone who's

1165
00:58:35,080 --> 00:58:38,040
Speaker 7: who's you know, late in his life, still asking questions,

1166
00:58:38,200 --> 00:58:41,360
Speaker 7: you know, still pondering life, still kind of drawing from

1167
00:58:41,440 --> 00:58:43,840
Speaker 7: his past and trying to turn things over all. This

1168
00:58:44,080 --> 00:58:45,760
Speaker 7: kind of play with the character who says very little

1169
00:58:45,840 --> 00:58:48,560
Speaker 7: and does very little isn't very expressive because it's Stanton.

1170
00:58:48,600 --> 00:58:51,000
Speaker 7: Though it's a wonderful performance. You get to really get

1171
00:58:51,040 --> 00:58:52,200
Speaker 7: to know this guy with the course of the film.

1172
00:58:52,240 --> 00:58:55,840
Speaker 7: It's got a great supporting cast. David Lynch plays his buddy.

1173
00:58:56,800 --> 00:58:59,920
Speaker 7: Other others Ron Livingstone at Begley Junior. Tom Scarett has

1174
00:59:00,080 --> 00:59:02,480
Speaker 7: a great scene with Tom Scarrett where they bond over

1175
00:59:02,520 --> 00:59:05,600
Speaker 7: their war experiences and you realize that Tom Scarett at

1176
00:59:05,640 --> 00:59:07,760
Speaker 7: eighty four is a little too young to have served

1177
00:59:07,800 --> 00:59:10,640
Speaker 7: in World War Two, but Harry stein Stanton actually did

1178
00:59:10,760 --> 00:59:13,240
Speaker 7: serve in World War Two. But it's a really great

1179
00:59:13,320 --> 00:59:16,040
Speaker 7: swan song directed by John Carroll Lynch, who is in

1180
00:59:16,120 --> 00:59:18,480
Speaker 7: his own right, I mean, a terrific character actor.

1181
00:59:18,600 --> 00:59:18,760
Speaker 6: You know.

1182
00:59:18,840 --> 00:59:21,520
Speaker 7: It's sort of one one character actor playing a tribute

1183
00:59:21,720 --> 00:59:24,280
Speaker 7: to another in other ways. So that's that's lucky.

1184
00:59:24,480 --> 00:59:25,480
Speaker 6: And I don't know.

1185
00:59:25,720 --> 00:59:28,120
Speaker 7: It's probably drifting around urt houses still a little bit.

1186
00:59:28,320 --> 00:59:31,439
Speaker 7: It should be. I'm guessing it's a Magnoia release, which

1187
00:59:31,480 --> 00:59:34,440
Speaker 7: they usually comes out on home video fairly quickly, but

1188
00:59:34,520 --> 00:59:37,600
Speaker 7: it's not on VOD yet, so look for it soon

1189
00:59:37,880 --> 00:59:40,240
Speaker 7: if you haven't had a chance to check it out.

1190
00:59:40,360 --> 00:59:42,200
Speaker 7: Another one very quickly is a nice would make a

1191
00:59:42,320 --> 00:59:44,959
Speaker 7: nice double feature with it. It's a film called Super

1192
00:59:45,120 --> 00:59:49,160
Speaker 7: Dark Times. It's very Stephen King influenced. It's the first

1193
00:59:49,240 --> 00:59:52,360
Speaker 7: feature from a director named Kevin Phillips, and it's kind

1194
00:59:52,400 --> 00:59:54,480
Speaker 7: of set in the mid nineties, and it's about these

1195
00:59:54,560 --> 00:59:55,760
Speaker 7: I don't want to get too much away, but it's

1196
00:59:55,800 --> 00:59:59,000
Speaker 7: about these kids who have sort of kind of a

1197
00:59:59,080 --> 01:00:02,400
Speaker 7: loser's club type thing going on on the verge of

1198
01:00:02,400 --> 01:00:04,920
Speaker 7: adolescents on the verge, moving on to the next thing.

