WEBVTT - Top 5 Movie Tattoos (That We'd Get) | Archive

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<v Speaker 2>What kind of a show you guys putting on here today?

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<v Speaker 3>You're not interested in armed? Now?

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<v Speaker 1>No, Look, we're going to do this thing.

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<v Speaker 2>We're going to have a conversation, hey, film spotters for

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<v Speaker 2>our Wednesday archive drop. We always try to find a

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<v Speaker 2>connection to something happening in the movie world this week.

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<v Speaker 2>Usually that's whatever we're going to be talking about and

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<v Speaker 2>dropping into your feed on Friday show. But coming this

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<v Speaker 2>Friday is our top five movies of the year so far.

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<v Speaker 2>We thought we would go the what Pope Pirie route?

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<v Speaker 2>We would just go go general here and pick out

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<v Speaker 2>a top five that I have long said. This was

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<v Speaker 2>Sam's idea, but I have long said that this top

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<v Speaker 2>five is one of my favorite top fives in the

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<v Speaker 2>show history. Now I've not gone back to listen to it.

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<v Speaker 2>Maybe it's bad, but conceptually, it's one of my favorite

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<v Speaker 2>top fives in the show's history.

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<v Speaker 1>Well to that point, without naming any of them, but

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<v Speaker 1>we have our list of picks here. There's obviously a thing.

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<v Speaker 1>Tattoo regret is a real thing, right, That's why some

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<v Speaker 1>people have them removed, as you just without listening to

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<v Speaker 1>your reasoning, But as you just look at these images

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<v Speaker 1>you proposed you would put on your body, you have

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<v Speaker 1>clear regret for any of the picks, thinking of them

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<v Speaker 1>as tattoos not movies.

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<v Speaker 2>I do not. I have no regret about picking any

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<v Speaker 2>of these. In fact, Josh, my regret is that I

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<v Speaker 2>haven't gotten any of them tattooed on my body. Wow,

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<v Speaker 2>that is my only regret.

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<v Speaker 1>Yeah, moving closer to getting an actual tattoo, I am.

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<v Speaker 2>I think my number one at least once a week,

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<v Speaker 2>including I mean right now, as in this week that

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<v Speaker 2>we are currently in. I think about getting my number

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<v Speaker 2>one still, and it's it's gonna happen. I am going

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<v Speaker 2>to get it done at some point. Yes, it's just

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<v Speaker 2>a matter of how well and where because why yeah,

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<v Speaker 2>yeah where? But also there are two different ways it

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<v Speaker 2>could happen, because there's yeah, there's a visual component but

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<v Speaker 2>also a text component. So do I go the visual

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<v Speaker 2>route or do I go the text route? I haven't decided.

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<v Speaker 1>You have I think three text picks mm hmm, and

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<v Speaker 1>I don't think I have any looking at mine, which

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<v Speaker 1>is interesting. So yeah, we should probably leave it at

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<v Speaker 1>that at this point and not spoil any more of

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<v Speaker 1>our actual picks.

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<v Speaker 2>Okay, here we go the top five movie tattoos in

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<v Speaker 2>my case that I'd get and that Josh will never

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<v Speaker 2>in no way consider getting.

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<v Speaker 1>I mean number one is still in play. Like number one,

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<v Speaker 1>I could actually see happening at some point. I gotta wait.

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<v Speaker 1>I gotta wait till my you know, return hired sailor

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<v Speaker 1>phase of life, which I'm getting there, but I'm not

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<v Speaker 1>quite there yet.

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<v Speaker 2>Enter that soon that would be fun. Here you go

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<v Speaker 2>from twenty fourteen. I know you've been out, what you've

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<v Speaker 2>been out of your room? Oh?

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<v Speaker 3>I haven't, Paul, my.

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<v Speaker 1>Little ceramic penguin in the study always faces due south.

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<v Speaker 3>I don't know what you're talking about, saramic penguin.

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<v Speaker 4>Is this what you're looking for?

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<v Speaker 2>Well, if that scene from nineteen nineties Misery with Kathy

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<v Speaker 2>Bates and James Khn doesn't evoke a specific image. Let

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<v Speaker 2>me help you out. Baits as Andy Wilkes in close

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<v Speaker 2>up holding a butcher knife up to her face, staring

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<v Speaker 2>down at Kahn, who's strapped down in a bed. Now

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<v Speaker 2>imagine encountering that image tattooed on someone's leg. Yes, it's

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<v Speaker 2>top five time. This week we're sharing the top five

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<v Speaker 2>movie tattoos that we'd get. Kathy Bates, Josh, I'm gonna

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<v Speaker 2>guess not making your list.

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<v Speaker 1>Nah, you know, I thought about her, but I decided

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<v Speaker 1>to go with Richard Farnsworth from Misery.

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<v Speaker 2>A Deep Cut. I like it. That Misery tattoo was

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<v Speaker 2>among those that Film Spotting listeners sent in. We got

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<v Speaker 2>an email from listener Franco as mal I hope I'm

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<v Speaker 2>saying that right, longtime listener, I believe in San Francisco.

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<v Speaker 2>He submitted it, which is, according to him, a friend's tattoo.

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<v Speaker 1>Sure, Franco a friend.

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<v Speaker 2>If you want to see that tattoo and be terrified

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<v Speaker 2>by it plus more, listener inc. Go to our producer,

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<v Speaker 2>one of our producers, Sam van Halgren, his tumbler. It's

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<v Speaker 2>Sam Vanhlgren dot tumblr dot com and you can also

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<v Speaker 2>find a link to that in our show notes, but

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<v Speaker 2>we've been collecting him. There there's four or five that

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<v Speaker 2>have already been posted from last week, and by the

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<v Speaker 2>time you hear the show and visit you'll see even more.

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<v Speaker 2>A lot of stuff, a lot of good stuff.

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<v Speaker 1>This whole topic really has been generated by listeners, right.

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<v Speaker 2>That's true, and they really responded as well. But we

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<v Speaker 2>did initially get this idea from some listener comments back

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<v Speaker 2>on episode four eighty eight. A few weeks ago, we

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<v Speaker 2>read some poll feedback from Joshua Carrell and Portland, Oregon.

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<v Speaker 2>It was in response to one of our death matches.

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<v Speaker 2>We pitted Jim Jarmish versus John Sales, and he defended

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<v Speaker 2>his Jarmish pick by saying, I've got a tattoo of

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<v Speaker 2>Eva's cassette player from Jarmish's Stranger Than Paradise, And I

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<v Speaker 2>think you joked that basically we should commit to our

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<v Speaker 2>picks in such a fashion and get tattoos. And I

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<v Speaker 2>threw out listeners, if you've got a tattoo, we want

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<v Speaker 2>to see them. Well, one listener took that even a

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<v Speaker 2>step further. Kyle and Albuquerque wrote in.

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<v Speaker 1>Hey, Adam and josh just listen to episode forty eight

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<v Speaker 1>and heard about the guy with the tattoo. Instead of

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<v Speaker 1>getting your top five list tattooed, how about using that

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<v Speaker 1>as a top five topic, top five movies that you

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<v Speaker 1>would tattoo on your body, and what would the tattoo be?

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<v Speaker 1>Thanks for the show, guys.

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<v Speaker 2>So I teased this a little bit last week, and

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<v Speaker 2>I mentioned that when I first got that email from Kyle,

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<v Speaker 2>my response was, that's brilliant. It's such a good idea,

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<v Speaker 2>but also so absurd and ridiculous that there's no way

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<v Speaker 2>we're going to do it. It would just be too hard,

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<v Speaker 2>and well, it would just be too hard, frankly. And

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<v Speaker 2>then the more I thought about it, I realized that

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<v Speaker 2>not only could we do it, if we really put

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<v Speaker 2>our minds to it, we should do it.

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<v Speaker 1>Josh, here's a moral careative making lists, not getting tattoos.

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<v Speaker 2>Well, let's see how the list go. I think we

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<v Speaker 2>could end up there. But I thought this was one

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<v Speaker 2>of those very personal lists which are always the best

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<v Speaker 2>top fives, so it could rival the site and sound

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<v Speaker 2>where we named our top ten favorite films basically of

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<v Speaker 2>all time, or what we did on our four hundredth show,

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<v Speaker 2>the live episode where we did the top five things

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<v Speaker 2>we learned from the movies. These are picks that nobody

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<v Speaker 2>can really write in and say you got it wrong?

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<v Speaker 2>How did you forget this? Everyone's going to have a

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<v Speaker 2>unique list. So we're going to get to our list

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<v Speaker 2>here in a minute. But if we go back to

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<v Speaker 2>Joshua from Portland, it is funny because after hearing Kyle's

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<v Speaker 2>email on last week's show, we got an email from

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<v Speaker 2>him and it turns out he's actually gone and done

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<v Speaker 2>what we surely almost will only talk about doing. He

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<v Speaker 2>chose an icon from each of his five favorite films

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<v Speaker 2>and got them tattooed right in a line from risk

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<v Speaker 2>to elbow. So if you want to see that, that

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<v Speaker 2>again is over at Sam's tumbler.

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<v Speaker 1>But it's really something impressive.

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<v Speaker 2>So inspiration from listeners, and we are getting a lot

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<v Speaker 2>of comments with ideas and pictures, and we love it

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<v Speaker 2>when we get that kind of response where we really

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<v Speaker 2>see the passion that you have to have for a

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<v Speaker 2>movie in order to put it on your body forever.

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<v Speaker 2>So with that, josh that brings us to our list.

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<v Speaker 2>You were initially a little bit hesitant, a little bit

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<v Speaker 2>unsure of the topic, but I think you had a

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<v Speaker 2>little bit of a breakthrough.

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<v Speaker 1>I did have a breakthrough, and my number five is

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<v Speaker 1>where it came. Actually, Sam suggested to me when I

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<v Speaker 1>was saying how difficult this was, He suggested, come on,

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<v Speaker 1>this is easy. How about an umbrella for the umbrellas

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<v Speaker 1>of Cherbor. Yeah, that's structor Jacques de Mes nineteen sixty

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<v Speaker 1>four attempt to out musical the Hollywood musical stars Catherine

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<v Speaker 1>Deneuve and Nino Castel Nuevo as young lovers who are

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<v Speaker 1>interrupted by the Algerian Wars. So, yeah, makes sense. I

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<v Speaker 1>didn't name it on that Citan Sound top ten of

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<v Speaker 1>all time lists we made, But does it really mean

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<v Speaker 1>enough to me to get a tattoo of it on

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<v Speaker 1>my body?

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<v Speaker 3>You know?

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<v Speaker 1>When say I mentioned, I understood why, but I don't know.

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<v Speaker 1>Is it that personal of a film? Well? Then I

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<v Speaker 1>remember that Singing in the Rain, uh also prominently features

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<v Speaker 1>an umbrella in its most famous scene.

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<v Speaker 3>In Rain. Yes, and in the Rain, what a glorious feel?

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<v Speaker 2>And I'm again.

