Speaker 1: Look out. It's only films to be buried with. Hello,
Speaker 1: and welcome to films to be buried with. My name
Speaker 1: is Brett Goldstein. I'm a comedian and actor, a writer,
Speaker 1: a director at a hotel Bellboy, and I love films.
Speaker 1: As Victoria Schwab once said, the beautiful thing about books
Speaker 1: was that anyone could open them. But also, you know,
Speaker 1: films are good too, and they're quicker generally. Yeah, that's true, Vickie.
Speaker 1: They sort of get on with it, and they Every
Speaker 1: week I invite a special guest over. I tell them
Speaker 1: they've died. Then they get them to discuss their life
Speaker 1: through the films that meant the most of them. Previous
Speaker 1: guests include Barry Jenkins, Kevin Smith, Jamila Jamil, Sharon Stone,
Speaker 1: and even Clyde Blambele's. But this week it's the incredible actor,
Speaker 1: writer and director Fran Krantz. Head over to the Patreon
Speaker 1: at patron dot com forward slash Brett Goldstein, where you
Speaker 1: get about thirty men. It's extra chat with Fran. You
Speaker 1: get secret, you get beginnings and endings, you get deep stuff,
Speaker 1: you get a video, you get the whole episode of
Speaker 1: uncut and add free all of that stuff and more.
Speaker 1: Check it out over at patreon dot com. Forward Slash
Speaker 1: Brick Holds Team Ted last season two is available on
Speaker 1: Apple tv Plus along with season one. You can watch
Speaker 1: all of that and Soulmates and super Bob is available
Speaker 1: on Amazon Prime in most places. The big news is
Speaker 1: that tickets are selling very fast for the massive, huge,
Speaker 1: big live Films to be Buried with Live, live, live
Speaker 1: at the Hackney Empire on July second. Make sure you
Speaker 1: don't miss out. Get your tickets from Plosive dot co
Speaker 1: dot uk and Hackney Empire dot co dot uk and
Speaker 1: we will have a rice at all time and get
Speaker 1: amongst it. Come on, everyone, So fran Krans right, listen
Speaker 1: to this. Listen carefully please. You know me, I take
Speaker 1: films very seriously. I saw this film mass when I
Speaker 1: was in America. I went to the cinema. It was good,
Speaker 1: but I knew nothing about it. I went on my own,
Speaker 1: as I like to do, to the cinema and it
Speaker 1: fucking I think it is the best film of the year.
Speaker 1: It will take a very special film to knock this
Speaker 1: one off my number one spot. If you have not
Speaker 1: seen the film, I thoroughly though I cannot recommend it enough.
Speaker 1: Please watch the film and then listen to this podcast,
Speaker 1: because this podcast is with the writer and director of
Speaker 1: fran Krowns of that film, and he was fucking amazing
Speaker 1: and we spend an awful lot of time talking about
Speaker 1: the film, and I think what he had to say
Speaker 1: about it was absolutely fascinating and I think it will
Speaker 1: get so much more out of this episode if you've
Speaker 1: seen the film, and regardless of this episode, you should
Speaker 1: see the film because it is really really special. That's it.
Speaker 1: Fran Krowns, he's an actor, he's in Cabin in the Woods,
Speaker 1: he's in all kinds of in so many films you'd love,
Speaker 1: and then out of nowhere, he decides he's going to
Speaker 1: write and direct this film and he's I mean, it's
Speaker 1: fucking amazing. Anyway, that's enough. You get the gist. I
Speaker 1: think this film is amazing. I think the man who
Speaker 1: made it is amazing, and I'm very grateful I got
Speaker 1: to speak to him, and I really think you're going
Speaker 1: to enjoy this. So that is it for now. I
Speaker 1: very much hope you enjoy Episode one hundred and ninety
Speaker 1: seven of Films to be Buried with Hello and welcome
Speaker 1: to Films to be buried with. It is I Brett Goldstein,
Speaker 1: and I am joined today by an actor, a training
Speaker 1: daya a Donnie Darkoa, a villager, a TV hitch, a
Speaker 1: cabin in the woods, a dollhouser, a producer, a writer
Speaker 1: and director, and maker of the best film of the year.
Speaker 1: And I know it not. The year is not over.
Speaker 1: But if a film tops the film this band made,
Speaker 1: I will be astonished. Please blugs of the show, the
Speaker 1: one and only. Can't believe we've got him. What an
Speaker 1: honor here he is. It's mister Frank Brands. Oh that
Speaker 1: was great. Hey, I mean that's definitely the best introduction
Speaker 1: I'll ever get. Oh, thank you man. I know, you know,
Speaker 1: I heard someone someone tip we have you know, you
Speaker 1: get your movie and you're in promoting it, and so
Speaker 1: you get these sort of press breaks, right, So I
Speaker 1: was kind of tipped off to how you felt about
Speaker 1: the movie a few months ago whenever you saw it.
Speaker 1: I'm not sure. It was kind of in the middle
Speaker 1: of the sort of November December and the awards kind
Speaker 1: of push, and it meant it meant a lot to me.
Speaker 1: I mean, I have so many Um, it's such a
Speaker 1: hard thing to move on from for a lot of reasons,
Speaker 1: you know, And I don't. I don't. I just you know,
Speaker 1: I'm sort of feeling like, Okay, I guess I never will,
Speaker 1: you know. I guess there's sort of always going to
Speaker 1: be a sort of an emotional, kind of you know,
Speaker 1: complicated relationship with this movie. But it did mean a lot,
Speaker 1: and not in some kind of the praise or the
Speaker 1: kind of the vanity of oh he loved my movie,
Speaker 1: but you sometimes kind of felt like just the reality
Speaker 1: of it and making a small movie and you can't
Speaker 1: afford the billboards. You don't you're not on a streamer.
Speaker 1: No streamer even wanted us, you know, and so you
Speaker 1: you just realize your reach is limited. And when you
Speaker 1: do that, that last if you're if you're lucky enough
Speaker 1: to get a movie into sort of that conversation and
Speaker 1: you get you're lucky enough to do these these award
Speaker 1: campaigns or whatever, you start to realize, you know, I
Speaker 1: it just it's so hard to get people to watch something,
Speaker 1: you know, if you don't, if you don't have the
Speaker 1: sort of money and the machine behind you. So so
Speaker 1: hearing someone affected and moved by it, I felt like
Speaker 1: ment a lot and I assume it always does if
Speaker 1: you're you know, by whoever, Jane, you know, the people
Speaker 1: with the big movies this year, Power the Dog and Liquorice,
Speaker 1: pizza ands. But I would assume also if you're on
Speaker 1: Netflix and have billboards around town, there's almost an expectation
Speaker 1: that people have an opinion of your movie. And so
Speaker 1: it's sort of kind of amazing when it's you feel you,
Speaker 1: I feel like you, you feel that it acutely penetrates
Speaker 1: someone when it's this tiny thing, you know. Yeah, anyway, No, No,
Speaker 1: I'm I mean, I'm actually glad to hear. I'm going
Speaker 1: to say, just in case people aren't aware if anyone
Speaker 1: skips the intro. The film we were talking about is
Speaker 1: the film Mass, which a friend wrote and directed, which
Speaker 1: I want to ask him everything about. But I think
Speaker 1: a friend of mine or a friend of Jason. At
Speaker 1: some point i'd heard. All i'd heard was Mass is
Speaker 1: very good. I'd heard it months before it came out.
Speaker 1: I just said Mass is good. To know anything about it,
Speaker 1: and my dream version is never knowing anything. But didn't
Speaker 1: see a trailer, didn't read up on it. All I
Speaker 1: knew was someone somewhere had said mass is good. And
Speaker 1: I was in America and it was on and there
Speaker 1: was like one screening of it at a certain time
Speaker 1: when I was like, I'm just going to fucking go,
Speaker 1: and I went. It was just like the perfect screening,
Speaker 1: you know. It was just I went in knowing nothing
Speaker 1: and it just blew my fucking mind, and it and
Speaker 1: it what it is. Again, I think it's great to
Speaker 1: see if you don't know anything bad. I'm not going
Speaker 1: to spoil it, but I will say what in terms
Speaker 1: of like the practicality of it is most of the
Speaker 1: film the film is four people around the table talking.
Speaker 1: And when I say that, on paper, you might think
Speaker 1: it's like a play on film, but it is fucking cinema.
Speaker 1: That's the thing. The two things that I think are
Speaker 1: amazing about it, aside from everything, is that you manage
Speaker 1: to film it and direct it in a way that
Speaker 1: feels completely cinematic and intense. And it isn't a play.
Speaker 1: It's not this, It wouldn't be the same on stage.
Speaker 1: It's the way you're using the camera, in the way
Speaker 1: you're in You're so in it with the four of them,
Speaker 1: and the way just all of their tiny, these tiny
Speaker 1: micro reactions between each other, stuff that you're picking up
Speaker 1: and how we get lost in it. But it's also
Speaker 1: the fact that, again not saying what it's about, but
Speaker 1: on paper it's a very depressing, sad story. And again
Speaker 1: I think if you were to tell someone O, this
Speaker 1: is what it's about, they might go, oh, I don't
Speaker 1: want to watch that. That That sounds really heavy and upsetting.
Speaker 1: But what I love about it is a type of
Speaker 1: film that always upsets me is where it's a film
Speaker 1: about a big issue and it's depressing, and it feels
Speaker 1: like at the end of the film, the messages while
Speaker 1: everything's fucked and there's nothing we could do in the
Speaker 1: world's orful right. And your film took a very increiry heavy,
Speaker 1: difficult subject and without selling anything out and without cheating,
Speaker 1: actually it has a positive message that is realistic, that
Speaker 1: is actually attempting. It doesn't answer all the questions, doesn't
Speaker 1: say well, here's the solution, but it sort of heads
Speaker 1: towards something rather than leaving you hopeless. It actually is
Speaker 1: genuinely profound in a positive way about a really difficult thing,
Speaker 1: and it left me hopeful and moved. And it's fucking incredible. Man. Yeah,
Speaker 1: I mean, I know I look, I mean it, I
Speaker 1: couldn't ask for or conceive of a better sort of
Speaker 1: reaction to the movie because I feel like you've you've
Speaker 1: sort of said everything I could have, you know what
Speaker 1: I mean, hope for in an audience response there and
Speaker 1: and you know, to me, and sometimes I feel a
Speaker 1: little delusional because I I do think it's hopeful. I do.
Speaker 1: I think it's about healing and forgiveness and reconciliation and
Speaker 1: the possibility of it all. And the writing process or
Speaker 1: the whole conception of the film was desperately wanting to
Speaker 1: believe in all that stuff. And you know, we without
Speaker 1: getting into specifics, if you know it's good, I'm of course,
Speaker 1: the ideal way to watch it is just to sort
Speaker 1: of watch it and not know anything. But you know,
Speaker 1: I was, um, my daughter was just about one and
Speaker 1: a half. I guess a little a little over one.
Speaker 1: I guess I'm spoiling it. But when the partment, okay, yeah,
Speaker 1: I would love to talk about it. So yeah, yeah, yeah.