1199
01:00:05,520 --> 01:00:09,120
Speaker 7: Something bad happens. I'll just leave it at that, And well,

1200
01:00:09,120 --> 01:00:11,040
Speaker 7: I feel like the end of this film, it's it's

1201
01:00:11,160 --> 01:00:13,760
Speaker 7: very technically well done, kind of drops the ball a

1202
01:00:13,800 --> 01:00:16,880
Speaker 7: little bit only because it simplifies what up to them

1203
01:00:16,880 --> 01:00:21,120
Speaker 7: has been very complex and real portrayal of adolescence and

1204
01:00:21,200 --> 01:00:23,720
Speaker 7: all these like sort of walking around with, you know,

1205
01:00:24,000 --> 01:00:27,320
Speaker 7: feelings you don't want to have, relationships shifting in ways

1206
01:00:27,320 --> 01:00:30,120
Speaker 7: that you don't want them to. You're put in situations

1207
01:00:30,160 --> 01:00:33,320
Speaker 7: that you're just not mature enough to deal with. Yeah,

1208
01:00:33,480 --> 01:00:35,520
Speaker 7: it's really quite strong to be looking forward to more.

1209
01:00:35,600 --> 01:00:38,160
Speaker 7: Thanks from Kevin Phillips that the The Young cast, which

1210
01:00:38,200 --> 01:00:42,720
Speaker 7: includes like Charlie Trehan, Owen Campbell, and Elizabeth Cappuccino who

1211
01:00:43,360 --> 01:00:47,120
Speaker 7: played young Jessica Jones and Jessica Jones are all people

1212
01:00:47,160 --> 01:00:49,880
Speaker 7: to watch out for, so I'd recommend I'd recommend them both,

1213
01:00:50,000 --> 01:00:51,919
Speaker 7: but Lucky maybe just a little bit more. But they're

1214
01:00:51,960 --> 01:00:54,600
Speaker 7: they're both worth checking out. And and Super Dark Times

1215
01:00:54,640 --> 01:00:57,000
Speaker 7: had a very small and very short run and Art

1216
01:00:57,040 --> 01:00:58,600
Speaker 7: Houses It's on vod now.

1217
01:00:59,080 --> 01:01:03,080
Speaker 8: Yeah, Super Dark Times and had some mixed feelings, particularly

1218
01:01:03,120 --> 01:01:05,520
Speaker 8: about the third act. But I'm really looking forward to

1219
01:01:05,560 --> 01:01:08,800
Speaker 8: the structor's next film because the guy has got a

1220
01:01:08,880 --> 01:01:09,439
Speaker 8: lot of talent.

1221
01:01:09,600 --> 01:01:09,760
Speaker 5: Yeah.

1222
01:01:09,880 --> 01:01:13,240
Speaker 7: Visually it it opens with this, it's an amazing imagery

1223
01:01:13,280 --> 01:01:16,280
Speaker 7: of the aftermath of a deer having run into a

1224
01:01:16,360 --> 01:01:19,840
Speaker 7: high school's window, and it sets this this tone that

1225
01:01:20,000 --> 01:01:21,720
Speaker 7: kind of carries over to the rest of the film.

1226
01:01:21,960 --> 01:01:23,600
Speaker 7: It's Yeah, it's nicely done.

1227
01:01:23,720 --> 01:01:24,040
Speaker 6: Definitely.

1228
01:01:24,360 --> 01:01:26,400
Speaker 4: Man, it sounds like everything is coming up Stephen King

1229
01:01:26,480 --> 01:01:26,880
Speaker 4: these days.

1230
01:01:27,080 --> 01:01:27,720
Speaker 7: It really is.

1231
01:01:27,880 --> 01:01:28,400
Speaker 6: It really is.

1232
01:01:33,640 --> 01:01:35,320
Speaker 4: Well, that's it for this week's edition of The Next

1233
01:01:35,360 --> 01:01:38,439
Speaker 4: Picture Show. Our next episodes come out October thirty first

1234
01:01:38,520 --> 01:01:41,440
Speaker 4: and November second, Genevieve, what are we discussing?