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<v Speaker 1>So suddenly the umbrella tattoo idea, you know, becomes not

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<v Speaker 1>only a nod to two of the all time great musicals,

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<v Speaker 1>but also to the entire genre and musicals. You know,

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<v Speaker 1>it's a genre that my Star Wars loving preteen self

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<v Speaker 1>would never have cared for or even really considered. Right

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<v Speaker 1>it was grandma genre or something like that. But it's

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<v Speaker 1>one of those that as I've gotten more into film

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<v Speaker 1>and started to explore different types and periods and so forth,

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<v Speaker 1>I've really come to appreciate. It's one of my favorite genres,

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<v Speaker 1>probably now as a movie mad grown up. So this

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<v Speaker 1>umbrella tattoo would also be something like a nod to

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<v Speaker 1>the broadening of horizons or maybe the film journey I've

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<v Speaker 1>taken a little bit. So yeah, I think Sam was

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<v Speaker 1>on something there, and the umbrella tattoo would be my

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<v Speaker 1>number five, tying it in with umbrellas of Shareboar and

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<v Speaker 1>Singing in the Rain. Now, Okay, we didn't discuss this,

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<v Speaker 1>but I gave this some thought too. Where each of

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<v Speaker 1>these are gonna go.

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<v Speaker 2>I thought about it a little bit as well.

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<v Speaker 1>Good, I think I'm going to go lower back for

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<v Speaker 1>this one.

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<v Speaker 2>So lower back, Yeah, start at the lower back. It's

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<v Speaker 2>a trump stamp of an umbrella.

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<v Speaker 1>Of an umbrella. Well maybe off to the side, I

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<v Speaker 1>think then it's not a tramp staff.

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<v Speaker 2>Right. Well, I took this list very seriously Josh, because

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<v Speaker 2>as we said, it's so personal, and the Pantheon in

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<v Speaker 2>fact was eligible for it because we're thinking about these

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<v Speaker 2>films that have so much meaning for us, we have

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<v Speaker 2>to consider the movies that we've locked away as being

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<v Speaker 2>among our favorite of all time. It turns out none

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<v Speaker 2>of my picks come from our pantheon, but one of them,

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<v Speaker 2>my number two pick, was a contender at one point

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<v Speaker 2>to be anointed and surely will be again at some point.

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<v Speaker 2>And it made an appearance on my penalty box as

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<v Speaker 2>well because it had come up a few times. So

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<v Speaker 2>we'll get to that. But one of the things I

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<v Speaker 2>really wrestled with, and I think I found sort of

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<v Speaker 2>a happy medium of my picks, is whether or not

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<v Speaker 2>I was going to go with images or words or

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<v Speaker 2>a combination of both. And I was really pushing myself

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<v Speaker 2>to pick images because it's a visual medium. But I

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<v Speaker 2>was arguing about that with our producer Sam, and he said,

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<v Speaker 2>of course, it's a visual medium, but quotes are the

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<v Speaker 2>currency of movie conversation. Movie image tattoos invariably seem too

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<v Speaker 2>explicit to me. Movie quotes are like a secret code

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<v Speaker 2>with film lovers, which I think is really well expressed,

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<v Speaker 2>and I think there's some truth to it, but I

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<v Speaker 2>did want to find a balance. I wanted to focus

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<v Speaker 2>first on images over text and see if I could

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<v Speaker 2>maybe combine them a little bit. And the fact is,

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<v Speaker 2>even though quotes are the currency of movie conversation, so

0:11:10.804 --> 0:11:14.845
<v Speaker 2>were great images. Sometimes there's something really wonderful about being

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<v Speaker 2>able to put up just a still frame from a

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<v Speaker 2>film that doesn't explicitly have a character in it and

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<v Speaker 2>know that someone else next to you knows exactly what

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<v Speaker 2>you're talking about. You can have that kind of bond

0:11:24.885 --> 0:11:28.245
<v Speaker 2>over movie images. I also thought about this in the realm, Josh,

0:11:28.245 --> 0:11:29.925
<v Speaker 2>We've been joking about whether or not we're actually going

0:11:30.005 --> 0:11:34.365
<v Speaker 2>to get any of these tattoos. I at least wanted

0:11:34.365 --> 0:11:36.645
<v Speaker 2>to force myself. I had to give myself some stakes

0:11:36.845 --> 0:11:39.045
<v Speaker 2>to this top five, and this really had to be

0:11:39.165 --> 0:11:42.045
<v Speaker 2>not just theoretical. It had to be a case where

0:11:42.125 --> 0:11:45.085
<v Speaker 2>I could actually envision myself going to do this, So

0:11:45.125 --> 0:11:48.205
<v Speaker 2>it really had to mean something to me personally. And

0:11:48.325 --> 0:11:50.285
<v Speaker 2>after I made my picks, I went back and realized

0:11:50.325 --> 0:11:53.125
<v Speaker 2>that there was sort of an unofficial memorial list pick

0:11:53.165 --> 0:11:55.605
<v Speaker 2>here for my top five, and I guess I could

0:11:55.605 --> 0:11:58.325
<v Speaker 2>call it the night play Chess with Death or the

0:11:58.405 --> 0:12:01.005
<v Speaker 2>Dance of Death could go with either image from Igmar

0:12:01.045 --> 0:12:03.525
<v Speaker 2>Bergmann's The Seventh Seal. It doesn't apply to all of

0:12:03.564 --> 0:12:05.645
<v Speaker 2>my picks, but it is a theme, and I guess

0:12:05.645 --> 0:12:10.285
<v Speaker 2>for me it's the theme mortality, the reckoning, with the

0:12:10.325 --> 0:12:13.725
<v Speaker 2>mystery and meaning of our existence. And that's appropriate because

0:12:14.045 --> 0:12:18.085
<v Speaker 2>tattoos are supposed to last forever. They are emblems of

0:12:18.165 --> 0:12:22.845
<v Speaker 2>permanence that underscore are impermanent. It's because they last only

0:12:22.885 --> 0:12:25.085
<v Speaker 2>as long as our bodies do. They also speak to

0:12:25.125 --> 0:12:28.885
<v Speaker 2>the fundamental human desire to leave a mark, to say

0:12:28.925 --> 0:12:31.525
<v Speaker 2>this is what I stood for before we shuffle off

0:12:31.525 --> 0:12:34.325
<v Speaker 2>this mortal coil. So it only did seem fitting that

0:12:34.325 --> 0:12:37.205
<v Speaker 2>a lot of my picks wrestled with this, which brings

0:12:37.245 --> 0:12:39.525
<v Speaker 2>us finally to my number five pick. It's inspired by

0:12:39.564 --> 0:12:41.685
<v Speaker 2>the movie Never Let Me Go, my favorite film of

0:12:41.725 --> 0:12:44.925
<v Speaker 2>twenty ten, based on the Kazuo Ishiguro novel, and for

0:12:45.005 --> 0:12:48.285
<v Speaker 2>those who haven't seen it, I won't spoil anything. Maybe

0:12:48.325 --> 0:12:51.645
<v Speaker 2>the plot description The simple synopsis from IMDb says it

0:12:51.684 --> 0:12:53.965
<v Speaker 2>best when it talks about three friends who come of

0:12:53.965 --> 0:12:57.444
<v Speaker 2>age at a mysterious secluded boarding school and they're destined

0:12:57.485 --> 0:13:01.605
<v Speaker 2>to lead brief lives. The line that my tattoo is

0:13:01.605 --> 0:13:04.365
<v Speaker 2>going to be taken from is a line that is

0:13:04.405 --> 0:13:07.365
<v Speaker 2>basically lifted right out of the novel. It's where in

0:13:07.405 --> 0:13:11.204
<v Speaker 2>the movie Carrie Mulligan, our main character throughout most of

0:13:11.245 --> 0:13:13.965
<v Speaker 2>the film our eyes to this world. She says, I

0:13:14.005 --> 0:13:16.245
<v Speaker 2>remind myself I was lucky to have had any time

0:13:16.245 --> 0:13:16.845
<v Speaker 2>with him at all.

0:13:17.085 --> 0:13:21.324
<v Speaker 4>What I'm not sure about is if our lives been

0:13:21.365 --> 0:13:23.445
<v Speaker 4>so different from the lives of the people we save,

0:13:25.165 --> 0:13:29.885
<v Speaker 4>we all complete. Maybe none of us really understand what

0:13:29.925 --> 0:13:35.245
<v Speaker 4>we've lived through. We'll feel we've had enough time.

0:13:36.325 --> 0:13:40.405
<v Speaker 2>So that phrase we all complete. That's something that really

0:13:40.485 --> 0:13:43.365
<v Speaker 2>had a profound impact on me. And I suppose it's

0:13:43.645 --> 0:13:46.084
<v Speaker 2>just on its face mysterious and deep sounding. It's the

0:13:46.165 --> 0:13:48.525
<v Speaker 2>kind of phrase if someone saw it on your body,

0:13:48.564 --> 0:13:50.525
<v Speaker 2>they want to hear the story behind it, or in

0:13:50.525 --> 0:13:53.285
<v Speaker 2>lieu of an obvious explanation, it's something they would ponder.

0:13:53.645 --> 0:13:56.165
<v Speaker 2>The word complete is really the key. It has a

0:13:56.165 --> 0:13:58.725
<v Speaker 2>specific meaning in the universe of this story if you've

0:13:58.725 --> 0:14:01.645
<v Speaker 2>seen the film, but it's fairly clear what she's referring to.

0:14:01.804 --> 0:14:05.085
<v Speaker 2>It's inevitable that we are going to degrade and die,

0:14:05.405 --> 0:14:07.925
<v Speaker 2>but there's something about the word complete that doesn't make

0:14:07.965 --> 0:14:11.005
<v Speaker 2>it seem so terrifying and miserable, right, it makes it

0:14:11.045 --> 0:14:14.485
<v Speaker 2>seem natural and acceptable, which is how I'd like death

0:14:14.645 --> 0:14:17.885
<v Speaker 2>to seem anyway. And there's of course something unifying and

0:14:17.965 --> 0:14:20.205
<v Speaker 2>humanistic about that phrase as well. It says, no matter

0:14:20.205 --> 0:14:22.605
<v Speaker 2>our difference is, no matter the specifics of our lives

0:14:22.645 --> 0:14:25.445
<v Speaker 2>and our deaths, we all have the same laments. And

0:14:25.485 --> 0:14:28.245
<v Speaker 2>that's a very beautiful thought to me. So I'm not

0:14:28.285 --> 0:14:30.925
<v Speaker 2>sure if I would just go with that phrase or

0:14:30.925 --> 0:14:32.845
<v Speaker 2>I would go with that phrase, And maybe some image

0:14:32.885 --> 0:14:35.285
<v Speaker 2>from the film. There's that great poster shot which as

0:14:35.325 --> 0:14:38.805
<v Speaker 2>Andrew Garfield and Carrie Mulligan running along Cleveden Pier it's

0:14:38.845 --> 0:14:42.565
<v Speaker 2>in Somerset, England, just a very beautiful evocative image. Or

0:14:42.685 --> 0:14:45.485
<v Speaker 2>the trinkets, the toys we see in the movie where

0:14:45.485 --> 0:14:48.205
<v Speaker 2>these kids at the school it's their big sort of

0:14:48.325 --> 0:14:50.605
<v Speaker 2>jamboree where all of a sudden someone shows up with

0:14:50.645 --> 0:14:54.245
<v Speaker 2>these old castaway toys that clearly have been used and

0:14:54.285 --> 0:14:56.925
<v Speaker 2>not really loved at all, and for them it's so

0:14:57.125 --> 0:15:00.565
<v Speaker 2>meaningful in such an important day. And I always loved

0:15:00.805 --> 0:15:04.205
<v Speaker 2>the symbolism of that because these kids see these nickknacks

0:15:04.245 --> 0:15:07.045
<v Speaker 2>that seem to be valueless but are invaluable to them.