Speaker 1: And at this point, if you've not seen Mass, I
Speaker 1: hope I've convince you to watch Mass. Watch Mass. They
Speaker 1: come back great, right, and uh yeah, So, I mean,
Speaker 1: I guess you know this, this gets personal, but this
Speaker 1: is good. But it's um. You know, as soon as
Speaker 1: my daughter was born, like as sooner as I held her,
Speaker 1: I knew, like, oh I'm fucked, like the game over.
Speaker 1: You know. If anything ever happens to this thing, I'm done.
Speaker 1: You'll never see me again, you know what I mean,
Speaker 1: Like like I that's that's how intense it felt. And
Speaker 1: obviously it's all joy um, but there and maybe it
Speaker 1: says something about who I am, and you know I
Speaker 1: need to like sort of you know, talk to someone
Speaker 1: or lighting up or like, you know, why is my
Speaker 1: head in this place? But this isn't some constant fear
Speaker 1: I walk around with, like if my daughter, I lose
Speaker 1: my daughter, But it's just it's there, you know, as
Speaker 1: soon as she's there. It's also this you could you know,
Speaker 1: we all die, you know. And the first year of
Speaker 1: having a kid is crazy. I think at a certain point,
Speaker 1: you know, things kind of slowed down to a point
Speaker 1: where you feel like you get stages of their life
Speaker 1: in a sense. But I in that first year it's insane,
Speaker 1: you know, and I think I was. There was a
Speaker 1: ton of vulnerability and emotion and you know, joy, but
Speaker 1: this sort of this, this this under underneath it, all
Speaker 1: this kind of knowledge of just man, I got so
Speaker 1: much invested in this this person. Now your priorities shift,
Speaker 1: they're they're more important than you. And so that when
Speaker 1: the Parkland shooting happened, that the timing of it all.
Speaker 1: I literally I was listening to a parent on the radio,
Speaker 1: and I don't think that I can't remember. I don't
Speaker 1: think the parent lost their child. I don't know why
Speaker 1: they'd be sort of speaking on the to the news
Speaker 1: so quickly, But it was just a general heartbreak, outrage, frustration, shock, confused,
Speaker 1: all those emotions we experienced to such a smaller degree,
Speaker 1: you know, watching it on the news and hearing this
Speaker 1: person so directly affected by it, I had to pull over.
Speaker 1: I was driving in LA and like literally started crying
Speaker 1: in my car. I was like, what the fuck is
Speaker 1: happening to me? And sort of observing that and feeling like, okay,
Speaker 1: what's what that was? That was a strange reaction, What's
Speaker 1: going on there? And then just kind of thinking, hey,
Speaker 1: you know, my entire sort of adult life, like in
Speaker 1: high school I was a senior. I was the age
Speaker 1: of the you know, the at least the shooters at Columbine,
Speaker 1: and it's sort of been this cloud over us here
Speaker 1: for you know, obviously, shootings happen in schools long before,
Speaker 1: but there's been this sort of period of them, this
Speaker 1: kind of era that I think we all sort of
Speaker 1: we kind of go back to Columbine in some way.
Speaker 1: So that was kind of it. I was like, you
Speaker 1: know what, I want to sort of go back to
Speaker 1: the beginning in my frame of reference and learn about this.
Speaker 1: And so there was no movie in mind. You know,
Speaker 1: I've always dreamed of directing, but you know, my the
Speaker 1: movies I love or the ideas I've had, you know,
Speaker 1: my sort of dream director resume is full of sort
Speaker 1: of big sci fi and action and like fantasy, you
Speaker 1: know I like, I like Star Wars and Lord of
Speaker 1: the Rings and you know, so this the idea of
Speaker 1: doing this, um, this just took me over. And when
Speaker 1: I came across these meetings I thought about In college,
Speaker 1: I did this production of Missigone where we it was
Speaker 1: this strange adaptation where it was like twenty years and
Speaker 1: the child has grown up and is a strange from
Speaker 1: the father he had, the child of the Vietnamese woman
Speaker 1: and the American gi is now older. The Vietnamese woman
Speaker 1: has died, and he's living with his stepmother and father
Speaker 1: and he's sort of their relationship is broken up. And
Speaker 1: so the musical adaptation was bringing all these people together
Speaker 1: to relive it. And the directors showed us this documentary
Speaker 1: from Sundance called Long Night's Journey in Today like a
Speaker 1: reverse on the Eugene O'Neal title, and it he was
Speaker 1: covered the South Africa Truth and Reconciliation Commission post Apartheid,
Speaker 1: and it covered these four amnesty hearings where it brought victims,
Speaker 1: family members of victims in front of perpetrators and even
Speaker 1: their own families to try and work through what happened
Speaker 1: and speak to each other and sort of find forgiveness.
Speaker 1: In a case where a perpetrator showed true remorse, if
Speaker 1: the family forgave them, the government would grant them amnesty
Speaker 1: because they felt we cannot survive as a country if
Speaker 1: we just incarcerat everybody and keep looking back with resentment
Speaker 1: over all the crimes of apartheid. And it was just
Speaker 1: so powerful. And when I was reading about these meetings,
Speaker 1: you know, some twenty years later, I immediately thought of that,
Speaker 1: and I thought that you know, that's it. I've always
Speaker 1: been there was always something there. I remember and later
Speaker 1: in my life, like in my late twenties, contacting that
Speaker 1: director of Miss Saigon, that buddy of mine from college,
Speaker 1: being like, hey, we got to do that again, Like
Speaker 1: let's find an off Broadway space and do that show.
Speaker 1: And he was kind of like, ah, sort of over it.
Speaker 1: You know, there was something, there was a thing in me,
Speaker 1: there was like I gotta do I gotta I want
Speaker 1: to do more with that. And so that's that was
Speaker 1: kind of it. And then it was sort of a
Speaker 1: rabbit hole and of sort of an intense sort of
Speaker 1: focus and passion for the last I mean, it's still there.
Speaker 1: That's the thing. It's hard to sort of move on from.
Speaker 1: I've had a lot of really emotional experiences and conversations
Speaker 1: because of the film. Obviously you can imagine. I've gotten
Speaker 1: talk to some parents. It's there's there's good and bad reactions.
Speaker 1: There's you know, in some ways because it's not so
Speaker 1: heavily anti gun, you know, and there's I've I've noticed
Speaker 1: gun violence prevention groups. It sort of doesn't feel on brand.
Speaker 1: There's a sense of sort of like, well, what do
Speaker 1: we do with this, and you know, to me, it's
Speaker 1: sort of it's it's about coming together and speaking, you know,
Speaker 1: and the ability to sort of listen and work through
Speaker 1: something and find a way forward. And in that sense
Speaker 1: it sort of seems to be you know, I wanted
Speaker 1: to feel even more universal than the specific sort of
Speaker 1: plot or the circumstances of the meeting and more about
Speaker 1: you know, healing or bridging division in general, you know
Speaker 1: what I mean. I mean, unless you wanted to talk
Speaker 1: about that, like when you were before you write the
Speaker 1: film where you meeting with parents of victims, and did
Speaker 1: you said, you know, it's a regret. It's most of
Speaker 1: it was reading. I did meet I did meet with
Speaker 1: some what I met with some women who work for
Speaker 1: Michelle Carter, who's an actor in the movie. She plays
Speaker 1: a sort of the mediator lawyer or character. She was
Speaker 1: a volunteer at both Mom's Demand Action in every Town,
Speaker 1: and so she introduced me to some women who had
Speaker 1: lost loved ones and I spoke with them. I've spoken
Speaker 1: with some people who just had lost family members. I
Speaker 1: don't want to say in general, but there was someone
Speaker 1: in a car accident, there was some you know, speaking
Speaker 1: to people and kind of just listening to how people
Speaker 1: sorry I got the little chime going on, but listening
Speaker 1: to how people going to cry keep keep their loved ones,
Speaker 1: you know what I mean, Like how they keep them
Speaker 1: you know what I mean, because they're gone, and like
Speaker 1: how do you sort of keep it alive and like
Speaker 1: keep that? How does it? How does it? How do
Speaker 1: you turn it into something? And it's hard to say positive,
Speaker 1: but that gets easier, you know, because this idea that
Speaker 1: maybe grief never really goes away, you just live with
Speaker 1: it more easily, you know, or you transform it into
Speaker 1: something not so painful. And hearing people say we just
Speaker 1: wanted to tell stories. I had coffee with this woman
Speaker 1: who talked about losing her brother and saying, you know,
Speaker 1: we just want to tell people's stories, and that that
Speaker 1: there's there's a moment in the film, but it's just
Speaker 1: very explicitly a story, and it was it really felt like,
Speaker 1: you know, it was an idea that like, of course
Speaker 1: these people are going to share stories, so it was
Speaker 1: sort of in the writing, but to hear someone say
Speaker 1: that with such like sort of purpose or clarity to it,
Speaker 1: like said like, oh, this needs to be a thing
Speaker 1: and this might be a structural component to this conversation
Speaker 1: that really moves it to a cathartic place, you know,
Speaker 1: like really kind of making it, you know, a key point. Um.
Speaker 1: But no, I think you know, I've had I've spoken
Speaker 1: with family members now and it's directly involved with shootings.
Speaker 1: I had an incredibly emotional conversation with a mother from
Speaker 1: a mother of a Sandy Hook student with an daud
Speaker 1: and we were just in weeping, you know, we were
Speaker 1: kind of a mess, and she was this sort of
Speaker 1: you know, picture of grace and composure compared to us.
Speaker 1: It was you know, in and but she had said
Speaker 1: and uh, and maybe this is in the interview and
Speaker 1: if it's not, God, forgive me, because I you know,
Speaker 1: I wouldn't want to say something she didn't say on camera.
Speaker 1: But there Look, there was a notion of like not
Speaker 1: not not everyone will be an advocate of this film,
Speaker 1: because if you're you can't tell people to forgive if
Speaker 1: they don't want to. And I and I don't think
Speaker 1: the movie's really saying that there's without giving stuff away
Speaker 1: like a you know, not everybody sort of gets the
Speaker 1: same not everyone gets, Uh, Forgiveness doesn't work for everyone
Speaker 1: the same way. Right in terms of parties, you know,
Speaker 1: there can be almost a transactional element. I get it
Speaker 1: off my chest, but like, does it really relieve someone
Speaker 1: of guilt and shame? And you know, how does it work?
Speaker 1: And I do there's a look I've I've experienced that already,
Speaker 1: the sort of the hurt of this isn't your story
Speaker 1: to tell. You haven't lived it, and you can't tell
Speaker 1: other people's, you know, And you know, I think it's
Speaker 1: sort of it's so it's a regret that I didn't find,
Speaker 1: you know, do a better job or work harder at
Speaker 1: finding these people. But I also I didn't know where
Speaker 1: to sort of stop, you know what I mean, because
Speaker 1: it sort of felt like, well, hey, I'm not gonna
Speaker 1: I'm probably never gonna get in touch with without saying names.