1235
01:01:41,600 --> 01:01:43,800
Speaker 3: Our next episodes will focus on two films about the

1236
01:01:43,840 --> 01:01:47,560
Speaker 3: relationship between different generations, starring the same actor appearing that

1237
01:01:47,640 --> 01:01:50,320
Speaker 3: puts him on both sides of the generational divide. First,

1238
01:01:50,440 --> 01:01:52,720
Speaker 3: we'll look at Mike Nichols The Graduate, a film that

1239
01:01:52,760 --> 01:01:56,240
Speaker 3: gave us several memorable catchphrases, an Immortal Simon and Garfunkels

1240
01:01:56,280 --> 01:01:59,000
Speaker 3: Song and made a star of Dustin Hoffman, who plays

1241
01:01:59,000 --> 01:02:00,800
Speaker 3: a recent college graduate to it a drift in the

1242
01:02:00,880 --> 01:02:04,200
Speaker 3: materialistic world of his parents. Then we'll follow the Hoffman

1243
01:02:04,280 --> 01:02:07,600
Speaker 3: thread to Noah Bombax NW the Meyorrowitz stories New and Selected,

1244
01:02:07,920 --> 01:02:10,400
Speaker 3: in which Hoffman plays the aging patriarch of a deeply

1245
01:02:10,480 --> 01:02:13,320
Speaker 3: divided New York family. Ben Stiller and Adam Sandler co

1246
01:02:13,480 --> 01:02:15,360
Speaker 3: star as half brothers who have to reckon with their

1247
01:02:15,400 --> 01:02:19,520
Speaker 3: father's legacy. Tangible and otherwise. Mayrowitz is a Netflix exclusive

1248
01:02:19,560 --> 01:02:21,960
Speaker 3: and can be streamed there, while the Graduate is streaming

1249
01:02:22,000 --> 01:02:25,440
Speaker 3: on Filmstruck and available for digital rental. Unusual providers not

1250
01:02:25,560 --> 01:02:28,680
Speaker 3: to mention on several generations worth of physical media, including

1251
01:02:28,720 --> 01:02:30,480
Speaker 3: a feature packed Criterion Blu ray.

1252
01:02:30,760 --> 01:02:32,640
Speaker 4: In the meantime, we'd love to hear your feedback on

1253
01:02:32,720 --> 01:02:35,480
Speaker 4: this week's discussion of Blade Runner, Blade Runner twenty forty nine,

1254
01:02:35,600 --> 01:02:38,360
Speaker 4: and anything else film related. We want to include your

1255
01:02:38,400 --> 01:02:41,040
Speaker 4: thoughts on future episodes of the show. You can leave

1256
01:02:41,040 --> 01:02:43,400
Speaker 4: a short voicemail at seven to seven three two three

1257
01:02:43,520 --> 01:02:46,760
Speaker 4: four nine seven three zero, or email us at comments

1258
01:02:46,800 --> 01:02:49,439
Speaker 4: at Next Picture Show dot net. Finally, before we close

1259
01:02:49,480 --> 01:02:52,120
Speaker 4: out this week's episode. Where can we find everyone these days?

1260
01:02:52,280 --> 01:02:54,680
Speaker 7: Keith you can find me at uprocks dot com, where

1261
01:02:54,720 --> 01:02:58,360
Speaker 7: I'm a Troyal director of film and television and writing

1262
01:02:58,760 --> 01:03:00,960
Speaker 7: when I can, and you can find me online at

1263
01:03:01,160 --> 01:03:03,160
Speaker 7: Twitter at KFIP three thousand.

1264
01:03:03,280 --> 01:03:07,480
Speaker 8: Scott you can find me on Twitter at Scott Underscore Tobias,

1265
01:03:07,520 --> 01:03:09,360
Speaker 8: and you can find my work in the New York Times.

1266
01:03:09,520 --> 01:03:12,760
Speaker 8: I just did a piece on the killing my Sacred

1267
01:03:12,800 --> 01:03:15,280
Speaker 8: Deer for a Washington Post. You can find me on

1268
01:03:15,640 --> 01:03:17,760
Speaker 8: NPR and Variety, and I've been doing a little bit

1269
01:03:17,800 --> 01:03:22,320
Speaker 8: more for Vulture. I've got some mind Hunter recaps happening.