0:15:07.085 --> 0:15:10.005
<v Speaker 2>And there's this notion that anything matters as long as

0:15:10.045 --> 0:15:12.965
<v Speaker 2>somebody cares about it, if someone assigns value to it,

0:15:13.045 --> 0:15:15.565
<v Speaker 2>And that is another aspect of the book that really

0:15:15.565 --> 0:15:17.005
<v Speaker 2>stuck with me. So never let me go.

0:15:17.365 --> 0:15:18.365
<v Speaker 1>Is it going to be the text?

0:15:18.525 --> 0:15:20.965
<v Speaker 2>You got to pick one that would be the lead,

0:15:21.045 --> 0:15:22.645
<v Speaker 2>Start with the text, and maybe try to build an

0:15:22.645 --> 0:15:24.125
<v Speaker 2>image around it, all right, Yeah.

0:15:24.005 --> 0:15:26.405
<v Speaker 1>Yeah, I wrestled with that too, whether to go with

0:15:26.445 --> 0:15:29.565
<v Speaker 1>text or images. I ended up choosing all images, so

0:15:29.965 --> 0:15:32.885
<v Speaker 1>considered a few texts, but when all images. So my

0:15:33.005 --> 0:15:37.045
<v Speaker 1>number four actually is a logo and combination of text

0:15:37.085 --> 0:15:40.045
<v Speaker 1>and image. I guess it comes from a Wes Anderson

0:15:40.085 --> 0:15:43.605
<v Speaker 1>film because I wanted to choose something from one of

0:15:43.645 --> 0:15:47.565
<v Speaker 1>his pictures, because he's probably my favorite working filmmaker, as

0:15:47.605 --> 0:15:50.205
<v Speaker 1>listeners well know, and really there's no shortage of options

0:15:50.245 --> 0:15:53.045
<v Speaker 1>when you're starting to think about this. Speaking of text,

0:15:53.045 --> 0:15:54.965
<v Speaker 1>I could have gone with, I say, Latin from Rushmore

0:15:55.085 --> 0:15:58.925
<v Speaker 1>or something like that. An image might be the silhouette

0:15:59.005 --> 0:16:01.365
<v Speaker 1>of the wolf giving the fist pump at the end

0:16:01.365 --> 0:16:04.285
<v Speaker 1>of Fantastic Mister Fox. I love that image. Maybe even

0:16:04.325 --> 0:16:07.805
<v Speaker 1>a bottle rocket where it all started, or Steve's Sue's submarine.

0:16:07.885 --> 0:16:09.685
<v Speaker 1>You know, a nice nod to the Beatles there too,

0:16:09.725 --> 0:16:10.285
<v Speaker 1>So it works.

0:16:10.485 --> 0:16:14.125
<v Speaker 2>I sense a whole Wes Anderson's sleeve. Josh.

0:16:14.165 --> 0:16:17.085
<v Speaker 1>You could go many many directions. I narrowed in on

0:16:17.085 --> 0:16:22.005
<v Speaker 1>one that Anderson has already given us because he's so fussy.

0:16:22.045 --> 0:16:25.325
<v Speaker 1>He likes these sorts of things like logos and scripts

0:16:25.365 --> 0:16:27.605
<v Speaker 1>and that sort of thing, and so we have the

0:16:27.645 --> 0:16:31.605
<v Speaker 1>teams issue logo, that grouping of Z's from The Life

0:16:31.645 --> 0:16:35.205
<v Speaker 1>Aquatic with Steve Zazou. I do think this is representative

0:16:35.245 --> 0:16:37.605
<v Speaker 1>of one of the things that resonates with me about

0:16:37.605 --> 0:16:40.485
<v Speaker 1>his films too, though they so often deal with this

0:16:40.565 --> 0:16:43.845
<v Speaker 1>sense of belonging to a group, a group that needs

0:16:44.005 --> 0:16:46.925
<v Speaker 1>or wants something like a logo, right, or a motto

0:16:47.125 --> 0:16:49.645
<v Speaker 1>or some symbol of their togetherness. Almost all of his

0:16:49.685 --> 0:16:52.885
<v Speaker 1>groups have that, and really just about every one of

0:16:52.925 --> 0:16:55.725
<v Speaker 1>his films except interestingly, you could argue maybe The Grand

0:16:55.725 --> 0:16:58.565
<v Speaker 1>Budapest Hotel doesn't do this, but most of his films

0:16:59.085 --> 0:17:03.045
<v Speaker 1>are about the creating or sustaining or restoring of a community.

0:17:03.405 --> 0:17:06.405
<v Speaker 1>I also do like choosing something from the Life Aquatic

0:17:06.525 --> 0:17:08.925
<v Speaker 1>because I get the sense that what seems to separate

0:17:08.925 --> 0:17:12.045
<v Speaker 1>an Anderson fan from an Anderson fanatic is whether or

0:17:12.045 --> 0:17:14.565
<v Speaker 1>not you go for this movie. It's kind of a

0:17:14.605 --> 0:17:17.685
<v Speaker 1>tipping point movie, and to choose something from an Anderson

0:17:17.725 --> 0:17:20.845
<v Speaker 1>film too feels to me from everything on this list

0:17:21.405 --> 0:17:24.605
<v Speaker 1>more in line with how you should get a tattoo. Okay,

0:17:24.605 --> 0:17:27.645
<v Speaker 1>because I'm in the midst of the fandom right now,

0:17:27.685 --> 0:17:31.645
<v Speaker 1>I'm not necessarily looking back on something I've appreciated for

0:17:31.725 --> 0:17:34.325
<v Speaker 1>a long time, and I feel like that's when people

0:17:34.365 --> 0:17:35.885
<v Speaker 1>do get a lot of tattoos. And there could be

0:17:35.925 --> 0:17:39.965
<v Speaker 1>a downside to this, because you know, maybe they're going

0:17:40.005 --> 0:17:42.645
<v Speaker 1>to put out, say a really terrible album. The next

0:17:42.685 --> 0:17:44.485
<v Speaker 1>album is going to be horrible, and you're going to

0:17:44.525 --> 0:17:47.805
<v Speaker 1>regret that tattoo. Maybe Anderson's got a horrible film ahead

0:17:47.805 --> 0:17:49.725
<v Speaker 1>of them. I'll have be stuck with my tattoo. But

0:17:49.765 --> 0:17:52.205
<v Speaker 1>that's okay, that's that's kind of how they should work. Yeah.

0:17:52.285 --> 0:17:54.565
<v Speaker 2>No, that's a great point. And I'm guessing there's someone

0:17:54.605 --> 0:17:57.085
<v Speaker 2>out there listening who's going to email us not only

0:17:57.085 --> 0:17:59.845
<v Speaker 2>a Wes Anderson tattoo, which actually we've already seen.

0:17:59.885 --> 0:18:00.805
<v Speaker 1>The Royal Tenen bombs.

0:18:00.845 --> 0:18:04.685
<v Speaker 2>Kenny Meyer with his ten and bombs Margo and Richie.

0:18:04.725 --> 0:18:06.885
<v Speaker 2>But there's got to be a team Zisu test.

0:18:06.965 --> 0:18:09.645
<v Speaker 1>I'm sure. I'm sure maybe where I'm going to put

0:18:09.685 --> 0:18:12.285
<v Speaker 1>it on upper arm, you know, just below the shoulders.

0:18:12.325 --> 0:18:15.245
<v Speaker 2>You're right though, that to do something like this, they

0:18:15.245 --> 0:18:17.885
<v Speaker 2>have to be timeless. There has to be something timeless

0:18:17.885 --> 0:18:21.765
<v Speaker 2>about them, right right, versus picking some thing that you

0:18:21.805 --> 0:18:24.165
<v Speaker 2>could really change your mind about two weeks or two

0:18:24.245 --> 0:18:26.645
<v Speaker 2>years later. So good pick. Even though I'm one of

0:18:26.685 --> 0:18:28.765
<v Speaker 2>those people, I think that's well said. Who maybe that

0:18:28.885 --> 0:18:31.645
<v Speaker 2>movie does separate me as just a Wes Anderson fan

0:18:32.085 --> 0:18:35.085
<v Speaker 2>and not a full blown fanatic. My number four tattoo

0:18:35.285 --> 0:18:39.085
<v Speaker 2>that I might actually get is the image of Alan

0:18:39.325 --> 0:18:43.085
<v Speaker 2>de Lan and his fedora from Les Samurai Oh Good,

0:18:43.165 --> 0:18:46.165
<v Speaker 2>the Jean Pierre Melville film. If you've seen the Criterion

0:18:46.245 --> 0:18:50.925
<v Speaker 2>collection cover image, it's Delan as Jeff Costello in profile

0:18:51.245 --> 0:18:54.845
<v Speaker 2>and he's got his finger touching the tip of his hat. This,

0:18:54.925 --> 0:18:57.805
<v Speaker 2>for me, Josh, is my aspirational tattoo. See, not all

0:18:57.845 --> 0:19:00.405
<v Speaker 2>my picks are going to be totally focused on death

0:19:00.445 --> 0:19:01.685
<v Speaker 2>and really kind of.

0:19:01.645 --> 0:19:03.085
<v Speaker 1>But that's what I was going to say. Tattoos, a

0:19:03.125 --> 0:19:04.605
<v Speaker 1>lot of times are the guy you want to be,

0:19:04.925 --> 0:19:05.645
<v Speaker 1>the guy you want to be.

0:19:05.885 --> 0:19:08.125
<v Speaker 2>That's exactly what this is. It's the tattoo I want

0:19:08.245 --> 0:19:11.925
<v Speaker 2>because it's cool, and there's nobody cooler to me in

0:19:11.965 --> 0:19:15.445
<v Speaker 2>the history of cinema than Alan Deolan from Le Samurai.