Speaker 1: But parents of shooters, like I know, there's one woman
Speaker 1: who's very outspoken and she's on you know, TV and
Speaker 1: Ted Talks, and that's her life now, is speaking about this,
Speaker 1: her role as a mother of a shooter. But you
Speaker 1: know most of them are almost in hiding, right, you know,
Speaker 1: so so the idea of and I'm trying to say,
Speaker 1: these are four victims, right, these are four they've all
Speaker 1: lost loved ones here, right, and then we're trying to
Speaker 1: give some equality to the conversation and any dignity to
Speaker 1: all of these people. In order to sort of get somewhere,
Speaker 1: you know, be productive here, we have to sort of
Speaker 1: accept each other's humanity and but shared suffering, not just
Speaker 1: sort of I'm the victim here and I blame you,
Speaker 1: but sort of get some equalizing sort of field to
Speaker 1: be on. And so it always felt to me like it, well,
Speaker 1: it's not just you know, talking to the victims is
Speaker 1: sort of I should also talk to the mothers of
Speaker 1: the parents of the shooter. And I didn't know sort
Speaker 1: of where to stop, and so I didn't know where
Speaker 1: to begin and I and I think there was a
Speaker 1: part of me that just um kind of left it
Speaker 1: at that, you know, and sort of felt like, well,
Speaker 1: I'm telling a fictional story. I've researched this, I've got
Speaker 1: all these sources I can that's it, and um, you know,
Speaker 1: I think I'll probably have to sort of answer for
Speaker 1: that to some degree of you know, I think there's
Speaker 1: probably they'll probably be hard feelings around that, or complicated
Speaker 1: feelings around that. As the Sandy Hook parents suggested even
Speaker 1: though she was you know, she's like I watched the
Speaker 1: movie twice. I you know, I forgive this person. I
Speaker 1: forgave this person, and I you know, she spoke of
Speaker 1: the importance in her life at least of forgiveness. You know.
Speaker 1: The writing I think is listen if you could add
Speaker 1: there more of metality over it. But the writing, I
Speaker 1: think it's amazing, particularly because again because it's fictionally go
Speaker 1: there's a much easier version of this where all the characters,
Speaker 1: where all the characters are lovely and sympathetic and you
Speaker 1: feel sorry for them, which you do accept. I think
Speaker 1: what's so brilliant, particularly the parents of the killer. They're
Speaker 1: so complicated, particularly and out in the first twenty minutes
Speaker 1: of the film, you're you're like really uncomfortable. She's really uncomfortable,
Speaker 1: and she makes you she's she's there's everyone is so
Speaker 1: three dimensionally like she's awkward and there's like something almost
Speaker 1: pathetically needy about her, and it's you're sort of almost
Speaker 1: repelled by her. In the first twenty minutes, you totally
Speaker 1: get why Martha Plibton is sort of like fuck you,
Speaker 1: Like you can see this sort of desperate it's so
Speaker 1: well written and incredibly active by everyone, but like such
Speaker 1: complicated characters. And as much as it is full of
Speaker 1: love and forgiveness, this film, and it's also there's no
Speaker 1: it feels to me as you know, someone outside of this,
Speaker 1: but you don't also don't let anyone off the hook.
Speaker 1: The final sort of speech to it and Dad has
Speaker 1: where she comes back to tell that story is is
Speaker 1: fucking devastating. It's so like Jesus Christ, and yeah, you
Speaker 1: know what I mean, it isn't there there's no like, okay,
Speaker 1: well that that yeah, neatly, neatly explains all of these things.
Speaker 1: And I don't know, it's just I think as an
Speaker 1: act of imaginative empathy, it's an extraordinary piece of work. Yeah,
Speaker 1: thank you. I mean, I look, the movie lives and
Speaker 1: dies on the performances because it is it is like
Speaker 1: nine in that room at a table. And you know,
Speaker 1: I never, I mean I really got. I just was.
Speaker 1: I was lucky and I knew it. We had a
Speaker 1: little three day rehearsal in New York about three weeks
Speaker 1: before we went to Idaho where we shot in Sun
Speaker 1: Valley and Hailey, Idaho, and I knew, you know, we
Speaker 1: kind of The rehearsal was basically table work like you
Speaker 1: would for a play. We sat around the table. But
Speaker 1: that's how the movie is. So. Cinematographer Ryan Jackson Healy
Speaker 1: was there with our lenses and you know, did a
Speaker 1: little camera test and we watched it and I thought
Speaker 1: it that we have it. I know it. It's going
Speaker 1: to work. These actors are incredible. But the other thing,
Speaker 1: and it wasn't necessarily improv but and this went back
Speaker 1: to any kind of read through I had with other actors,
Speaker 1: because I did a couple of read throughs sort of
Speaker 1: written the writing process, but sort of really you know,
Speaker 1: peppering actors with questions of like where where did you
Speaker 1: feel you were kind of just having to say the line,
Speaker 1: you know, or like phone it in, and like where
Speaker 1: was it false? And what can I do to fix that?
Speaker 1: So to keep that and not illusion for lack of
Speaker 1: a better word, of reality, you know, and that you
Speaker 1: just you feel like this is this is real conversation.
Speaker 1: It just feels like real people talking and sort of
Speaker 1: paying attention to where it felt literary or written, you know,
Speaker 1: and also when an actor had an impulse to hear
Speaker 1: it and put it in there, you know, and really
Speaker 1: be flexible with the writing, and like, I give this
Speaker 1: example all up. But Jason Isaacs in that rehearsal, he's
Speaker 1: listening to read Bernie and Dawd tell the story of
Speaker 1: the shooting from their perspective the day of the shooting,
Speaker 1: and he and and it was originally it was like
Speaker 1: line line, you know, a speech, speech speech kind of
Speaker 1: and Jason looked at me and was like, why am
Speaker 1: I listening to this? I don't want to listen this.
Speaker 1: I don't care about these there's sob story. And it
Speaker 1: was an honest sort of thing, and so that that's
Speaker 1: in the movie. You know, it's sort of all of
Speaker 1: a sudden, it's sort of he he quite literally says that.
Speaker 1: I think I think he's like, I don't want to
Speaker 1: listen to this. I don't know, and you know, just
Speaker 1: just being open to that and putting it in there,
Speaker 1: I think he gave that that dialogue in the field
Speaker 1: of that scene a sort of a realism that that
Speaker 1: that you know, I can't I probably like don't get
Speaker 1: credit for in terms of my initial sort of writing,
Speaker 1: like I needed actors and I needed actors to have
Speaker 1: their instincts even though I am an actor. It was
Speaker 1: hard for me to sort of, you know, see it all.
Speaker 1: I was too close or whatever, you know, but yeah, yeah,
Speaker 1: well yeah, and on the less stading, less intense side.
Speaker 1: But it's interesting and I understand it. And if people
Speaker 1: listening don't understand the industry and I did not, is
Speaker 1: what's sad about the reality of these things is I
Speaker 1: saw that film and I was like, oh, I mean,
Speaker 1: I remember being like, well, that's the film that will
Speaker 1: win all the Oscars in every single category there is,
Speaker 1: including special effects, because it's so fucking good. But I know,
Speaker 1: I know that the reality is it's about money. It's
Speaker 1: about how much money do you have to promote this thing?
Speaker 1: And if you don't have a lot of managing to
Speaker 1: write this thing, then not loads of people will see it.
Speaker 1: And it doesn't matter how brilliant and amazing the film is.
Speaker 1: If people don't know the film exists, then it won't
Speaker 1: get the attention it deserves. And that is m Yeah,
Speaker 1: it's it's tough, you know. I mean, look, I I
Speaker 1: no one. I couldn't. I could barely get people to
Speaker 1: read the script. You know. It was hard enough to
Speaker 1: get a friend to read it, let alone get this
Speaker 1: thing made by a first time you know, director, sort
Speaker 1: of relatively unknown actor, like it was not it was
Speaker 1: sort of working against me. And also those who did
Speaker 1: read it were like, this is not this has no
Speaker 1: sort of market commercial value, you know. It's like I mean,
Speaker 1: I was constantly told you can't, you just can't do this,
Speaker 1: like you got to break it up. And I would say, hey,
Speaker 1: my dinner with Andre or twelve angry men, like no,
Speaker 1: I want to stay in the room. That's a whole
Speaker 1: point of the movies. We have to stay in and
Speaker 1: it has to be real time. You have to sort
Speaker 1: of suffer through these absurdities of kind of pushing through
Speaker 1: things and kind of placing pain right next to ordinary
Speaker 1: life is real, it's it's it's our experience of our
Speaker 1: lives is sort of extraordinary, sort of you know, sprinkled
Speaker 1: in between the more ordinary. And I wanted to kind
Speaker 1: of feel that by having it so linear, I guess,
Speaker 1: and I find someone told me if you have a dollar,
Speaker 1: you're partially financed, as you know, giving me advice, and
Speaker 1: so I just created a you know, an LLC. I
Speaker 1: put thirty thousand dollars into it and started telling people
Speaker 1: we were financed you know, and and kind of bluffed
Speaker 1: my way into it, and you know, it was not
Speaker 1: it was a hard sell at Sundance. It's been it's
Speaker 1: just been that way and a sort of a struggle.
Speaker 1: And even you know at my kids school, you know,
Speaker 1: that have their parents that are like, I'm so sorry,
Speaker 1: I just can't watch your movie, Like I just kind
Speaker 1: not in the headspace for it. And there's a lot
Speaker 1: of hey, people are having a hard time in the pandemic.
Speaker 1: No one wants to sit through this, no one's you know,
Speaker 1: and so it's just sort of the reality of it.
Speaker 1: But yeah, you do. I'm not gonna lie. There was
Speaker 1: a moment where our expectations or our hopes at least
Speaker 1: got high, you know, and we were in that conversation
Speaker 1: and so to sort of I mean, look, we got
Speaker 1: incredible We had incredible success. Also when you think of
Speaker 1: like I just sort of did this on my own
Speaker 1: and put my own money into it, and where that
Speaker 1: all sort of came, how it came together. But no,
Speaker 1: you know, I'm not gonna lie. You know, it was
Speaker 1: like Oscar announcement morning was a gut punch, you know,
Speaker 1: and you sort of think like, oh, you sort of
Speaker 1: have to sort of play this kind of mental game
Speaker 1: or gymnastics of sort of minding yourself of the journey
Speaker 1: and that and that this is this is the same thing.
Speaker 1: And then it's just the emotion of it. Like I've
Speaker 1: been in rooms and conversations with people crying and sharing
Speaker 1: really personal stories, and you know, this thing was sort
Speaker 1: of made with a seriousness and vulnerability that you know,
Speaker 1: I kind of have to sort of like live with
Speaker 1: and be accountable for, you know, and sort of and
Speaker 1: that's good. That's a good thing. I want to do that.
Speaker 1: I want like art to be serious and cathartic and complicated,
Speaker 1: and so it's it's good, but it's certainly I'm starting
Speaker 1: to realize, hey, this is not this is just not
Speaker 1: something like as an actor, you walk away from things
Speaker 1: much more easily, you know, and this is just something
Speaker 1: that sort of I'm sure will sort of I will
Speaker 1: have a relationship most of my life, you know, all
Speaker 1: of my life. Anyway, you're going to follow it up
Speaker 1: with the you know, I'm trying to write something and
Speaker 1: I say it's a sequel to Mass It's just one
Speaker 1: hundred years later. And so I do have the I
Speaker 1: have a sequel plan. But yeah, no, I I tried
Speaker 1: to get that guy, Zack Jacobson. Sorry, I'm just gonna
Speaker 1: throw you under the bus. He It was. It was, honestly,
Speaker 1: it was like one of the best things I've ever
Speaker 1: been in. It was such an incredible adaptation and just
Speaker 1: just cool ideas to sort of sustain that, you know, conceit.