1270
01:03:22,400 --> 01:03:25,360
Speaker 8: And then I did a big list for our former

1271
01:03:25,640 --> 01:03:28,840
Speaker 8: coworker Now Movies ouit the Vulture Rachel Handler. I did

1272
01:03:28,880 --> 01:03:32,360
Speaker 8: a piece a list of Man versus Nature movies, rank

1273
01:03:32,440 --> 01:03:34,880
Speaker 8: them twenty five definitive ranking.

1274
01:03:35,720 --> 01:03:36,800
Speaker 6: So what about you?

1275
01:03:37,000 --> 01:03:39,600
Speaker 3: Genevieve, You can find me at the Box Culture section

1276
01:03:39,800 --> 01:03:42,800
Speaker 3: and on Twitter at Genevieve Koski. Tasha you can.

1277
01:03:42,800 --> 01:03:45,760
Speaker 4: Find me at Twitter at Tasha Robinson. You can find

1278
01:03:45,800 --> 01:03:48,080
Speaker 4: me at The Verge, where I am the film and

1279
01:03:48,160 --> 01:03:51,880
Speaker 4: TV editor and also the interview interviewer of the director

1280
01:03:52,000 --> 01:03:54,720
Speaker 4: of Burl in Cell Block ninety nine. I enjoyed that

1281
01:03:54,800 --> 01:03:57,640
Speaker 4: interview and I hope you enjoy it and enjoy the movie.

1282
01:03:58,400 --> 01:04:00,320
Speaker 4: You can stay updated on the Next Picture Show by

1283
01:04:00,400 --> 01:04:03,640
Speaker 4: visiting Next Pictureshow dot net, via Twitter at Next Picture

1284
01:04:03,680 --> 01:04:06,919
Speaker 4: Pod and via Facebook at Facebook dot com slash Next

1285
01:04:06,960 --> 01:04:09,400
Speaker 4: Picture Show. And if you haven't subscribed to the show

1286
01:04:09,440 --> 01:04:13,360
Speaker 4: on Apple Podcasts already, please consider it. Apple podcast subscriptions

1287
01:04:13,360 --> 01:04:16,040
Speaker 4: are an important part of getting podcasts more prominence and

1288
01:04:16,160 --> 01:04:19,840
Speaker 4: more listeners. While you're there, we appreciate every rating and review.

1289
01:04:20,160 --> 01:04:24,400
Speaker 4: We slobber over them on like rabid dogs. Thanks to

1290
01:04:24,560 --> 01:04:27,200
Speaker 4: Colin the Animal Griffith for his assistants producing the show,

1291
01:04:27,360 --> 01:04:30,160
Speaker 4: and thanks to Delmark Records for providing recording space at

1292
01:04:30,200 --> 01:04:33,520
Speaker 4: their home base Riverside Studios. The Next Picture Show is

1293
01:04:33,600 --> 01:04:35,560
Speaker 4: proud to be part of the Film Spotting family of

1294
01:04:35,600 --> 01:04:38,480
Speaker 4: podcasts and the Panaple Network. Please tune in next time.

1295
01:04:53,240 --> 01:04:55,880
Speaker 2: Hey Mama, thanks for making all my favorite recipes.

1296
01:04:56,600 --> 01:04:58,880
Speaker 3: Hi mat, thanks for your unfiltered advice.

1297
01:04:59,720 --> 01:05:02,480
Speaker 5: Hi, Hey Mom, thanks for always being by the phone.

1298
01:05:03,400 --> 01:05:04,960
Speaker 6: Hey Mom, Happy Mother's Day.

1299
01:05:05,680 --> 01:05:08,040
Speaker 5: When you ship ups air at the ups store, your

1300
01:05:08,080 --> 01:05:10,560
Speaker 5: items arrive on time, or your money back guarantee that

1301
01:05:10,680 --> 01:05:14,280
Speaker 5: no extra cost exclusively at the UPS store. US retail locations.

1302
01:05:14,440 --> 01:05:16,640
Speaker 5: Visit the ups store dot com slash air shipping for

1303
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Speaker 5: full details. Terms and conditions apply. Send your Mother's Day

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Speaker 5: gifts at the UPS store and we'll get your gratitude

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Speaker 5: there on time.