0:19:15.845 --> 0:19:18.925
<v Speaker 2>I could never look like him, I could never carry

0:19:18.925 --> 0:19:21.965
<v Speaker 2>myself like him, but I would love Josh to be

0:19:22.085 --> 0:19:26.285
<v Speaker 2>the strong, silent, mysterious type, always calm and in control,

0:19:26.805 --> 0:19:31.685
<v Speaker 2>never outwardly vulnerable, someone who reads people rather than wearing

0:19:31.725 --> 0:19:33.765
<v Speaker 2>all of his emotions on his sleeve like I tend

0:19:33.765 --> 0:19:36.325
<v Speaker 2>to do, and constantly expressing whatever's on my mind at

0:19:36.365 --> 0:19:39.605
<v Speaker 2>any given moment. All that is what I do aspire

0:19:39.645 --> 0:19:41.925
<v Speaker 2>to be and probably never will come close. I also

0:19:41.965 --> 0:19:44.645
<v Speaker 2>love that he's a professional, someone who is really good

0:19:44.725 --> 0:19:46.605
<v Speaker 2>at what he does, and those characters are among my

0:19:46.605 --> 0:19:49.245
<v Speaker 2>favorite to watch on screen. This is a film Les

0:19:49.285 --> 0:19:51.925
<v Speaker 2>Samurai that was discussed on the show maybe four or

0:19:51.925 --> 0:19:53.925
<v Speaker 2>five years ago. I think it was a listener's choice pick.

0:19:53.925 --> 0:19:55.645
<v Speaker 2>If you haven't seen it, but you've seen Ghost Dog,

0:19:55.725 --> 0:19:58.605
<v Speaker 2>the Jim Jarmish film, you'll see a lot of similarities.

0:19:58.605 --> 0:20:02.325
<v Speaker 2>Clearly an influence on Jarmish. As I think back on that,

0:20:02.405 --> 0:20:06.925
<v Speaker 2>Jeff Costello character his life of solitude and ultimately tragedy

0:20:07.005 --> 0:20:09.965
<v Speaker 2>isn't one I really want to emulate, or do I

0:20:10.005 --> 0:20:12.725
<v Speaker 2>think most people want to emulate. But as a visage

0:20:12.885 --> 0:20:15.325
<v Speaker 2>of cool, it's tough to be and I think if

0:20:15.325 --> 0:20:16.925
<v Speaker 2>I was going to get it, i'd probably get it

0:20:16.965 --> 0:20:20.085
<v Speaker 2>on my arm right up there by my shoulder and

0:20:20.165 --> 0:20:22.085
<v Speaker 2>basically would be facing out right.

0:20:22.165 --> 0:20:24.685
<v Speaker 1>Yeah, that makes sense. Well, my number three, I should

0:20:24.685 --> 0:20:27.405
<v Speaker 1>probably point out, is not an aspirational tech okay, because

0:20:27.405 --> 0:20:30.405
<v Speaker 1>it's the blue ferry from Pinocchio. And my mind went

0:20:30.485 --> 0:20:34.445
<v Speaker 1>here because Pinocchio is another cit and Sound type list

0:20:34.525 --> 0:20:36.525
<v Speaker 1>pick that I made top ten film of all time

0:20:36.525 --> 0:20:38.925
<v Speaker 1>for me. It was also my number one traditionally animated

0:20:38.965 --> 0:20:41.405
<v Speaker 1>film when we did that list a while back, So

0:20:41.525 --> 0:20:44.165
<v Speaker 1>the pick feels right. But it also forced me to consider,

0:20:44.845 --> 0:20:49.085
<v Speaker 1>really consider why I respond to animation so strongly, why

0:20:49.125 --> 0:20:52.565
<v Speaker 1>it does seem to speak to me in a special way.

0:20:52.805 --> 0:20:54.605
<v Speaker 1>And I think part of it is, you know, it's

0:20:54.645 --> 0:20:57.605
<v Speaker 1>just purely because it's something I'm incapable of doing myself.

0:20:57.645 --> 0:21:00.005
<v Speaker 1>I've never been able to draw, so I'm in awe

0:21:00.045 --> 0:21:03.285
<v Speaker 1>of that sort of artistry. But I do also think

0:21:03.365 --> 0:21:07.165
<v Speaker 1>that animation best captures the sense of wonder that first

0:21:07.285 --> 0:21:10.565
<v Speaker 1>drew me to the movies and continues to sustain my

0:21:10.685 --> 0:21:13.685
<v Speaker 1>passion for them. It's probably also why I'm more eager

0:21:13.725 --> 0:21:17.405
<v Speaker 1>to embrace whimsy or fantasy films like that. I mean, animation,

0:21:18.085 --> 0:21:21.605
<v Speaker 1>It just seems to it simply has more possible ability

0:21:21.805 --> 0:21:25.165
<v Speaker 1>than live action. At least in my mind, anything can happen.

0:21:25.405 --> 0:21:27.645
<v Speaker 1>And that's even really the case for stories that you know,

0:21:27.925 --> 0:21:30.365
<v Speaker 1>you know, even though we know the tale of Pinocchio.

0:21:30.845 --> 0:21:33.565
<v Speaker 1>A part of the delight is seeing how the animators

0:21:33.605 --> 0:21:37.845
<v Speaker 1>are going to envision this wild tale. As I live

0:21:37.885 --> 0:21:44.085
<v Speaker 1>and breathe a fairy. Oh good, geppetto.

0:21:44.685 --> 0:21:46.965
<v Speaker 2>You have given so much happiness to others.

0:21:47.325 --> 0:21:54.805
<v Speaker 1>You deserve to have your wish come true, little puppet

0:21:54.845 --> 0:21:55.485
<v Speaker 1>made of pine.

0:21:56.525 --> 0:22:05.125
<v Speaker 4>Wait, the gift of life is bye what they can't

0:22:05.165 --> 0:22:06.085
<v Speaker 4>do these days?

0:22:06.325 --> 0:22:09.405
<v Speaker 1>All right? So now why the blue fairy in particular

0:22:09.445 --> 0:22:11.805
<v Speaker 1>from Pinocchio. Well, if you're going to go with a

0:22:11.805 --> 0:22:15.685
<v Speaker 1>woman figure, which is a common tattoo direction, she's more

0:22:15.765 --> 0:22:18.205
<v Speaker 1>my tattoo style than something like, you know, a topless

0:22:18.285 --> 0:22:21.685
<v Speaker 1>mermaid or something like that. Really what I'm.

0:22:21.565 --> 0:22:24.605
<v Speaker 2>Looking for there's a sailor Josh.

0:22:24.365 --> 0:22:27.645
<v Speaker 1>Yeah, exactly, No, never been a sailor. Plus there's the

0:22:27.645 --> 0:22:29.325
<v Speaker 1>bonus fact with the Blue Fairy though that she has

0:22:29.365 --> 0:22:32.645
<v Speaker 1>a cameo and Steven Spielberg's best film what might be

0:22:32.685 --> 0:22:35.765
<v Speaker 1>his best film. Still not positive about that, but AI

0:22:35.925 --> 0:22:39.325
<v Speaker 1>artificial intelligence is certainly up there. So with a Blue

0:22:39.365 --> 0:22:42.125
<v Speaker 1>Fairy tattoo, I get a Spielberg tip of the hat

0:22:42.165 --> 0:22:44.645
<v Speaker 1>as well. Probably put this one on my other arm,

0:22:45.165 --> 0:22:48.325
<v Speaker 1>just below the shoulder. Are you getting a visual here?

0:22:48.485 --> 0:22:52.045
<v Speaker 2>I am, it's really coming through loud and clear. Well.

0:22:52.205 --> 0:22:56.525
<v Speaker 2>My number three a nice balance of sorts. In response

0:22:56.565 --> 0:22:59.285
<v Speaker 2>to my number four pick, we go from the coolest

0:22:59.365 --> 0:23:02.885
<v Speaker 2>character in cinema a land Along from les Samurai to

0:23:03.005 --> 0:23:07.765
<v Speaker 2>the uncoolest William Miller with his microphone from Cameron Crow's

0:23:07.925 --> 0:23:10.085
<v Speaker 2>Almost Famous, And I would use some form of that

0:23:10.565 --> 0:23:14.445
<v Speaker 2>phrase that conversation he has with Philip Seymour Hoffman's Lester

0:23:14.525 --> 0:23:17.365
<v Speaker 2>Bangs when he tells him the only true currency in

0:23:17.405 --> 0:23:20.045
<v Speaker 2>this bankrupt world is what you share with someone when

0:23:20.045 --> 0:23:21.245
<v Speaker 2>you're uncool.

0:23:21.045 --> 0:23:24.245
<v Speaker 1>I'm glad you, I'm always home, I'm onn cool.

0:23:24.845 --> 0:23:27.925
<v Speaker 2>Whether it's that phrase the uncool or we are uncool,

0:23:28.285 --> 0:23:30.325
<v Speaker 2>I would incorporate that somehow. But I would use that

0:23:30.405 --> 0:23:33.205
<v Speaker 2>image as well. And for people who have been following

0:23:33.285 --> 0:23:35.685
<v Speaker 2>us on Twitter for a while or go to the

0:23:35.685 --> 0:23:38.565
<v Speaker 2>film Spotting Facebook page, this isn't a surprise. They know

0:23:38.645 --> 0:23:41.205
<v Speaker 2>that I've had this image for years as my avatar,

0:23:41.525 --> 0:23:44.405
<v Speaker 2>going back to the very first message board I was

0:23:44.445 --> 0:23:46.845
<v Speaker 2>ever on, probably in two thousand and one or two

0:23:46.925 --> 0:23:50.525
<v Speaker 2>thousand and two. So not an aspirational pick, not the man,

0:23:50.725 --> 0:23:52.845
<v Speaker 2>not the character I want to be, but more like

0:23:52.925 --> 0:23:56.365
<v Speaker 2>the character I actually am. And part of my choosing

0:23:56.405 --> 0:23:58.325
<v Speaker 2>this and going with this for so many years as

0:23:58.365 --> 0:24:01.085
<v Speaker 2>I have is, as I have noted a million times

0:24:01.085 --> 0:24:03.005
<v Speaker 2>here on the show, it is the first movie I

0:24:03.045 --> 0:24:05.845
<v Speaker 2>ever reviewed, almost famous. It was purely by accident. It

0:24:05.885 --> 0:24:08.765
<v Speaker 2>just happened to open the weekend I started writing reviews

0:24:09.085 --> 0:24:11.765
<v Speaker 2>for the Daily Iowa. So there is that sentimental attachment

0:24:11.765 --> 0:24:13.965
<v Speaker 2>to it. I loved the movie when it came out.

0:24:14.245 --> 0:24:16.525
<v Speaker 2>Part of it, though, is also that it does represent me.

0:24:16.685 --> 0:24:19.805
<v Speaker 2>I think it's the guy with the microphone trying to

0:24:19.885 --> 0:24:23.525
<v Speaker 2>express himself, trying to get others to express themselves. And

0:24:24.125 --> 0:24:27.445
<v Speaker 2>I got into movies with the same passion. William Miller

0:24:27.765 --> 0:24:30.245
<v Speaker 2>gets into music where he has a breakthrough. He has

0:24:30.285 --> 0:24:33.605
<v Speaker 2>an epiphany and he just becomes obsessed with it. I

0:24:33.725 --> 0:24:36.685
<v Speaker 2>became fascinated as well by not just art of all kinds,

0:24:36.725 --> 0:24:40.085
<v Speaker 2>but specifically artists and the creative process around the same

0:24:40.125 --> 0:24:42.805
<v Speaker 2>age William is in the movie, and with the same fervor.