Speaker 1: It was really well done. No, Frank, Yeah, this is awful.
Speaker 1: I've forgotten to tell you something I should have. We've
Speaker 1: been talking that probably half an hour about your amazing film,
Speaker 1: and I forgot to tell you before that. I probably
Speaker 1: should have said at the beginning, actually, well fuck it,
Speaker 1: I just say you've died. Funny I would laugh in it.
Speaker 1: You're dead? Yeah, shape, yeah, how did you die? God?
Speaker 1: I um, you know, I turned forty recently, and I
Speaker 1: was fine with that. I was. It was pretty especially
Speaker 1: because of COVID birthday. It was just like nothing happened.
Speaker 1: And but but I had a weird couple moments of like, shit,
Speaker 1: I'm gonna die soon, you know, and and mass took
Speaker 1: so damn long to make. I keep thinking like, man,
Speaker 1: you only have if you're lucky, like six films left,
Speaker 1: you know, like you gotta you're not gonna you know,
Speaker 1: there was a there was an anxiety of time, but
Speaker 1: I don't know. It's funny, like my mom has been
Speaker 1: texting me a lot recently about like so and so
Speaker 1: died of cancer, like have you have you had your
Speaker 1: check up? Like go see you know the doctor, and like,
Speaker 1: you know, and I just was at the dermatologist. I
Speaker 1: have sensive you know, I get like I had some things.
Speaker 1: I'm going to get some little moles cut off my
Speaker 1: back and my like sensitive skin, and that's like a concern.
Speaker 1: So I just sort of assume and it's sort of
Speaker 1: I don't want to say common or it is common cancer.
Speaker 1: It's all. I don't know, this is awful. There's something
Speaker 1: it's not. It's not very unique, right, It's sort of
Speaker 1: like that's kind of like, well, yeah, you know a
Speaker 1: lot of people die of cancer, and so I think
Speaker 1: there's a kind of insult to injury way of like
Speaker 1: if it's it feels like it's going to be cancer
Speaker 1: where you're just sort of not um you know. Also,
Speaker 1: I noticed that William Hurt died recently, do you know,
Speaker 1: do you know? And I worked with him. He was
Speaker 1: he's awesome. I had the greatest time with that guy.
Speaker 1: I loved him on the village and I'm pretty sure
Speaker 1: and maybe it changed. But the initial article I read,
Speaker 1: uh was he died of natural causes, but he was
Speaker 1: seventy one, and I kind of thought, is that? Is
Speaker 1: that a little young? But can you say that? Is that?
Speaker 1: What is natural? Do you know what I mean? Like?
Speaker 1: Are we supposed to? Are those should be in near
Speaker 1: eighties or niceties? You know? Yeah? Yeah, no, right, I
Speaker 1: think it's sort of if it's eat or eaten by
Speaker 1: a bear, but it's that's natural? That is that? You know?
Speaker 1: That wash um like the who's yeah? I but no,
Speaker 1: I can I can sort of sadly see that, like, okay,
Speaker 1: fran he died of natural causes, it's sixty four, you know.
Speaker 1: Something kind of just just annoying and sort of leaves
Speaker 1: me a bitter taste in my mouth. So do you
Speaker 1: I mean we've talked a lot about it, really, but
Speaker 1: I normally asked, do you worry about death? I guess
Speaker 1: do you worry about your own death? I don't think
Speaker 1: so clearly. I've worried about my child's or fixated and
Speaker 1: on it and in order or not in order to
Speaker 1: but an in and around this film, which is terrible.
Speaker 1: I don't even want to put that out into the world.
Speaker 1: But you know, I don't know, like I had, look,
Speaker 1: the panic of I'm going to die soon didn't necessarily
Speaker 1: feel like my death. It was the death that bothered
Speaker 1: me so much. Is that? How am I going to
Speaker 1: use my time? Do you know? Um? I need to shit,
Speaker 1: I gotta get to work. Kind of that kind of feeling.
Speaker 1: Um So I don't, I don't know, and um, you know,
Speaker 1: I'm I'm I've sort of alluded to this, this kind
Speaker 1: of sci fi idea, you know, mass one hundred years
Speaker 1: from now, and uh so I listened to this is
Speaker 1: the second best podcast, right, This is the number two
Speaker 1: to you, right, the Lex Friedman podcast. And he's this
Speaker 1: mint professor and he he gets just a lot of
Speaker 1: his colleagues and these really brilliant people and I don't understand.
Speaker 1: I wouldn't know half of what they're talking about. But
Speaker 1: he has a wonderful way of asking questions and making
Speaker 1: it accessible. It's not like dumbed down. It just feels
Speaker 1: something like something with him you can grasp. There are
Speaker 1: are sort of you know, like us, who aren't you know,
Speaker 1: geniuses and uh, you know, the sort of complexity of
Speaker 1: the universe and ideas about like the theory of everything
Speaker 1: and what it all means. And this this one guy,
Speaker 1: Stephen Wolfram, he wrote this book a New kind of Science,
Speaker 1: and this guy's just really out there and a genius.
Speaker 1: But he's talking about the universes. So we have like physicals,
Speaker 1: we have our own physical space, and then there's sort
Speaker 1: of branchial space like quantum space, and the idea of
Speaker 1: there's every possible version of this existence happening simultaneously, and
Speaker 1: we just have this kind of slice in our sort
Speaker 1: of perspective and the mechanisms of our representation mechanisms limited
Speaker 1: us to this this thing, but it's all happening around us.
Speaker 1: And then on top of that, the universe being he
Speaker 1: calls it the rule AD and this it's like, sorry,
Speaker 1: I'm going off on a tangent here, but the rule
Speaker 1: AD being all possible rules happening at once and the universe.
Speaker 1: And so you're like, well, who started the rule ad?
Speaker 1: Where's the rule AAD come from? But within those rules
Speaker 1: is that is that that's a rule within the all
Speaker 1: possible rules contains the rules of somehow starting this universe
Speaker 1: and that it's this kind of complete set and that's
Speaker 1: sort of like, look, I don't know if that's fine.
Speaker 1: I don't know who. It's just this guy, you know,
Speaker 1: it kind of it kind of had there was something
Speaker 1: beautiful about it, and this just interconnectedness sort of there
Speaker 1: is sort of a self contained, solid running program that
Speaker 1: when I die, it's not I'm not going into some
Speaker 1: you know, you know, just it's not I'm not turned off.
Speaker 1: I'm just sort of in this thing. And the notion
Speaker 1: of like and as it just feels even less like
Speaker 1: a reincarnation but just sort of like, you know, as
Speaker 1: soon as you die you might just be right back
Speaker 1: on again and have no idea who fran was? You
Speaker 1: know what I mean? Um and and and I guess
Speaker 1: that's sort of is reincarn But but this idea of
Speaker 1: the solidness, the sort of the oneness of it, I
Speaker 1: thought was kind of is kind of beautiful and reassuring,
Speaker 1: even though it's really out there, you know, and really
Speaker 1: hard to sort of comprehend. I guess you know, I
Speaker 1: like that. Well, it's it's interesting, but there I'm afraid,
Speaker 1: I mean, good news in bad When you're shut off,
Speaker 1: there is a heaven. There's a middle bit, there's a head.
Speaker 1: You got to visit that before you immediately switch back
Speaker 1: on it and you yeah, and in this heaven, everyone's
Speaker 1: very excited to see. It's filled with your favorite thing.
Speaker 1: What's your favorite thing? Oh man, that's so cheat. I
Speaker 1: would just say my kid right now, what's my favorite thing? Okay,
Speaker 1: we'll heaven Italian food? Okay, heaven is filled with your kid.
Speaker 1: But your kid has been claimed. There's like a minute
Speaker 1: everywhere everybody lick there's your kid jumping around, excited to
Speaker 1: see you, slightly frightening in a way, and they've all
Speaker 1: got pasta dishes for you, and you're like Jesus Christ.
Speaker 1: But everyone everyone's excited to see you. All a million
Speaker 1: of your of your doing. But everyone wants to They
Speaker 1: want to talk to you about your life through film.
Speaker 1: And the first thing they want to know is what
Speaker 1: is the first film you remember seeing? Fran krad ah Man,
Speaker 1: I you know, I can't, I don't know. I remember
Speaker 1: like being obsessed with Disney's Halloween Special, Disney's Halloween Treat.
Speaker 1: What it wasn't you know that's not a movie necessarily,
Speaker 1: but you know we have these we still do our
Speaker 1: families kept them just because they're they're funny. But these
Speaker 1: beta beta tapes, you know, before BHS there was beta
Speaker 1: and so we have, you know, but one of them
Speaker 1: is Star Wars, And like, I can't be sure what
Speaker 1: was first, but that that feels at the beginning, like
Speaker 1: it feels like my whole relationship with film sort of
Speaker 1: and the love and the sort of the the experience
Speaker 1: of it all and the magic of it it all
Speaker 1: sort of starts with Star Wars. So I'd have to
Speaker 1: go with that. I know that's probably a generic no either. Listen,
Speaker 1: I love the Star Wars was your first in kneed
Speaker 1: them made mass It's beautiful. Did you see see what's
Speaker 1: that on your Betomax? Yeah? So I was born eighty one,
Speaker 1: so Star Wars had come out, but I would I
Speaker 1: would have watched on that, I don't think, Yeah, because
Speaker 1: Jedi was eighty three, so I probably wasn't making it
Speaker 1: to the theater. I know my brother saw jedis jedis
Speaker 1: just the two of you, just the two of us? Yeah? Yeah,
Speaker 1: how much older is he? He's two years older. He's
Speaker 1: two years older, yes, yeah, and and he knows like
Speaker 1: he can kind of remember Star Wars. I gather he
Speaker 1: was taken to ET, but must have been a baby.
Speaker 1: I forget what ET was. I'm not sure what was
Speaker 1: the point of taking him to that if he was
Speaker 1: just like some you know, infant. Yeah, yeah, speaking of traumatize, No,
Speaker 1: but I and look, I could, well you will talk
Speaker 1: about scary movies, I'm sure, but like my parents, I
Speaker 1: don't want to like get them in trouble here. But
Speaker 1: and I get it, like you don't know what you're doing.
Speaker 1: For the most part, it feels like it's very hard.
Speaker 1: But they definitely it showed me some inappropriate films for sure,
Speaker 1: you know. I mean we I watched Twin Peaks as
Speaker 1: it aired, and I must have been nine years old,
Speaker 1: and I think, yeah, you know, and it's scared the shit.
Speaker 1: It's traumatized me. Like it's it's like I can't. I can't,
Speaker 1: you know, if I'm out in the woods alone at
Speaker 1: night and an owl hoots them done, It's like I
Speaker 1: can't deal. Bob got so into the you know inside
Speaker 1: of me. I got um, you know, I was coming
Speaker 1: into my parents room at night. But the show is
Speaker 1: so damn good that we we said, I watched the
Speaker 1: whole thing like we would watch it together as a family.