0:24:42.845 --> 0:24:46.565
<v Speaker 2>That fascination and passion is what that smile on his

0:24:46.685 --> 0:24:48.485
<v Speaker 2>face if you know the image I'm talking about, it's

0:24:48.525 --> 0:24:51.605
<v Speaker 2>just as he leans in to interview Russell at the

0:24:51.685 --> 0:24:54.325
<v Speaker 2>end of Almost Famous. That's what that represents for me,

0:24:54.405 --> 0:24:58.525
<v Speaker 2>that leaning forward, even it reflects his curiosity. This isn't

0:24:58.565 --> 0:25:01.045
<v Speaker 2>a passive thing for him. It's very active. He's an

0:25:01.045 --> 0:25:04.365
<v Speaker 2>engaged learner and he just wants to know as much

0:25:04.365 --> 0:25:06.605
<v Speaker 2>as he can. I of course agree with the sentiment

0:25:06.645 --> 0:25:09.885
<v Speaker 2>as well, so eloquently expressed by Lester Bangs there. So

0:25:09.965 --> 0:25:12.045
<v Speaker 2>maybe what I do, Josh, actually this occurred to me

0:25:12.325 --> 0:25:14.925
<v Speaker 2>is maybe on my right arm, I've got le Samurai

0:25:15.605 --> 0:25:17.445
<v Speaker 2>and I've got William Miller on the other.

0:25:17.645 --> 0:25:17.845
<v Speaker 1>You go.

0:25:18.125 --> 0:25:20.725
<v Speaker 2>So it's not love and hate, right like Robert Mitcham

0:25:21.165 --> 0:25:24.445
<v Speaker 2>Knight of the Hunter. But I've got cool and uncool

0:25:24.605 --> 0:25:26.445
<v Speaker 2>all right to keep me in check at all times.

0:25:26.445 --> 0:25:28.645
<v Speaker 1>You know what's good about that? Though? Tattoo should also

0:25:28.645 --> 0:25:31.965
<v Speaker 1>be a time marker maybe or an event marker. So yeah,

0:25:32.085 --> 0:25:35.405
<v Speaker 1>to mark that first review and that lined up so well,

0:25:35.685 --> 0:25:37.245
<v Speaker 1>I do that. I'm not gonna do that because my

0:25:37.285 --> 0:25:39.685
<v Speaker 1>first published review was of Interview with a Vampire and

0:25:40.005 --> 0:25:42.285
<v Speaker 1>I don't need come on a pasty brad Pitt on

0:25:42.365 --> 0:25:42.845
<v Speaker 1>my body.

0:25:43.805 --> 0:25:45.805
<v Speaker 2>Oh I love to see that, all right.

0:25:45.885 --> 0:25:49.085
<v Speaker 1>Number two is belt Aasarre, the Donkey from Al Hazard

0:25:49.205 --> 0:25:51.205
<v Speaker 1>Belt as I can call it. You did, you went

0:25:51.245 --> 0:25:54.605
<v Speaker 1>there right away? It came to my mind right away. Yeah,

0:25:54.645 --> 0:25:57.045
<v Speaker 1>you've got me pegged. It is my favorite Bissan film.

0:25:57.365 --> 0:25:59.765
<v Speaker 1>It's the one that speaks to the sort of religious

0:25:59.765 --> 0:26:02.565
<v Speaker 1>wrestling that defines his movies and does make him such

0:26:02.565 --> 0:26:05.485
<v Speaker 1>a continually rich cinematic figure for me. And the wrestling

0:26:05.565 --> 0:26:08.565
<v Speaker 1>is what is key. I mean, Barisson's movies there are

0:26:08.605 --> 0:26:11.325
<v Speaker 1>more questions than answers. I feel like after we did

0:26:11.325 --> 0:26:14.365
<v Speaker 1>that marathon is what stood out to me. Sometimes they're

0:26:14.405 --> 0:26:17.885
<v Speaker 1>really angry questions. I mean, he certainly these movies certainly

0:26:17.885 --> 0:26:20.925
<v Speaker 1>would not make for good testimonials, But it's the ass

0:26:21.045 --> 0:26:23.645
<v Speaker 1>skin that means so much to me, especially when it's

0:26:23.685 --> 0:26:27.605
<v Speaker 1>done as jarringly and artfully as it is in Brassan's

0:26:27.965 --> 0:26:31.565
<v Speaker 1>you know, really stark elemental films, So a tattoo of

0:26:31.605 --> 0:26:35.485
<v Speaker 1>Beltasar it kind of would be this continual reminder of

0:26:35.525 --> 0:26:39.125
<v Speaker 1>that that sometimes asking the questions can be more important

0:26:39.125 --> 0:26:41.925
<v Speaker 1>than having the answers. Even so, if I chose a

0:26:41.965 --> 0:26:45.805
<v Speaker 1>shot from this, I'm thinking it might be the one

0:26:45.925 --> 0:26:48.845
<v Speaker 1>of Baltasar's head when he's wearing the crown of flowers

0:26:48.885 --> 0:26:51.365
<v Speaker 1>that Marie makes for him. Obviously there's all sorts of

0:26:51.445 --> 0:26:55.085
<v Speaker 1>Christian implications to that image as well, So this one,

0:26:55.805 --> 0:26:58.925
<v Speaker 1>I'm gonna probably put this one on my shoulder, on

0:26:58.965 --> 0:27:00.365
<v Speaker 1>my back, Okay, Okay.

0:27:00.445 --> 0:27:02.605
<v Speaker 2>I love it. Okay, Yeah, I did know what was coming,

0:27:02.685 --> 0:27:05.045
<v Speaker 2>but it's inspired. Even if people would just think you're

0:27:05.485 --> 0:27:07.085
<v Speaker 2>a diehard Democrat.

0:27:06.885 --> 0:27:11.765
<v Speaker 1>That's true. Well to somehow distinction clear Possibly those flowers

0:27:11.805 --> 0:27:12.205
<v Speaker 1>will do it.

0:27:12.605 --> 0:27:16.805
<v Speaker 2>My number two is the first one I thought about.

0:27:17.005 --> 0:27:18.805
<v Speaker 2>It's the only one I had for about a week

0:27:19.085 --> 0:27:22.245
<v Speaker 2>when we first agreed to focus on this topic, and

0:27:22.245 --> 0:27:23.565
<v Speaker 2>I thought it was going to be my number one,

0:27:23.605 --> 0:27:25.285
<v Speaker 2>and something just edged it out at the last minute.

0:27:25.285 --> 0:27:27.045
<v Speaker 2>And as I look back at my list, here real quick,

0:27:27.245 --> 0:27:30.205
<v Speaker 2>I'm guessing if you did some Google image searches, you're

0:27:30.205 --> 0:27:33.445
<v Speaker 2>gonna find a few almost famous related tattoos out there,

0:27:33.445 --> 0:27:36.725
<v Speaker 2>probably not completely unheard of, probably a few le samurai,

0:27:37.605 --> 0:27:39.765
<v Speaker 2>maybe not any Never let me go tattoos that might

0:27:39.805 --> 0:27:44.205
<v Speaker 2>be I think that unique. But sure enough, I knew

0:27:44.245 --> 0:27:47.885
<v Speaker 2>if I googled this it would return a bunch of results,

0:27:48.125 --> 0:27:51.405
<v Speaker 2>and it did. It's from the movie Blade Runner, the

0:27:51.485 --> 0:27:55.405
<v Speaker 2>tears in Rain soliloquy delivered by Roy Batty, of course,

0:27:55.405 --> 0:27:57.525
<v Speaker 2>played by Rutger Hower at the end of that film.

0:27:57.525 --> 0:27:59.845
<v Speaker 2>If you google it or go to Tumblr, you'll find

0:27:59.885 --> 0:28:03.285
<v Speaker 2>all sorts of combinations of that phrase tears in Rain.

0:28:03.565 --> 0:28:06.765
<v Speaker 2>Some people have the whole soliloquy somewhere on their body,

0:28:07.165 --> 0:28:10.845
<v Speaker 2>or they combine that with the face of Roy Batty.

0:28:11.285 --> 0:28:15.125
<v Speaker 2>It is the ultimate validation of his humanity. And he's

0:28:15.325 --> 0:28:18.005
<v Speaker 2>of course not a human, he's a replicant. But nevertheless,

0:28:18.045 --> 0:28:21.205
<v Speaker 2>that is what he's expressing and exposing there. His dying

0:28:21.525 --> 0:28:25.965
<v Speaker 2>is that expression, and that speech is his testimony. His audience,

0:28:25.965 --> 0:28:29.965
<v Speaker 2>if you will, is basically bearing witness to his remarkable life,

0:28:30.005 --> 0:28:33.445
<v Speaker 2>and it's ultimately the validation that he made some kind

0:28:33.485 --> 0:28:38.165
<v Speaker 2>of mark in this world. It's almost a model, he suggests,

0:28:38.205 --> 0:28:41.925
<v Speaker 2>I think to strive for while also being understandably wistful

0:28:42.085 --> 0:28:42.805
<v Speaker 2>and melancholy.

0:28:43.325 --> 0:28:52.605
<v Speaker 3>I've seen things good people wouldn't believe. Attack ships on

0:28:52.805 --> 0:28:59.845
<v Speaker 3>fire off the shoulder of Orion. I watched sea beams

0:29:01.005 --> 0:29:03.285
<v Speaker 3>glittering in the darkneded ten hours a game.

0:29:08.965 --> 0:29:09.925
<v Speaker 2>All those.

0:29:11.205 --> 0:29:24.565
<v Speaker 3>Moments will be lost in time, like tears end rain,

0:29:29.565 --> 0:29:31.565
<v Speaker 3>time to die.

0:29:33.565 --> 0:29:37.605
<v Speaker 2>There's no better death speech, just final word zone.

0:29:37.845 --> 0:29:39.245
<v Speaker 1>With time to die and nothing else.

0:29:39.365 --> 0:29:42.285
<v Speaker 2>No, I would probably end on tears in rain. I'm

0:29:42.285 --> 0:29:44.845
<v Speaker 2>pretty bleak here, Josh, but I'm gonna go with tears

0:29:44.845 --> 0:29:48.645
<v Speaker 2>in rain. It's just so wonderfully evocative. What are sea beams?