Speaker 1: Despite the fact that they knew I'm gonna I'm having nightmares,
Speaker 1: we were still watching it, and I remember we kind
Speaker 1: of got into a zone of like, Okay, leave the
Speaker 1: room or cover your eyes. You know that you could
Speaker 1: tell by the music, like I think you might want
Speaker 1: to go. But then sometimes it's like Leland looks in
Speaker 1: the mirror and there's Bob and fuck, we didn't see
Speaker 1: that coming. So anyway, So but yeah, Fire Walk with Me,
Speaker 1: which was like, you know, came out right after our
Speaker 1: family was so into Twin Peaks. You know, we had
Speaker 1: to see it. But that was like, you know, that
Speaker 1: shit really got got me, got me back you, I
Speaker 1: mean you. All I can tell you is the listeners
Speaker 1: will know this. You'll you basically just described my childhood
Speaker 1: and oh really right, twas Twin Peaks, I think made
Speaker 1: my brain the way it is. I watched it too
Speaker 1: young and watched it live, never never slept again. Still scared. Yeah, okay, great, No,
Speaker 1: we had to say, I mean, are we I feel
Speaker 1: like we're probably close in age, so I said, we
Speaker 1: had the same problem of seeing this as children. Yeah,
Speaker 1: and if and I probably the scariest. I think so.
Speaker 1: I mean, I think so my question scary. I think it.
Speaker 1: I think it has to be because it's sort of
Speaker 1: scarier than the show, sort of pound for pound, right,
Speaker 1: because the show is a lot of soap opera, and
Speaker 1: and you know, I've gone back and rewatch the show
Speaker 1: a lot, and I like the return even though it's
Speaker 1: just bizarre. But I you know, you kind of want
Speaker 1: to move through the show be like these people don't matter,
Speaker 1: you know. But Firewalk with Me is like, no, it's
Speaker 1: just a devastating scary movie start to finish. And uh
Speaker 1: but you know, I know, like like I definitely like, no,
Speaker 1: it's definitely that would be my one. But you know,
Speaker 1: I want to make a scary movie one day. I know,
Speaker 1: like Jaws gets Like I I go into a swimming
Speaker 1: pool and just there's a there's always like this tiny
Speaker 1: feeling there's a shark in the pool, like you know,
Speaker 1: totally irrational because of that movie. But I remember that
Speaker 1: movie Open Water, which is I think kind of a
Speaker 1: silly movie. Like I don't know if we all think
Speaker 1: that's some great thing. It's like the found footage the
Speaker 1: couple's left behind, they're just stuck in the water and
Speaker 1: eventually eating by sharks. I had to leave like I had,
Speaker 1: Like I sort of I was like like a little kid,
Speaker 1: like I remember Large Marge and Peewee whatever the Peewee
Speaker 1: one is, the Peewee's Big Adventure maybe, Like as a kid,
Speaker 1: I remember being made fun of by my brother and
Speaker 1: my cousins because right before Large Marge I had, I
Speaker 1: had already been traumatized by her in the in whatever.
Speaker 1: I think it's pee Wee's great, but I would be like,
Speaker 1: I gotta, oh, I gotta go to the bathroom, you know,
Speaker 1: like right, you know, and they're all like, this is
Speaker 1: so transparent, what's happening? But that that I, as an adult,
Speaker 1: like I think I did that in that Open Water movie.
Speaker 1: I was just so deeply upset by it that I
Speaker 1: was like, I got I'm just gonna I get a pee,
Speaker 1: you know, just goldnat and I don't know if I
Speaker 1: came back anyway. Yeah, but there you go, firewalk with me. Amazing,
Speaker 1: Oh my god, righteous, that's so great. We couldn't talk
Speaker 1: about Twin Peaks for hours. I'm sure. Yeah, I listen.
Speaker 1: I never I never, I never make anyone do this.
Speaker 1: But I'm gonna make you do this. A few weeks ago,
Speaker 1: I had mock frust on the podcast You've got to listen.
Speaker 1: He was magic, and you know the thing of like,
Speaker 1: never meet your heroes, I say, meet your heroes. He
Speaker 1: was so wonderful. It's I mean, it's an hour and
Speaker 1: a half of me basically watched you go I love you,
Speaker 1: but it's so great. He's so great, and he's so
Speaker 1: sort of wise and lovely and funny and sweet and deep,
Speaker 1: and he was everything you'd want. You said, this just
Speaker 1: happened too, This was last week, you said, No, this
Speaker 1: is like, I don't know, a month ago, six weeks ago,
Speaker 1: a month ago, okay, because I feel I was just
Speaker 1: looking at your listening to some interviews, and then I
Speaker 1: obviously missed that. But okay, yeah, I will, I'll. My
Speaker 1: brother and I are going to have to watch that.
Speaker 1: I mean, we're both you know, we were both traumatized,
Speaker 1: and so we both kind of have this relationship, intense
Speaker 1: relationship with you. Yeah, I mean me and my sister didn't.
Speaker 1: I mean I told him this and then it is true,
Speaker 1: is that I was supposed to me and my sister
Speaker 1: chard a room, and so I guess I was like
Speaker 1: eight or nine, and I was meant to move into
Speaker 1: my own room. And the night I was meant to
Speaker 1: move into my own room as the night we watched
Speaker 1: the first I've said it Twin Peaks, and I moved
Speaker 1: my mattress onto the floor next to I stayed there
Speaker 1: until I was I think, Yeah, it was so scary. Yeah,
Speaker 1: oh my god, it was so scary. Yeah, I don't know. God,
Speaker 1: it's so I'll have to sit down with my parents
Speaker 1: and sort of be like, what were you? What we
Speaker 1: all thinking? You know? Also the magic of the magic
Speaker 1: of what David Lynch does in that he makes a
Speaker 1: fan terrifying just an image, yeah, a ceiling fan. Yeah, yes, yeah,
Speaker 1: like a potent of horrendous fear. It's such a like
Speaker 1: amazing and just a you know, there's I mean, Bob
Speaker 1: comes into that living room at one point you you'll see.
Speaker 1: But and so I don't know if it's like Chicken
Speaker 1: or the Egg, like, are just simple bedrooms and living
Speaker 1: rooms terrifying just because of how he frames it or
Speaker 1: it has is Bob sort of established And I don't
Speaker 1: think so that the fan and Laura Palmer or the
Speaker 1: mother forget her name, coming down the staircase. You know,
Speaker 1: that's not that's not conspicuous, fear and evil and spiritual,
Speaker 1: you know, supernatural, you know, that's just yeah, it is.
Speaker 1: It's very very strange. I mean, he and I think
Speaker 1: in fire Walk with Me there are just sort of
Speaker 1: very basic sort of shots and so I guess it's
Speaker 1: the art direction and he's kind of a master of sound.
Speaker 1: We know that, but like, man, it's it's you're absolutely right.
Speaker 1: What he can sort of what seems to be ordinary
Speaker 1: is so terrifying with him behind the camera. Was the
Speaker 1: film that made you cry? The most cheesy answer, but
Speaker 1: a mass you know, just I mean I cried for
Speaker 1: years in front of a laptop, cried editing it, cry
Speaker 1: watching it. You know, technically I have to say that one. Um.
Speaker 1: I mean, I mean I remember as like this is
Speaker 1: so cheesy, but Goose Deyne and top Gun was. I
Speaker 1: don't know if I cried in a movie yet, you
Speaker 1: know what I mean. So I feel like there was
Speaker 1: a sort of kind of a pivotal or seminal sort
Speaker 1: of a moment in my life as in childhood and
Speaker 1: being affected by a movie like that, you know, and
Speaker 1: like I know that's sort of this sort of you know, cheesy,
Speaker 1: famous blockbuster, you know, but I think a lot of
Speaker 1: like kids, young boys were affected by that and it
Speaker 1: was sort of in a kind of a little loss
Speaker 1: of innocence. Like I'm not sure, Like I think that
Speaker 1: movie was eighty six, and I feel like I probably
Speaker 1: saw it like shortly after it came out on video
Speaker 1: and was devastated by this. You know, this guy dying twice.
Speaker 1: He's done that twice, He's done that at the Edwards.
Speaker 1: I mean, yeah, that's really great. Yeah, I um yeah, no, Okay,
Speaker 1: so there's another there's a movie because I can't This
Speaker 1: came up recently and I thought, you're crying, like immediately,
Speaker 1: and I don't even know how it works, because I'm
Speaker 1: kind of there's a movie I want to do based
Speaker 1: on this book. This I'm just gonna say it. Put
Speaker 1: it out into the universe. This Richard Richard Powers, who
Speaker 1: wrote The Overstore. He has a new book called Bewilderment,
Speaker 1: and I really want to direct it. And uh, I
Speaker 1: was thinking. I was thinking, because there's a relationship with
Speaker 1: a father and a child. There's this movie called Color
Speaker 1: of Paradise Um sort of a sort of a saccharin title.
Speaker 1: But um, this is uh and I don't want to
Speaker 1: put your the name, but Majid Majidi and as Iranian
Speaker 1: film and it's um. This this boy who's blind and
Speaker 1: his relationship with his father, and it is it. I
Speaker 1: was crying, like immediately, and I don't even know how
Speaker 1: it was possible, do you know what I mean? Like
Speaker 1: I didn't understand some sort of alchemy of sort of
Speaker 1: sound and visual, you know, color and sound and this
Speaker 1: boy and the look of his father like nothing has happened.
Speaker 1: He's just picking him up from school or his you
Speaker 1: know that this sort of special school for the children
Speaker 1: blind children. You're just done so quickly, and then not
Speaker 1: to mention the movie itself, which is which is um tough,
Speaker 1: I mean really really really tough. And I love that
Speaker 1: about the film and that it doesn't it's despite that title.
Speaker 1: It's just a terribly honest and difficult relationship. It's a
Speaker 1: hard you know, and raising this child and the sort
Speaker 1: of the frustration of the kid and the sort of
Speaker 1: frustration of the father, but the love, the sort of
Speaker 1: the intensity and sort of you know, the real love
Speaker 1: of the relationship. It's just a really an incredible kind
Speaker 1: of movie, and it kind of has you crying throughout it.
Speaker 1: I mean that's one that really comes to mind, but
Speaker 1: particularly just how quickly you're locked in, like they somehow
Speaker 1: get you in the in the palm of his hand
Speaker 1: almost immediately. You know, that's great. What is the film?
Speaker 1: People don't like it, it's not critically acclaimed, but you
Speaker 1: love it. You don't care. I mean, I'm a Kids
Speaker 1: in the Hall fan, you know, But I remember when
Speaker 1: when Brain Candy came out. I don't have you've ever
Speaker 1: seen it, but like even all my friends, we all
Speaker 1: went and saw it in the theater and we all
Speaker 1: like kids in the Hall, but we were like thirty
Speaker 1: minutes into that movie thinking like this is guard, this
Speaker 1: is ridiculous, like this is and then I don't know
Speaker 1: what it was. There's some point I forget the guy's name.
Speaker 1: He was like a running joke and I think he's
Speaker 1: just in a towel. He's like it was like one
Speaker 1: of their production team guys. And he's not like a
Speaker 1: one of the cast members. It was some other dude
Speaker 1: and they have a name for him. And he's in
Speaker 1: like a just a bath towel, and he was in
Speaker 1: a giant bowl of cereal, and it was just in
Speaker 1: a kind of music montage in the middle of this
Speaker 1: ridiculous movie, and I remember it was like the absurdity
Speaker 1: just got too much for us, and we like were
Speaker 1: falling out of our seats laughing. You know, we thought
Speaker 1: like at that point and so now I think of
Speaker 1: kids in the hall brain Candies like one of the
Speaker 1: great movies ever made, like one of the funniest movies.
Speaker 1: You know, it's like top up there. So I don't know,
Speaker 1: I don't know if that's fair as like a bad
Speaker 1: a bad movie that I love without any kind of
Speaker 1: shame because maybe it's maybe it's also amazing. But there
Speaker 1: was certainly like, look, it's not going to be for everyone.
Speaker 1: I looked a lot of like cheesy action movies as
Speaker 1: a kid, you know, I remember like war movies, and
Speaker 1: I'd go to the video store and look, you know,
Speaker 1: bad horror films. I'd go look at the back of
Speaker 1: the box and find just what looked kind of gory.
Speaker 1: And I love all the Friday the thirteenth, even the
Speaker 1: bad ones like Jason Takes Manhattan. Like in college, we
Speaker 1: would just kind of go on marathons of watching those
Speaker 1: and there's like a really silly I mean, I feel
Speaker 1: bad saying this because you know, movies are hard to make,
Speaker 1: you know, and like I don't want to offend anyone.
Speaker 1: But this movie Hamburger Hill, which is like a Vietnam movie.
Speaker 1: Do you remember that? Yeah? Yeah, the video? Sure, I
Speaker 1: don't think I saw it. Yeah, and it's I'm pretty
Speaker 1: sure it's I'm pretty sure it's just bad, you know,
Speaker 1: And like, but like really into that as a kid,
Speaker 1: and because it was so violent at whatever age I was,
Speaker 1: I thought it was powerful, right, And I think in
Speaker 1: reality it was sort of just such a sort of
Speaker 1: run of the mill kind of war action movie that
Speaker 1: kind of had like nothing to say, you know what
Speaker 1: I mean? You know, I don't know. Yeah, what about
Speaker 1: what's a film that you used to love, loved it
Speaker 1: very much, but you watched it recently and you've gone, oh,
Speaker 1: I don't like this anymore for whatever. Well, I do
Speaker 1: like a lot with my kid, right, So we're going
Speaker 1: all my favorites. I mean, you know one that I
Speaker 1: loved that I was like, no way, this movie is
Speaker 1: still great was Fly to the Navigator. Do you remember
Speaker 1: that one? I was kind of like, no, man, this
Speaker 1: is like emotional. There's some great music, like yes, it's
Speaker 1: very cheesy, there's very eighties or whatever, you know, I
Speaker 1: you know, but like no, I was like, yeah, this
Speaker 1: is good. Um, and then but no one that was
Speaker 1: hilariously like bad and offense. I mean I again, like
Speaker 1: I feel bad. You know these are you know, especially
Speaker 1: this one's like considered I think it's considered a classic.
Speaker 1: But anyway, the Swiss Family Robinson, you know, we went
Speaker 1: to Disneyland, and I grew up with Swiss Family Robinson Treehouse,
Speaker 1: and now it's Tarzan's Treehouse, you know, And I couldn't
Speaker 1: help but wonder, like why is it Tarzan? And like, sure,
Speaker 1: you know, Tarzan's a more recent kind of big animated hit,
Speaker 1: and maybe it's sort of like a better cell than
Speaker 1: you know, Swiss Family Robinson's old. But um, I apparently
Speaker 1: you know Disney World, it's still Swiss Family Robinson. And
Speaker 1: I don't know why, you know, maybe that's like a
Speaker 1: Florida thing. Um. Anyway, I remember loving it. I should
Speaker 1: we put it on and I was watching with my
Speaker 1: brother and my daughter, and this is something I remember
Speaker 1: loving as a kid. And it has this disclaimer at
Speaker 1: the top. You know saying this, you know, we have
Speaker 1: there's some offensive portrayal of people in this movie that's
Speaker 1: you know, it's that kind of right. And and I thought, okay,
Speaker 1: you know, you know where this is going. And it's
Speaker 1: sort of the indigenous people portrayed and this totally sort
Speaker 1: of whatever stereotype racist kind of fashion. But like and
Speaker 1: again and like it's it also could be applied to
Speaker 1: the white people, like they are so so stupid and
Speaker 1: so ridiculous that it's sort of like, well, who are
Speaker 1: they sort of really apologizing about? Here? Them the Swiss family,
Speaker 1: like they like I don't even know where to be,
Speaker 1: Like they're when they're they're they're shipwrecked and the fathers
Speaker 1: trying to like save their lives and the rest of
Speaker 1: the family's trying to like save all the animals on board,
Speaker 1: and he's like, no, we gotta we gotta get to shore,
Speaker 1: like we don't have time. So it's sort of like
Speaker 1: and you get it. It's like, oh, it's sweet like
Speaker 1: the animals, but they're they're idiotic, you know. And then
Speaker 1: but then they get to shore and it's like within
Speaker 1: a day, the father's gone native and it's like we
Speaker 1: could stay here forever. You know, it's just like what
Speaker 1: the hell, you know this guy's that happen? And then
Speaker 1: like the yeah, and then the I guess it's not
Speaker 1: very clear, but like even in the description it says
Speaker 1: it's like the Napoleonic Wars and they're fleeing. They're sort
Speaker 1: of like refugees, so you get the sense, but you're like,
Speaker 1: wait a minute, is it like Switzerland, like you know,
Speaker 1: just like famously neutral and great, you know, just like
Speaker 1: a great place to live, and they seem pretty wealthy,
Speaker 1: so it's like why are you why are you doing?
Speaker 1: Like what why are you fleeing your country? Like what's
Speaker 1: going on? And then the kids, the boys are all
Speaker 1: just like such kind of like male energy and like
Speaker 1: blowhard haard On types, you know, the ridiculous. And then anyway,
Speaker 1: my point is the young kid who I remember loving
Speaker 1: as a child and like relating to because his name
Speaker 1: is Francis, and he's like a psychopath. He's like a dangerous,
Speaker 1: violent child. And at the end of the movie something,
Speaker 1: some people get rescued and leave, but like the parents
Speaker 1: stay with Francis, and you're kind of like they have
Speaker 1: to stay there with like Francis is a danger to society.
Speaker 1: But I remember being in the backyard playing like fighting
Speaker 1: imaginary pirates, like as Francis, and even seeing my daughter
Speaker 1: immediately be taken by Francis and like doing that same
Speaker 1: that same energy of like fighting the pirates as Francis,
Speaker 1: you know, and you're like, no, that Francis is really
Speaker 1: a troubled kid, you know, like, oh, this crazy, terrible
Speaker 1: role model. So anyway, I that movie, just like Beat
Speaker 1: for Beat was like super questionable. What is the film
Speaker 1: that means the mice to you? Not necessarily the film
Speaker 1: itself is any good, but because the experience you had
Speaker 1: around seeing it, that will always make it special to you.
Speaker 1: Mister frankrantz ah Man, I mean like I feel like
Speaker 1: there's so I mean, I feel like my life has
Speaker 1: sort of in film, and so I have so or
Speaker 1: want I want it to be. And I feel like
Speaker 1: I have so many movies that are meaningful to me.
Speaker 1: I mean I do kind of remember, you know, when
Speaker 1: Reservoir Dogs came out for whatever reason, the sort of
Speaker 1: story of Tarantino and like he was just this kid
Speaker 1: and worked in a video store and he just like
Speaker 1: he just liked movies so much that that easy that
Speaker 1: he was good at making them. You know, there was something,
Speaker 1: there was something kind of um, I don't know, sort
Speaker 1: of simplistic and almost sort of fairy tale or sort
Speaker 1: of like that or a legend kind of to his
Speaker 1: sort of start of like this is just this film
Speaker 1: geek that's just so passionate that he's good at it.
Speaker 1: You know, like somehow that that that felt like had
Speaker 1: made it more believable that I could make movies, you know,
Speaker 1: and I I look, I don't, I don't think and
Speaker 1: I love Quentin Tarantino, don't get me wrong, Like it's
Speaker 1: not The Reservore Dogs is like so violent, Like I don't,
Speaker 1: I don't think I'd make a movie that's just like
Speaker 1: so shoot him up, you know. But it was sort
Speaker 1: of his success and it was almost like he was
Speaker 1: anointed immediately, you know, like Reservore Dogs. It was just like, oh,
Speaker 1: he's this guy's in and he's great and will he
Speaker 1: will be for a long time. It felt that way quickly,
Speaker 1: and maybe his pulp fiction, but that was, um, I
Speaker 1: felt I can because I think I was like in
Speaker 1: eighth grade and it was so crazy. Reservo Digs is
Speaker 1: so shocking that that also was like, you know, anything
Speaker 1: goes you know, your crazy idea is okay because this
Speaker 1: is now, this is considered acceptable and commercial, you know.
Speaker 1: And so there was something I remember something that was
Speaker 1: a sort of a breaking open. And also Tarantino, because
Speaker 1: I was such a fan. I followed what he followed,
Speaker 1: and he was kind of he did that thing like
Speaker 1: he would have he would sort of have his name
Speaker 1: on a DVD and he it was I don't know
Speaker 1: him right, but he sort of introduced me to Wong
Speaker 1: Car Why. And that's when I saw Chung King Express
Speaker 1: because he was like, you know, he gave it an
Speaker 1: intro on the d on the tape or DVD and
Speaker 1: and that not that I'd never seen a foreign film,
Speaker 1: but that was like that was a floodgate kind of
Speaker 1: movie for me where I became obsessed with One Car Why.
Speaker 1: But sort of Asian cinema in general started getting into
Speaker 1: Korean film, and you know, uh that that sort of opened.