0:29:48.845 --> 0:29:51.885
<v Speaker 2>Why would they be glittering? What's the Tannheuser gait? These

0:29:51.925 --> 0:29:54.365
<v Speaker 2>are things that should be meaningless and essentially are to

0:29:54.445 --> 0:29:56.765
<v Speaker 2>us the Tanheuser Gate's not a place we have any

0:29:56.765 --> 0:30:00.005
<v Speaker 2>attachment to, but we don't need it. They simply sound

0:30:00.245 --> 0:30:02.885
<v Speaker 2>wondrous and beautiful. And that tears in Rain simile is

0:30:02.925 --> 0:30:06.405
<v Speaker 2>so perfect. Of course, you can't distinguish tears from rain

0:30:06.485 --> 0:30:09.245
<v Speaker 2>drops on someone's face, just as these moments that he

0:30:09.325 --> 0:30:13.125
<v Speaker 2>describes in the grand Scheme of time are indistinguishable from

0:30:13.125 --> 0:30:16.885
<v Speaker 2>others and are inconsequential. But what else do we have

0:30:16.965 --> 0:30:20.005
<v Speaker 2>to strive for, but those types of experiences to do

0:30:20.125 --> 0:30:23.645
<v Speaker 2>something that is of consequence. That's with that speech, not

0:30:23.765 --> 0:30:26.565
<v Speaker 2>just summing up that existential dilemma so well as I

0:30:26.685 --> 0:30:29.285
<v Speaker 2>believe it does and so eloquently, but also giving us

0:30:29.645 --> 0:30:31.845
<v Speaker 2>kind of a path, giving us some kind of model

0:30:32.125 --> 0:30:34.005
<v Speaker 2>to strive for. That's what's always stuck out to me

0:30:34.085 --> 0:30:34.285
<v Speaker 2>with that.

0:30:34.525 --> 0:30:35.925
<v Speaker 1>Yeah, and this is one I think you do. Go

0:30:36.005 --> 0:30:38.205
<v Speaker 1>with the text where it has to be. It works

0:30:38.245 --> 0:30:40.765
<v Speaker 1>better than the images actually, because if Scott didn't feel

0:30:40.845 --> 0:30:44.765
<v Speaker 1>the need to image what's being spoken, you know, why

0:30:44.805 --> 0:30:47.645
<v Speaker 1>should you with a tattoo of it? So absolutely okay,

0:30:47.925 --> 0:30:51.205
<v Speaker 1>number one time, and my number one is actually the

0:30:51.245 --> 0:30:54.845
<v Speaker 1>only tattoo I've ever really considered getting. I'll be it

0:30:54.885 --> 0:30:56.165
<v Speaker 1>a long long time ago.

0:30:56.365 --> 0:30:58.485
<v Speaker 2>Well, let's just be honest with our listeners. I mean,

0:30:58.525 --> 0:31:01.805
<v Speaker 2>we are going and getting these tattoos, right, Yeah, that's

0:31:02.005 --> 0:31:04.925
<v Speaker 2>what this list was all about. Now you say it, yeah,

0:31:04.965 --> 0:31:06.725
<v Speaker 2>I mean you're locked into this, Josh. As soon as

0:31:06.765 --> 0:31:07.645
<v Speaker 2>you say it, it's done.

0:31:07.845 --> 0:31:09.805
<v Speaker 1>See what our number ones are the whole list? Are

0:31:09.805 --> 0:31:11.685
<v Speaker 1>we going to five? N one? Five through one down

0:31:11.805 --> 0:31:12.365
<v Speaker 1>the number ones?

0:31:12.365 --> 0:31:14.485
<v Speaker 2>Hey, if you're not going to put it all on

0:31:14.525 --> 0:31:16.925
<v Speaker 2>the line, you've got to have some stakes here, josh.

0:31:16.725 --> 0:31:18.285
<v Speaker 1>You haven't opened the Jack Day, and you'll see that

0:31:18.405 --> 0:31:21.165
<v Speaker 1>even that's true. All right, It's going to be a

0:31:21.205 --> 0:31:25.045
<v Speaker 1>silhouette of a Joshua Tree from youtuwo's Joshua Tree album. Now,

0:31:25.605 --> 0:31:27.845
<v Speaker 1>the movie I'm tying this to, of course, is Rattle

0:31:27.885 --> 0:31:31.605
<v Speaker 1>and Hum. Really yeah, well it comes from the Joshua Tree.

0:31:31.605 --> 0:31:35.165
<v Speaker 1>But that concert film documented their Joshua Tree tour. So

0:31:35.525 --> 0:31:38.445
<v Speaker 1>even though it resulted in its own realm hum albums,

0:31:38.885 --> 0:31:42.725
<v Speaker 1>for me, this works. Now, why did I consider this tattoo?

0:31:42.965 --> 0:31:45.085
<v Speaker 1>You know, it was around college time. We'll keep in

0:31:45.165 --> 0:31:48.285
<v Speaker 1>mind that I was thirteen when Joshua Tree came out

0:31:48.285 --> 0:31:50.565
<v Speaker 1>in nineteen eighty seven, so I was just really getting

0:31:50.565 --> 0:31:53.285
<v Speaker 1>into music at that point. So this album was mind

0:31:53.325 --> 0:31:55.605
<v Speaker 1>blowing for me. And then being at that age and

0:31:55.645 --> 0:31:59.125
<v Speaker 1>being able to discover YouTube's earlier stuff, getting to experience

0:31:59.165 --> 0:32:02.085
<v Speaker 1>something like Octune Baby, you know first hand. All of

0:32:02.165 --> 0:32:04.965
<v Speaker 1>that solidified my connection to the band. And then as

0:32:05.005 --> 0:32:07.165
<v Speaker 1>I got older, the way you two and mostly Bono

0:32:07.285 --> 0:32:10.645
<v Speaker 1>really managed faith and popular culture was really formative for me.

0:32:11.205 --> 0:32:13.925
<v Speaker 1>He's really one of those rarities I think of people

0:32:14.005 --> 0:32:17.045
<v Speaker 1>like maybe a Staples or even someone like Stephen Colbert maybe,

0:32:17.045 --> 0:32:20.325
<v Speaker 1>who's managed to create this space where the two things

0:32:20.405 --> 0:32:22.885
<v Speaker 1>fruitfully inform each other. They don't seem to be at

0:32:22.925 --> 0:32:25.965
<v Speaker 1>odds at all. Now, Rattle and Home. You scoffed at

0:32:27.005 --> 0:32:29.245
<v Speaker 1>my pick of that film because it doesn't have the

0:32:29.285 --> 0:32:31.405
<v Speaker 1>reputation as the greatest concert movie.

0:32:31.445 --> 0:32:34.565
<v Speaker 2>Well, I scoffed, actually because I just got done listening

0:32:34.605 --> 0:32:38.165
<v Speaker 2>to the audio book of one of Chuck Klosterman's collection

0:32:38.205 --> 0:32:40.085
<v Speaker 2>of essays. I think it was I Wear the Black Hat,

0:32:40.405 --> 0:32:42.805
<v Speaker 2>and I don't remember the context of why Rattle and

0:32:42.845 --> 0:32:45.525
<v Speaker 2>Hum came up, but he just eviscerates it that one line.

0:32:45.565 --> 0:32:48.685
<v Speaker 1>It didn't impress the critics when I came out. But

0:32:48.765 --> 0:32:52.845
<v Speaker 1>this is also going back to fandom and for me

0:32:53.725 --> 0:32:57.805
<v Speaker 1>having that connection with the band, coming to know the

0:32:57.925 --> 0:33:01.085
<v Speaker 1>music at that point in my life, the film is secondary,

0:33:01.325 --> 0:33:03.845
<v Speaker 1>you know, And and it's one of those instances where

0:33:03.885 --> 0:33:05.685
<v Speaker 1>I don't know if i'd even want to watch it

0:33:05.725 --> 0:33:09.925
<v Speaker 1>again now that I am, you know, supposedly sophisticated adult

0:33:09.925 --> 0:33:13.405
<v Speaker 1>who critiques film. You know, it would be a different experience,

0:33:13.405 --> 0:33:16.045
<v Speaker 1>and I want to hold on to that experience that

0:33:16.125 --> 0:33:18.645
<v Speaker 1>I had at that time and what it meant for me, okay,

0:33:19.285 --> 0:33:21.645
<v Speaker 1>so this will be my number one. Maybe maybe a

0:33:21.725 --> 0:33:24.045
<v Speaker 1>little bit of a cheat here, probably you know, the

0:33:24.085 --> 0:33:26.245
<v Speaker 1>back of the neck. There's no covering this one, hoop adam,

0:33:26.325 --> 0:33:27.245
<v Speaker 1>So it's gonna go right.

0:33:27.165 --> 0:33:29.685
<v Speaker 2>There all right. That brings us to my number one.

0:33:29.725 --> 0:33:33.645
<v Speaker 2>The tattoo I like so much. I think I've convinced

0:33:33.685 --> 0:33:35.965
<v Speaker 2>myself to do it. The only problem is the only

0:33:36.005 --> 0:33:38.285
<v Speaker 2>problem is Josh, and I know everyone out there Cera

0:33:38.405 --> 0:33:40.605
<v Speaker 2>was just cracking up at the notion of this happening,

0:33:40.725 --> 0:33:43.205
<v Speaker 2>because no, I don't have any other ink on my body.

0:33:43.645 --> 0:33:47.085
<v Speaker 2>But the problem is with this tattoo. Unlike all the others,

0:33:47.125 --> 0:33:50.525
<v Speaker 2>those could be fairly small, fairly contained. This one to work,

0:33:51.085 --> 0:33:55.085
<v Speaker 2>it would have to be fairly sizable. So it's just.

0:33:55.645 --> 0:33:58.525
<v Speaker 1>From the Lord of the Rings movies, isn't it? From

0:33:58.685 --> 0:33:59.525
<v Speaker 1>Olkin Map?

0:33:59.565 --> 0:34:03.325
<v Speaker 2>From actually the Hobbit You've you've pegged me, Josh, you

0:34:03.405 --> 0:34:05.885
<v Speaker 2>know me so well. No, I'll try to say this,

0:34:05.925 --> 0:34:08.165
<v Speaker 2>and I don't know if this makes sense, but I

0:34:08.205 --> 0:34:11.245
<v Speaker 2>did not seek out a number one pick that would

0:34:11.245 --> 0:34:14.005
<v Speaker 2>be the perfect culmination for my list. But I had

0:34:14.045 --> 0:34:17.085
<v Speaker 2>a number one pick that turned out to be the

0:34:17.085 --> 0:34:19.765
<v Speaker 2>perfect culmination for my list. So in other words, it

0:34:19.805 --> 0:34:23.044
<v Speaker 2>was obviously my number one before I consciously knew why

0:34:23.085 --> 0:34:26.645
<v Speaker 2>it was. And it's inspired by the great James marsh

0:34:26.844 --> 0:34:32.445
<v Speaker 2>documentary Man on Wire, about Felipe Petit, who famously strung

0:34:32.725 --> 0:34:34.884
<v Speaker 2>a high wire between the two towers of the World

0:34:34.885 --> 0:34:39.085
<v Speaker 2>Trade Center in nineteen seventy four and walked across the wire.