Speaker 1: I feel like there was there was something a shift
Speaker 1: and a kind of new found appreciation and sort of
Speaker 1: wider kind of net to sort of what I kind
Speaker 1: of you know, was watching, and that kind of starts
Speaker 1: with him, I think, I mean, I'm hrd relate, Uh,
Speaker 1: tell me this? What is the film? Is? Weirdly the
Speaker 1: next question, what is the film that you must relate to? Oh? Wow,
Speaker 1: speaking of one car? Why this movie twenty forty six
Speaker 1: to me feels like it sounds cheesy, but love and
Speaker 1: the experience of love, the ups and the downs, the
Speaker 1: complexity of it, falling in love, falling out of love
Speaker 1: when you sort of whatever it is, sort of come
Speaker 1: of age and you know, puberty, and sort of the
Speaker 1: romantic love as it becomes sort of pervasive in your life,
Speaker 1: the sort of the long term journey of it and
Speaker 1: sort of both heartbreak and ecstasy and eroticism like that movie,
Speaker 1: and it's not. I know it's not for everyone, but
Speaker 1: to me, I'm like that that is sort of like
Speaker 1: some perfect visual film, cinematic poem to romantic love. And
Speaker 1: so I did get to meet Quentin Tarantino once and
Speaker 1: we got into an argument at some party because I
Speaker 1: was like, that's that's his greatest movie, twenty forty six,
Speaker 1: and he was like, no, it's not. I think he's
Speaker 1: said in the Mood for Love, and he was like
Speaker 1: it and I forget the actress's name, the young actress
Speaker 1: um she plays the sort of it's as like his
Speaker 1: kind of love affair mistress and she comes back and
Speaker 1: the sort of not even third it feels and I
Speaker 1: know where he's going with this. It almost feels like
Speaker 1: a fourth act, like it feels almost extreme. And he
Speaker 1: was like, she should not have come back. That was
Speaker 1: just that that just got old or redundant or that
Speaker 1: was unnecessary. And I sort of was like, no, but
Speaker 1: that's that's it. That's what love. That's Look, it's messy
Speaker 1: and weird and people come back into your life and
Speaker 1: it fails again, and there's sort of there's a really
Speaker 1: a difficult, complicated way to sort of end. The relationships
Speaker 1: are just that they won't end necessarily. So I felt
Speaker 1: like it was no, it kind of covered everything because
Speaker 1: of that sort of final sort of beat um. But
Speaker 1: he obviously disagreed. But I don't, I don't know. I
Speaker 1: mean that look, that movie also looks nothing like my life,
Speaker 1: you know, Okay, Okay, I completely know what you mean.
Speaker 1: It's the feel of it. What, Yeah, what's the sexiest
Speaker 1: film you've ever seen? Frank Ranz? Yeah, god man, this
Speaker 1: is sort of embarrassing. But I do you remember, like
Speaker 1: you maybe I don't know if you relate to this,
Speaker 1: but like as a kid, and maybe it's like you're like,
Speaker 1: you know, going through puberty. It reminds me of like
Speaker 1: middle school and horny teenager. Like I remember like sex
Speaker 1: scenes and sort of these big movies were like kind
Speaker 1: of a thing you're like, oh my god, I like
Speaker 1: Sharon Stone, you know, or like Desperado, like I remember
Speaker 1: the sex scene with Salmahayak and Antonio, Like I was like,
Speaker 1: oh my god, that was amazing, you know, but you know,
Speaker 1: and then maybe that was I mean, I haven't seen
Speaker 1: that movie in a long time, but it maybe it
Speaker 1: was a very sort of like hot, erotic sort of
Speaker 1: sex scene. But some of them in retrospect were so silly,
Speaker 1: Like I remember this this movie, The special I think
Speaker 1: it's The Specialist with Sylvester Stallone, yes, exactly, and it's
Speaker 1: sort of like I don't know, I think like I
Speaker 1: was young enough to sort of be like taken by
Speaker 1: it and think like whoa, look at that um, But
Speaker 1: also you know, thinking back, like that was just ridiculous
Speaker 1: and also still Stallone as like this bodybuilder, Like the
Speaker 1: whole thing was like absurd and in some like my
Speaker 1: memory is it's in like a red shower, like do
Speaker 1: you know what I mean? And like yeah, but okay,
Speaker 1: so yeah, but I feel like those were sort of
Speaker 1: those were things. It was like how like my you know, buddies,
Speaker 1: and I sort of became acquainted to all this, you know,
Speaker 1: and but um, I mean I saw this is not
Speaker 1: like sexy because it's basically pornography, or I mean, I
Speaker 1: guess it is in parts, but um, you know, Caligula
Speaker 1: was a was like blew me away because I was like,
Speaker 1: oh my god. And there was a part of me
Speaker 1: because of you know, clockwork orange and loving Malcolm McDowell,
Speaker 1: because I you know, I saw some of these early on,
Speaker 1: and there's a part of me. It's like, it's a
Speaker 1: damn shame they couldn't edit Caligula into you know, sort
Speaker 1: of a better movie because we have to look at
Speaker 1: all this. But you know, when I watched it, I
Speaker 1: couldn't believe what I was seeing, the amount of sort
Speaker 1: of sex and nudity. But there's points where it just goes, okay, well,
Speaker 1: hey come on, guys, you know you just now it's
Speaker 1: you know, um, but I don't know, I mean, I
Speaker 1: know those are that sort of growing up. I think, like,
Speaker 1: you know, again, like I in The Mood for Love
Speaker 1: twenty forty six, those are like deeply romantic movies. I'm
Speaker 1: trying to think of like a love scene that just
Speaker 1: felt sort of adult and you know, really sort of
Speaker 1: you know, erotic or romantic. And I'm struggling to think
Speaker 1: of that. But i mean, look, those two movies, as
Speaker 1: they pair up with each other, in the Mood for
Speaker 1: Love and twenty forty six are super in my mind,
Speaker 1: you know, sensual. There is a subcategory which is troubling
Speaker 1: by his worrying, why Dones a film you found a
Speaker 1: rousing that you thought maybe you sh oh yeah, um
Speaker 1: oh god, I uh well, who are like, you know,
Speaker 1: the animated characters that were just like really attractive. Yeah, yeah,
Speaker 1: exact exactly. Oh god, I mean, what's what's her? The
Speaker 1: Robin Robin hood Fox. I remember thinking the Robin Yeah, yeah, absolutely. Yeah.
Speaker 1: So that's like sort of troubling because that's sort of
Speaker 1: that's obviously bestial or whatever, you know, So I'm not
Speaker 1: just um so yeah, but I remember like loving her,
Speaker 1: you know, in a as a in a in a
Speaker 1: way lovely though marriage she's lovely, Yeah, yeah, lovely vibe.
Speaker 1: But it's not just her looks. She's a good looking fox,
Speaker 1: but she's also say she's got a lovely vibe. Yeah, yeah, um,
Speaker 1: and yeah, you know it's well, you know, it's funny
Speaker 1: because I I'm inundated with Disney, and I know not
Speaker 1: every girl gets this way or child, but like mine
Speaker 1: was hooked on, like she saw Mickey Minnie Mouse in particular,
Speaker 1: and it was over. It was like she's now she's
Speaker 1: just she's drank the cooledge. She's you know, joined the
Speaker 1: colt or whatever. And so we have princess a lot
Speaker 1: of princesses, and you know, it's like who's your favorite princess, daddy,
Speaker 1: And you know, I find myself like really you know,
Speaker 1: in my head like or just like thinking about it
Speaker 1: like way differently than she's sort of you know, like
Speaker 1: her is her judgments of these Yeah. Yeah, but I'm
Speaker 1: like I like bell because she reads, and it's like yeah,
Speaker 1: and also I yeah, I'm sort of most yeah, weirdly
Speaker 1: attracted to Bella. She reads, she's really fit. Yeah, exactly,
Speaker 1: what is objectively objectively the greatest film ever made? Yeah,
Speaker 1: I think two thousand and one? Um, right, I could
Speaker 1: watch that I've watched it so many times. I like
Speaker 1: sometimes when you think, like, you know, we've really all
Speaker 1: when we're pushing the boundaries, you know, movies these days
Speaker 1: are so excited. This is you know, what we've done
Speaker 1: and broken the rules and you know, in the history
Speaker 1: of film. But then you're like, I don't know that
Speaker 1: was like at this point, that's like over fifty years
Speaker 1: ago and as crazy a movie as anyone will ever make,
Speaker 1: like as so in your face, like throwing the gauntlet
Speaker 1: down of like I am going to make an incredibly
Speaker 1: like I think I know what it's all about, you know,
Speaker 1: but I also a movie that is totally perplexing and
Speaker 1: sort of mysterious as well, and like I don't think
Speaker 1: you know, there's a lot of people that can barely
Speaker 1: get through the opening of you know, let alone the ending.
Speaker 1: But I I the experience of first watching it and
Speaker 1: saying I can't I can't believe this is like I
Speaker 1: can't believe this is happening, you know, And uh, you know,
Speaker 1: you get a very you kind of get a story
Speaker 1: in there, for sure, you get all that. I mean,
Speaker 1: I think there's sort of what's my heart? Yeah, now
Speaker 1: it's not going to be very articulate, I mean, and
Speaker 1: sort of it's it's this relationship with technology, you know,
Speaker 1: and and what is what is it? And is it?
Speaker 1: Is it really ours or is it a sort of
Speaker 1: is it a sort of force in the driving the
Speaker 1: sort of universe? Is it a sort of you know,
Speaker 1: we think there are tools, but is it just like
Speaker 1: a general sort of motion of things. Is there a
Speaker 1: kind of a intelligence so to speak that is sort
Speaker 1: of persistent and insistent and it has been from the
Speaker 1: very beginning and will sort of evolve and take on
Speaker 1: these forms. But there's sort of this plan, there's like
Speaker 1: a cosmic intention that we are sort of part of,
Speaker 1: very much a part of very much. It's streaming through
Speaker 1: us as sort of a species. And you know kind
Speaker 1: of you know, the ape kind of figuring out the
Speaker 1: bone as a weapon, you know, like the greatest cut
Speaker 1: in history, you know, into the satellite and you know,
Speaker 1: eventually becoming the star child, you know, and this sort
Speaker 1: of there's this uh. I mean, I think the short story,
Speaker 1: they find the thing on the moon and I think
Speaker 1: it's like a pyramid and the Arthur C. Clark and
Speaker 1: they can't figure out what the hell to do with it.
Speaker 1: Until they drop a bomb on it. I'm pretty sure
Speaker 1: they drop like an atom bomb or you know, and
Speaker 1: then it shoots a signal off. And it's kind of
Speaker 1: this idea of contact, like the aliens waiting for us
Speaker 1: to be at a point, And there's certainly something to that,
Speaker 1: but I also I feel like it's sort of as
Speaker 1: opposed to contact, as opposed to sort of the alien
Speaker 1: movies where it's sort of like we're visited. The visitation.
Speaker 1: It's sort of like the bridging. It's sort of like
Speaker 1: the inevitability of contact because these are sort of intelligent life,
Speaker 1: all sort of having a way of connecting itself, you know,
Speaker 1: and that you know, him becoming the sort of the
Speaker 1: star child. It's a coevolution of these sort of species
Speaker 1: that speaks to a greater sort of intelligence driving through
Speaker 1: the universe. Anyway. I don't know what they know we're
Speaker 1: talking about, but I mean, I do. I feel like
Speaker 1: I have to go with that one. I got a
Speaker 1: lot of movies I think are are up there. I
Speaker 1: love a Gara Wrath of God, you know, Hertzog, and
Speaker 1: I think the Russian movie Come and See. I feel like,
Speaker 1: you know, there's these movies that are just to me
Speaker 1: like kind of kind of perfect. But two thousand and one,
Speaker 1: I've just feel like because of the themes, I think
Speaker 1: kind of takes the cake. I mean, so obviously Citizen
Speaker 1: Kane is. You know, there's things that are sort of obvious,
Speaker 1: and I feel like two thousand and one is also.
Speaker 1: But I just think it has to be that guy.
Speaker 1: I mean he literally like worked with NASA, like that
Speaker 1: image of Jupiter, like we didn't have that, Like he
Speaker 1: his conversations with NASA sort of developed that that red
Speaker 1: spot like they sort of learned at least this is
Speaker 1: what I read as they kind of learned. And then
Speaker 1: the centrifuge, like you know, no one's kind of done that,
Speaker 1: like no one, like nowadays we just do cgi like
Speaker 1: no one's gonna bother with that kind of creativity of
Speaker 1: set design necessarily. I don't I don't even you know
Speaker 1: what I mean, It's just crazy. Yeah, it's a really
Speaker 1: good answer, and I will take it. Okay, Well, is
Speaker 1: the film you could or have watched? The micet Iver
Speaker 1: and ivery good. I mean, I brain Candy became sort
Speaker 1: of a favorite of our just my friends, I mean mcgruber.
Speaker 1: I mean, they're definitely like comedies I think, I mean,
Speaker 1: Star Wars. I've probably watched a ton like way too
Speaker 1: many times because I thought there was a formula in there.
Speaker 1: I thought there was there's something, you know, perfect underneath
Speaker 1: all this. In terms a storytelling, it's that Joseph Campbell,
Speaker 1: you know, heroic journey or hero's journey. And I felt
Speaker 1: like I needed to sort of get that, you know,
Speaker 1: kind of understand Okay, these are the beads to tell
Speaker 1: a tell a great story and you know start you know,
Speaker 1: Star Wars isn't for everyone, or I took it kind
Speaker 1: of seriously like that, you know, And so obviously I've
Speaker 1: seen that one a whole lot. I mean I do.
Speaker 1: But you know, some certain comedies Mcgruber, Cable Guy, I'd
Speaker 1: be like, I've probably seen them a lot. I like
Speaker 1: that you you picked. I think that's really I think
Speaker 1: it's quite interesting that the answer to that question is
Speaker 1: often a silly comedy. And yeah, and silly comedies are
Speaker 1: never taken seriously, as you know, or as that they're
Speaker 1: real sort of rewarded by you know, the press, or
Speaker 1: they're just considered and yet you go, and yet they're
Speaker 1: the things that people will watch over and over again,
Speaker 1: and I think it's amazing you made mass and your
Speaker 1: your your love is brain Candy and the group the
Speaker 1: same way pot Thomas Anderson loves Adam Sandom movies like
Speaker 1: it's fascinating. Oh yeah, really, yeah, I mean it is.
Speaker 1: It's just joy, you know, I mean whatever, it's it's yeah,
Speaker 1: it's sort of you know, it's like I don't want
Speaker 1: to say escape, but it's just like an infusion of
Speaker 1: happiness that's sort of undeniable and we need that. You know,
Speaker 1: you need that in your life. And so the sort
Speaker 1: of the real sort of guaranteed kind of successful sort
Speaker 1: of you know, mood swing or in a good way,
Speaker 1: you know, it's kind of get you in, I guess,
Speaker 1: or sort of tend to be comedies. I mean, I
Speaker 1: feel like I've seen a lot of heavy movies a
Speaker 1: lot um but those are I wonder it's such a
Speaker 1: good quiet which I wish I could know. It'd be
Speaker 1: fun to sort of know if you could kind of
Speaker 1: someone was keeping the stats, Yeah, what what we need
Speaker 1: of us? Like to be negative? So I'll do it quickly.
Speaker 1: But what's the worst film you ever see? Bearing in
Speaker 1: mind all films are hard to make, and everyone does
Speaker 1: their best. Yes, Oh this is hard. I don't know.
Speaker 1: I mean, I know, okay, I know this is Yeah,
Speaker 1: there's like big people involved in this movie. So I'm worried.
Speaker 1: But Havoc was so bad, Like even I think I
Speaker 1: auditioned for everything. You know, I'm like a desperate actor.
Speaker 1: Havoc was so I don't know if you know what
Speaker 1: this is. It's sort of about like LA kids and
Speaker 1: like privileged kids or prep school kids, and like I
Speaker 1: grew up in this city and this knew this world
Speaker 1: and it like mentioned by high school and like so
Speaker 1: it was just like it was so bad. It was
Speaker 1: so it was such also kind of like I got it,
Speaker 1: like I sort of understood the general sort of like
Speaker 1: feel of it and how to these kids were portrayed.
Speaker 1: But it was also such bullshit and just so silly
Speaker 1: that even I didn't audition for it. And when we
Speaker 1: just sat around ripping that movie apart, I remember like
Speaker 1: Howard the Duck because it scared the shit out of me.
Speaker 1: And also it was it wasn't it Lucas or it
Speaker 1: was who was it? Who was someone produced it? Maybe directed? Yeah,
Speaker 1: they produced it. Well, it was so offensive because as
Speaker 1: a kid, I was like, what the hell, you know,
Speaker 1: like because it's kind of upset me. It was sort
Speaker 1: of disturbing and scary and I didn't get what was
Speaker 1: going on, and so I remember being like, you know,
Speaker 1: violently angrily, you know, violent about how bad and you
Speaker 1: know that was, and like I want my money back
Speaker 1: kind of vibe duck, Yeah, what's the film that made
Speaker 1: you laughed? The Moist? I mean, I don't know, I
Speaker 1: didn't I A Grouper's up there. I don't know why
Speaker 1: that sort of top of my mind is sort of comedies.
Speaker 1: I mean, I gotta come up. I keep I know,
Speaker 1: I keep saying the same that's okay. Yeah, I mean
Speaker 1: I saw I met will Forde once and I was like,
Speaker 1: oh man, I'm such a fan, like the Grouper is
Speaker 1: so good and he was like not good enough, and
Speaker 1: I laughed and I'm like, no, no, no, it's like
Speaker 1: it's like, honestly, I think it's one of the best
Speaker 1: comedies ever made. And was like, not good enough. It
Speaker 1: was also, and I was like, yes, you genius. Yeah. Um,
Speaker 1: so I don't know that's a that's a damn good one.
Speaker 1: I'm just silly. I don't know. I feel like I
Speaker 1: shouldn't get I should have better than that. Both bananas.
Speaker 1: I loved Woody Allen's bananas. Laughed a lot. I don't
Speaker 1: know we're allowed to talk about what you are. I
Speaker 1: just yeah, yeah, bananas makes me very sad now though
Speaker 1: very upset now, Frank Krans, you have been wonderful. Thank
Speaker 1: you for indulging me in all the conversation about your film. However,
Speaker 1: when you were sixty four and you went for a
Speaker 1: walk in the woods and natural causes happened. I eat,
Speaker 1: a bear was walking past, saw you and mold you
Speaker 1: to death, ate your head, crunched your skull open, pulled
Speaker 1: a lung out, and I was walking through the woods
Speaker 1: and I was like, I wonder where Frank Krans has
Speaker 1: had a coffin with me, you know what I'm like?
Speaker 1: And then I see this absolutely yeah, absolutely chaos. There's
Speaker 1: bits of you, of the wolves Eastmide. You liver on
Speaker 1: a tree. I mean, this bear was having a right
Speaker 1: out of time. And I'm likes the bear camera mate
Speaker 1: a natural buzzes gather the bears like, oh sorry, I
Speaker 1: was just having some fun. So I do what I can.
Speaker 1: I collect all the bits of you. I kind of
Speaker 1: put you in the coffin. But there's you know, bits
Speaker 1: of three bits of fucking bear sick like he's at
Speaker 1: a right. I stuff you in the coffin. There's there's
Speaker 1: more of you than I was expecting. The coffin is full.
Speaker 1: There is really only enough room in this for me
Speaker 1: to slip one DVD into the side for you to
Speaker 1: take across to the other side one beat a max
Speaker 1: if you prefer. And on the other side this movie
Speaker 1: night every night. What film are you taking to show
Speaker 1: when it is your movie night in heaven with you
Speaker 1: one million versions of your daughter in the PASTA what
Speaker 1: you're gonna say? Yeah, that's so good. I mean we
Speaker 1: talked about the infusion of sort of joy and happening,
Speaker 1: you know, Carmody gives you. I've forgotted me for some reason.
Speaker 1: I think the funny movies that I could watch over
Speaker 1: and over, like Pootie Tang, I forgot Yeah, but I
Speaker 1: don't know, like it's so cheesy, but Star Wars started
Speaker 1: at all. It was just it open. It was like
Speaker 1: it filled my life with like so much sort of
Speaker 1: like hope and promise. As cheesy as that sounds, of
Speaker 1: like I want to be in that world I want to,
Speaker 1: you know, so it's hard not to sort of like
Speaker 1: take that first seminal movie with you. This is cheap,
Speaker 1: and I know there's a thousands of my daughters in
Speaker 1: heaven with pasta, but I you know, it's almost like
Speaker 1: a movie we enjoyed together would be nice too, you know,
Speaker 1: like one of the things that she sort of loved,
Speaker 1: like Willow bad Lands, Um bad Lands. I know, well
Speaker 1: you haven't even mentioned that one. Uh that's sort of
Speaker 1: a perfect movie. Yeah, I'm sorry, I'm bad at this.
Speaker 1: I should have really been unready with my definitive answer.
Speaker 1: I'm gonna just say Star Wars. You can take Star Wars. Franks.
Speaker 1: Is there anything before you, guy, that you would like
Speaker 1: to tell people to look out for and watch other
Speaker 1: than mass Oh? Well, check out Julia on HBO Max.
Speaker 1: It's out right now. I'm an actor on it, Thank
Speaker 1: god I can still have an acting career. And it's
Speaker 1: really really really sweet and charming, and Sarah Lancashire is
Speaker 1: a genius and as Julia Child and it's really it's
Speaker 1: really good. It's just a really good show. And that's
Speaker 1: another infusion of joy and what could otherwise be a
Speaker 1: sort of dreary life. You know, fantastic. Yeah, Frank Cranz,
Speaker 1: thank you for your time and your work and for
Speaker 1: your film. God bless you. Thank you, man, thank you,
Speaker 1: thank you, wonderful death, thank you, goodbye. Thanks man. So
Speaker 1: that was episode one hundred and ninety seven. We are
Speaker 1: getting close to two hundred down. What's going to happen?
Speaker 1: Head over to the Patreon at patreon dot com Forward
Speaker 1: slash break I was seeing for the extra thirty minutes
Speaker 1: of chat, secrets and video with Frans Get to Apple podcasts.
Speaker 1: I'm right about the film that means the most to you?
Speaker 1: Put five stars, tell us about the film that made
Speaker 1: you cry or means the most to you. And my
Speaker 1: neighbor Marien loves reading them. Thank you all for listening.
Speaker 1: I hope you enjoyed that one. Thank you so much
Speaker 1: to Fran for doing the show. Thanks to Max for
Speaker 1: setting it up. I'm very grateful to you. Thanks to
Speaker 1: groups pipping the Distraction Pieces Network. Thanks to Buddy Peace
Speaker 1: for producing it. Thanks to eight Gus for hosting it.
Speaker 1: Takes that it reaches into the graphics at least Lite
Speaker 1: for the photography. Come and join me next week. I'm
Speaker 1: trying to get something done in time for next week.
Speaker 1: Let's hope I'd do it, and if not, there'll be
Speaker 1: something else here. But whatever it is, you know it'll
Speaker 1: be great. I really hope you're all well. Please have
Speaker 1: a lovely week, and please be excellent to each other.
Speaker 1: That was as acts. Austen was accust