0:34:39.405 --> 0:34:42.085
<v Speaker 2>So you've got, Josh my theme of confronting your mortality.

0:34:42.245 --> 0:34:45.605
<v Speaker 2>How about clandestinely pulling off the string of the high

0:34:45.605 --> 0:34:48.645
<v Speaker 2>wire that obviously highly illegal, he found a way to

0:34:48.645 --> 0:34:52.685
<v Speaker 2>do it, and then successfully walking across it thirteen hundred

0:34:52.685 --> 0:34:55.645
<v Speaker 2>feet above the streets of New York City without a net.

0:34:55.805 --> 0:34:59.245
<v Speaker 2>He's not just confronting mortality, it's walking up to death

0:34:59.525 --> 0:35:02.884
<v Speaker 2>and punching it in the face. Those are stakes when

0:35:02.965 --> 0:35:06.085
<v Speaker 2>you go out on that wire. I've talked throughout my

0:35:06.125 --> 0:35:09.765
<v Speaker 2>picks here about the sensibility of an artist. Here you've

0:35:09.765 --> 0:35:14.165
<v Speaker 2>got an artist whose canvas is the sky, whose brushes

0:35:14.245 --> 0:35:18.445
<v Speaker 2>are his body. He's creating a holy, unique, never sadly

0:35:18.485 --> 0:35:21.005
<v Speaker 2>to be replicated work of art, an act of consequence,

0:35:21.885 --> 0:35:26.525
<v Speaker 2>like Roy Battie describes, that isn't just extraordinary, though it's sublime,

0:35:26.605 --> 0:35:30.725
<v Speaker 2>It's an achievement that demands, it requires perfection, and in

0:35:30.765 --> 0:35:34.205
<v Speaker 2>the act of doing it displays perfection. And that image alone,

0:35:34.245 --> 0:35:36.845
<v Speaker 2>I'm thinking of the one that is the cover poster

0:35:37.085 --> 0:35:40.005
<v Speaker 2>for the movie Man on Wire. It's just so beautiful

0:35:40.085 --> 0:35:44.125
<v Speaker 2>and one inspiring. It's the tee in black on the wire,

0:35:44.325 --> 0:35:47.125
<v Speaker 2>almost like a dot in the distance, because we do

0:35:47.205 --> 0:35:49.685
<v Speaker 2>have to have the sense of scale where he is

0:35:49.805 --> 0:35:52.245
<v Speaker 2>up in the sky near the clouds and you can

0:35:52.285 --> 0:35:55.445
<v Speaker 2>see the two towers that he's walking between. Just that

0:35:55.485 --> 0:35:57.205
<v Speaker 2>image alone is enough for it to be my number

0:35:57.245 --> 0:35:59.925
<v Speaker 2>one when you combine it with the themes I discuss.

0:36:00.085 --> 0:36:01.685
<v Speaker 2>But then, Josh, I get to pull a little bit

0:36:01.685 --> 0:36:03.605
<v Speaker 2>of a Larsen cheat here. I get to make it

0:36:03.645 --> 0:36:06.085
<v Speaker 2>even better by combining it with a line of dialogue

0:36:06.125 --> 0:36:08.765
<v Speaker 2>from another one of my favorite movies. Ah hah, All

0:36:08.805 --> 0:36:13.205
<v Speaker 2>That Jazz, Bob Fosse's alter ego, Joe Gideon says at

0:36:13.245 --> 0:36:15.605
<v Speaker 2>one point in All That Jazz, to be on the

0:36:15.645 --> 0:36:19.845
<v Speaker 2>Wire is life. The rest is waiting? How perfect is that?

0:36:19.965 --> 0:36:21.125
<v Speaker 1>Are you putting the text on there?

0:36:21.165 --> 0:36:23.165
<v Speaker 2>I'm going to put his text on there too. I

0:36:23.165 --> 0:36:24.645
<v Speaker 2>don't know if I'm going to put the whole phrase

0:36:24.925 --> 0:36:27.485
<v Speaker 2>the rest is waiting, probably, but definitely to be on

0:36:27.525 --> 0:36:29.565
<v Speaker 2>the wire is life that has to be there, because

0:36:29.565 --> 0:36:33.245
<v Speaker 2>that's the all that jazz reference. Fosse, like Peti, is

0:36:33.285 --> 0:36:36.125
<v Speaker 2>an artist focused on perfection, trying to achieve the sublime.

0:36:36.165 --> 0:36:38.165
<v Speaker 2>That's what that film is all about. In his mind,

0:36:38.285 --> 0:36:40.565
<v Speaker 2>He's always coming up short. That's what we see again

0:36:40.605 --> 0:36:42.925
<v Speaker 2>and again in that film, which is coming out in

0:36:42.965 --> 0:36:46.285
<v Speaker 2>a Blu ray edition on Criterion here in a couple months. Fosse,

0:36:46.405 --> 0:36:48.485
<v Speaker 2>I think, would almost surely say, if he was still

0:36:48.485 --> 0:36:51.125
<v Speaker 2>with us, that he never achieved anything like the sublime.

0:36:51.525 --> 0:36:53.605
<v Speaker 2>Petit maybe a little bit more confident, and of course

0:36:53.645 --> 0:36:56.725
<v Speaker 2>he did pull off this amazing feat. He might say

0:36:56.765 --> 0:36:58.245
<v Speaker 2>he did, but it's not like he hung it up

0:36:58.365 --> 0:37:00.725
<v Speaker 2>after the World Trade Center. He still went on to

0:37:00.805 --> 0:37:03.404
<v Speaker 2>do more. He continued the quest, but he certainly could

0:37:03.405 --> 0:37:06.365
<v Speaker 2>have stopped after that. I think, Josh, for me, why

0:37:06.685 --> 0:37:08.444
<v Speaker 2>this is my hands down number one, and why I've

0:37:08.685 --> 0:37:11.725
<v Speaker 2>almost talked myself into it, is because they're the models

0:37:12.125 --> 0:37:15.605
<v Speaker 2>making art as the only means to defy death, in

0:37:15.845 --> 0:37:19.725
<v Speaker 2>the exhilaration of the moment of the act itself and

0:37:19.845 --> 0:37:22.485
<v Speaker 2>in the art's ability to live on long after you're gone,

0:37:22.565 --> 0:37:24.485
<v Speaker 2>which again gets back to that notion of permanence and

0:37:24.485 --> 0:37:28.045
<v Speaker 2>impermanence that I think tattoos actually speak to. So maybe

0:37:28.165 --> 0:37:32.245
<v Speaker 2>Le Samurai isn't my only aspirational tattoo, Man on Wire

0:37:32.285 --> 0:37:35.725
<v Speaker 2>and all that jazz. They really ultimately represent who I'd

0:37:35.765 --> 0:37:37.765
<v Speaker 2>like to be. Don't think I'll ever be those guys

0:37:37.805 --> 0:37:40.525
<v Speaker 2>don't have the courage, don't have the talent, but that

0:37:40.805 --> 0:37:43.965
<v Speaker 2>is what I'm striving for and failing at every day.

0:37:44.045 --> 0:37:46.445
<v Speaker 2>So for me, that sums it all up. That literally

0:37:46.445 --> 0:37:47.245
<v Speaker 2>sums it all up.

0:37:47.325 --> 0:37:49.364
<v Speaker 1>So I see how this could work too. I mean,

0:37:49.405 --> 0:37:51.685
<v Speaker 1>you've got the figure of the man on the back

0:37:51.685 --> 0:37:54.845
<v Speaker 1>of your neck. Yeah, the line running, You've got shoulders

0:37:55.165 --> 0:37:57.885
<v Speaker 1>stretch out, No, it's going all down both arms. So

0:37:57.965 --> 0:38:00.565
<v Speaker 1>you've got to raise your two arms, walk around like

0:38:00.605 --> 0:38:03.565
<v Speaker 1>that without a shirt, and you know then the text

0:38:03.685 --> 0:38:06.364
<v Speaker 1>will be on your back. It's a no brainer. Yeah,

0:38:06.405 --> 0:38:07.205
<v Speaker 1>you gotta do this.

0:38:08.285 --> 0:38:10.325
<v Speaker 2>Should we go? Let's go, Let's go right now, let's

0:38:10.365 --> 0:38:13.285
<v Speaker 2>just stop just for yours. Show's over, just for mine.

0:38:14.205 --> 0:38:15.925
<v Speaker 2>You don't have the guts, do you, Josh?

0:38:16.165 --> 0:38:16.205
<v Speaker 4>No.

0:38:16.285 --> 0:38:18.325
<v Speaker 2>One thing I'm really hoping to get in our batch

0:38:18.365 --> 0:38:20.965
<v Speaker 2>of feedback is I know we're going to get some response.

0:38:21.125 --> 0:38:23.364
<v Speaker 2>Is we're gonna get some more pictures of listeners who

0:38:23.445 --> 0:38:26.805
<v Speaker 2>actually have some of their movie related tattoos. We've already got,

0:38:26.885 --> 0:38:29.605
<v Speaker 2>as we said, a bunch of great stuff that's come in,

0:38:29.685 --> 0:38:32.885
<v Speaker 2>but I would love to hear from a tattoo artist

0:38:33.125 --> 0:38:36.765
<v Speaker 2>who's out there, who's heard our picks, heard maybe our

0:38:36.845 --> 0:38:39.165
<v Speaker 2>number ones. Just even start with those number ones and

0:38:39.365 --> 0:38:40.285
<v Speaker 2>see what you come up with.

0:38:40.485 --> 0:38:41.445
<v Speaker 1>Try to talk us into it.

0:38:41.485 --> 0:38:42.525
<v Speaker 2>Try to talk us into it.

0:38:42.925 --> 0:38:46.045
<v Speaker 1>Yeah, you know, there's there's something you know about getting

0:38:46.045 --> 0:38:49.325
<v Speaker 1>a tattoo in college or that makes sense. I could

0:38:49.325 --> 0:38:51.725
<v Speaker 1>even see getting a tattoo when I'm seventy. There's just

0:38:51.765 --> 0:38:55.125
<v Speaker 1>something really sad. I feel like getting a tattoo at forty. Yeah,

0:38:56.005 --> 0:38:58.245
<v Speaker 1>I'm gonna have to go driving around in a red

0:38:58.285 --> 0:39:00.444
<v Speaker 1>convertible with it or something like that too.

0:39:01.005 --> 0:39:03.924
<v Speaker 2>Well, I don't know if a Team Zissu tattoo really

0:39:03.965 --> 0:39:06.645
<v Speaker 2>says midlife crisis, Josh, I think you're okay. All right,

0:39:06.885 --> 0:39:10.165
<v Speaker 2>we'll see those are our top five movie tattoos that

0:39:10.245 --> 0:39:12.685
<v Speaker 2>we might actually get if I can talk Josh into it.

0:39:13.245 --> 0:39:15.845
<v Speaker 2>What about honorable mentions, Josh? Any others that you considered

0:39:15.885 --> 0:39:17.404
<v Speaker 2>or did you just max out at five?

0:39:17.645 --> 0:39:20.445
<v Speaker 1>You know? The other ones I thought about. Let's see,

0:39:20.685 --> 0:39:22.805
<v Speaker 1>I did think about Rear Window, which I cite is

0:39:22.845 --> 0:39:26.085
<v Speaker 1>my favorite best movie of all time, but I just

0:39:26.125 --> 0:39:28.485
<v Speaker 1>couldn't land on the right image for that or text either.

0:39:28.765 --> 0:39:30.845
<v Speaker 1>And the only other film that I considered was La

0:39:30.885 --> 0:39:34.525
<v Speaker 1>dulce Vita. But you know, I need act on my

0:39:34.805 --> 0:39:39.325
<v Speaker 1>biceps that we're back into sailor territories, mermaid territory, like

0:39:39.365 --> 0:39:40.325
<v Speaker 1>I said, not my style.

0:39:40.605 --> 0:39:43.405
<v Speaker 2>Well, i'll go with your Italian theme. There one for

0:39:43.485 --> 0:39:45.844
<v Speaker 2>me that, up until about an hour before we sat

0:39:45.885 --> 0:39:47.844
<v Speaker 2>down here was in my top five. I was so

0:39:47.885 --> 0:39:51.245
<v Speaker 2>sure it had to be on my list. It's Julietta

0:39:51.365 --> 0:39:54.685
<v Speaker 2>Messina's face from the end of Nights of Cabiria, the

0:39:54.685 --> 0:39:57.205
<v Speaker 2>Fellini film, and I had all these notes about why

0:39:57.245 --> 0:39:58.885
<v Speaker 2>I was going to go with it. It's the perfect

0:39:58.925 --> 0:40:01.805
<v Speaker 2>summation of comedy and tragedy and just all of life

0:40:01.845 --> 0:40:04.365
<v Speaker 2>is there in her face. And then I ultimately realized

0:40:04.405 --> 0:40:06.805
<v Speaker 2>that if it came down to a land a law

0:40:07.405 --> 0:40:11.805
<v Speaker 2>and that cool factor or the face of Fellini's wife

0:40:11.845 --> 0:40:13.404
<v Speaker 2>somewhere on my body. I mean, I just thought about

0:40:13.405 --> 0:40:14.805
<v Speaker 2>the fact that every time I was at the gym,

0:40:15.245 --> 0:40:17.924
<v Speaker 2>every day I went someone would say, hey, that's really

0:40:17.925 --> 0:40:20.605
<v Speaker 2>sweet your mom. You got a tattoo of your mom.

0:40:21.245 --> 0:40:22.964
<v Speaker 1>You just say, yeah, we're close.

0:40:23.325 --> 0:40:26.924
<v Speaker 2>I'm sorry, Juliette Messina, you are. But an honorable mention.

0:40:27.085 --> 0:40:29.884
<v Speaker 2>Only a couple other ones. No Country for old Men,

0:40:30.325 --> 0:40:32.444
<v Speaker 2>the line I love, what's the most you ever lost

0:40:32.445 --> 0:40:34.485
<v Speaker 2>on a coin toss? It would be pretty freaky to

0:40:34.485 --> 0:40:37.125
<v Speaker 2>have Anton Shagur somewhere on your body. You don't want

0:40:37.165 --> 0:40:38.605
<v Speaker 2>to do that, No, I don't. That's why it's an

0:40:38.605 --> 0:40:41.005
<v Speaker 2>honorable mention. A matter of life and death. The Palell

0:40:41.005 --> 0:40:45.364
<v Speaker 2>Presburger film, that amazing Stairway to Heaven image. That's another

0:40:45.365 --> 0:40:47.805
<v Speaker 2>one though, that would basically require a full body.

0:40:47.925 --> 0:40:50.045
<v Speaker 1>Yeah, a space for that one.

0:40:50.205 --> 0:40:53.125
<v Speaker 2>Just an honorable mention. Twin Peaks. Maybe not so much

0:40:53.125 --> 0:40:54.645
<v Speaker 2>of the movie, even though I like the film, But

0:40:54.685 --> 0:40:57.045
<v Speaker 2>I'm thinking of the TV series That was another formative

0:40:57.325 --> 0:41:01.205
<v Speaker 2>experience for me, and I love the red room, that

0:41:01.365 --> 0:41:04.285
<v Speaker 2>checkered floor, and the red curtains and the couch. I

0:41:04.365 --> 0:41:06.525
<v Speaker 2>think I just looked at this earlier today and somehow

0:41:06.525 --> 0:41:09.125
<v Speaker 2>now I'm forgetting the specifics, but I love it and

0:41:09.165 --> 0:41:11.685
<v Speaker 2>it's really kind of creepy, but in a cool way.

0:41:11.885 --> 0:41:15.005
<v Speaker 2>I would consider that i'd stay with David Lynch Mullholland Drive.

0:41:15.445 --> 0:41:18.565
<v Speaker 2>Think about all the times I praise meta movies here

0:41:18.605 --> 0:41:21.605
<v Speaker 2>on the show, and movies about the filmmaking process. I

0:41:21.645 --> 0:41:23.125
<v Speaker 2>had to think of one, and this is the first

0:41:23.125 --> 0:41:25.805
<v Speaker 2>one that popped into my mind that had characters looking

0:41:25.885 --> 0:41:28.844
<v Speaker 2>back at us looking at a screen. In this case,

0:41:28.845 --> 0:41:30.884
<v Speaker 2>they're looking out of production. It's when Betty and Rita

0:41:30.965 --> 0:41:34.245
<v Speaker 2>are watching the song the version of Crying by Roy

0:41:34.325 --> 0:41:37.525
<v Speaker 2>Orbison and we hear that line Cilensio. And finally one,

0:41:37.565 --> 0:41:39.165
<v Speaker 2>I think you'd be on board with Josh. It'd be

0:41:39.165 --> 0:41:40.925
<v Speaker 2>a nice, little small one you could get away with.

0:41:40.965 --> 0:41:42.885
<v Speaker 1>Two. I'm running out of space here atam.

0:41:42.725 --> 0:41:46.045
<v Speaker 2>Terrence Malix The Tree of Life. Yeah, cover image the

0:41:46.125 --> 0:41:50.205
<v Speaker 2>foot in hand gets back to my whole mortality theme,

0:41:50.485 --> 0:41:51.205
<v Speaker 2>I think nicely.

0:41:51.645 --> 0:41:54.645
<v Speaker 1>I don't think you gave enough thought to the likelihood

0:41:54.685 --> 0:41:56.964
<v Speaker 1>of these turn it out? Well, no, because I didn't

0:41:57.005 --> 0:42:00.325
<v Speaker 1>cook some of these of like body parts and faces

0:42:00.325 --> 0:42:01.845
<v Speaker 1>and that sort of thing. I've seen a lot of

0:42:01.845 --> 0:42:04.685
<v Speaker 1>bad tattoos. Oh yeah, that sort of stuff. So the

0:42:04.725 --> 0:42:06.445
<v Speaker 1>babyfoot could be kind of creepy.

0:42:06.485 --> 0:42:14.125
<v Speaker 2>It could be the tree. Maybe the tree, Okay, you know,

0:42:14.285 --> 0:42:17.205
<v Speaker 2>maybe one of those, Josh, only one of those I

0:42:17.325 --> 0:42:21.125
<v Speaker 2>really don't. I really don't see myself ever getting a

0:42:21.205 --> 0:42:24.405
<v Speaker 2>land de La and the Fedora on my body. I

0:42:24.525 --> 0:42:26.805
<v Speaker 2>might have been reaching a little bit with that. The

0:42:26.885 --> 0:42:29.965
<v Speaker 2>other four, the other four definitely, I mean, I'll never

0:42:30.005 --> 0:42:31.765
<v Speaker 2>get all four of them, but the other four all

0:42:31.845 --> 0:42:32.805
<v Speaker 2>could happen.

0:42:33.485 --> 0:42:37.565
<v Speaker 1>The only one I think I regret, though I like

0:42:37.605 --> 0:42:40.525
<v Speaker 1>it for the list, is probably teams to sue because

0:42:40.685 --> 0:42:44.805
<v Speaker 1>it's things have only become more Wes Anderson has only

0:42:44.805 --> 0:42:48.045
<v Speaker 1>become more of a brand even in the time that

0:42:48.125 --> 0:42:50.085
<v Speaker 1>we did this, well, it was twelve years ago, so

0:42:50.485 --> 0:42:54.325
<v Speaker 1>you know, it seems like, eh, I that just feels

0:42:54.325 --> 0:42:57.405
<v Speaker 1>a little too brandy for me. I might have to

0:42:57.445 --> 0:43:01.045
<v Speaker 1>rethink that one. I'd probably still go maybe Wes Anderson,

0:43:01.085 --> 0:43:03.805
<v Speaker 1>but something a little more subtle and harder to decipher.

0:43:04.205 --> 0:43:09.364
<v Speaker 2>I'd really love to see a donkey like on your bicep, Josh.

0:43:09.565 --> 0:43:12.925
<v Speaker 2>I think that'd be really tough, or think I could ferry.

0:43:13.445 --> 0:43:15.725
<v Speaker 2>I think would be really tough.

0:43:16.245 --> 0:43:18.725
<v Speaker 1>One on one bisop the other bysop the other on

0:43:18.765 --> 0:43:19.485
<v Speaker 1>the other one, YE.

0:43:21.045 --> 0:43:24.245
<v Speaker 2>Would be the toughest man in the world showing off

0:43:24.285 --> 0:43:29.005
<v Speaker 2>your donkey, blue faery and umbrella. I will stell umbrella.

0:43:30.005 --> 0:43:32.045
<v Speaker 1>I think to really pull it off, i'd have to

0:43:32.125 --> 0:43:34.965
<v Speaker 1>lose at least one tooth, and I don't.

0:43:35.045 --> 0:43:38.405
<v Speaker 2>There's no doubt that's gonna happen. There is no doubt

0:43:38.445 --> 0:43:41.765
<v Speaker 2>I do love that image. If you want to access

0:43:42.165 --> 0:43:45.925
<v Speaker 2>archive episodes just like that one at your fingertips, you

0:43:45.925 --> 0:43:47.925
<v Speaker 2>can do so by becoming a member of the Film

0:43:47.925 --> 0:43:50.965
<v Speaker 2>Spotting Family learn more at Filmspotting family dot com, and

0:43:51.245 --> 0:43:54.845
<v Speaker 2>by reminding me that that was twelve years ago. That

0:43:54.965 --> 0:43:59.285
<v Speaker 2>suggests it's due for a revisit. Another tattoo Top five.

0:43:59.205 --> 0:44:01.125
<v Speaker 1>Josh, Yeah, I'm up for it.

0:44:01.285 --> 0:44:03.365
<v Speaker 2>Okay, let's do it. Thanks for listening.

0:44:03.565 --> 0:44:07.805
<v Speaker 3>This conversation can serve no purpose anymore. The n