1 00:00:18,200 --> 00:00:21,180 Speaker 1: What's up, everybody? My name is Zeth Lundy, writer, showrunner, 2 00:00:21,340 --> 00:00:24,530 Speaker 1: and good doctor here at Double Elvis, and it's Friday, 3 00:00:24,950 --> 00:00:27,950 Speaker 1: which means it's time yet again for another installment of 4 00:00:27,990 --> 00:00:29,850 Speaker 1: The Screening Room, our weekly episode of The Screening Room. 5 00:00:30,320 --> 00:00:32,870 Speaker 1: of the Hollywoodland Podcast, in which we watch a movie 6 00:00:33,280 --> 00:00:35,710 Speaker 1: that's got something to do with our main episode subject 7 00:00:35,790 --> 00:00:38,270 Speaker 1: and themes of the week, and then we talk about it. 8 00:00:39,070 --> 00:00:42,470 Speaker 1: This week, we featured our episode from the archive, our 9 00:00:42,590 --> 00:00:46,910 Speaker 1: fully scripted and sound design episode on the great Jodie Foster. 10 00:00:47,370 --> 00:00:50,270 Speaker 1: If you've heard that episode already, and I hope you have, 11 00:00:50,810 --> 00:00:53,700 Speaker 1: you probably know that we tip our cap, as they say, 12 00:00:53,780 --> 00:00:58,000 Speaker 1: to the 1976 Martin Scorsese film Taxi Driver, which was 13 00:00:58,060 --> 00:01:02,090 Speaker 1: Jodie Foster's first major role, her first truly consequential role 14 00:01:02,230 --> 00:01:05,590 Speaker 1: as Iris, a child prostitute in New York City that 15 00:01:05,630 --> 00:01:09,190 Speaker 1: Travis Bickle, Robert De Niro's character, believes he has to save. 16 00:01:09,870 --> 00:01:14,289 Speaker 1: We used Bernard Herrmann's iconic score and Paul Schrader's incredible 17 00:01:14,350 --> 00:01:17,250 Speaker 1: script to guide our narrative here as we told the 18 00:01:17,290 --> 00:01:21,300 Speaker 1: bizarre story of John Hinckley Jr., who became obsessed with 19 00:01:21,330 --> 00:01:24,300 Speaker 1: Taxi Driver upon its release. Then he became obsessed with 20 00:01:24,340 --> 00:01:27,700 Speaker 1: Jodie Foster, and then he felt compelled to attempt to 21 00:01:27,760 --> 00:01:30,200 Speaker 1: assassinate the President of the United States at the time, 22 00:01:30,220 --> 00:01:33,930 Speaker 1: Ronald Reagan, which in his sick and twisted mind would 23 00:01:33,990 --> 00:01:37,209 Speaker 1: then save Jodie Foster or get Jodie Foster closer to him. 24 00:01:37,590 --> 00:01:41,050 Speaker 1: Suffice to say, dude was nuts. Jodie Foster's life was 25 00:01:41,069 --> 00:01:43,910 Speaker 1: a living hell there for a while. And, you know, 26 00:01:44,090 --> 00:01:46,950 Speaker 1: I almost covered Taxi Driver here today for the screening room. 27 00:01:46,970 --> 00:01:49,150 Speaker 1: It's a longtime favorite of mine. It was one of 28 00:01:49,170 --> 00:01:51,970 Speaker 1: the first Scorsese films I saw when I was younger, 29 00:01:52,390 --> 00:01:55,610 Speaker 1: and I was actively seeking out Scorsese and becoming really 30 00:01:55,690 --> 00:01:59,550 Speaker 1: interested in and how movies were made. But we just 31 00:01:59,590 --> 00:02:02,710 Speaker 1: covered Casino not too long ago. So instead, I wanted 32 00:02:02,730 --> 00:02:06,250 Speaker 1: to talk about my favorite Jodie Foster performance of all time. 33 00:02:06,910 --> 00:02:11,630 Speaker 1: And that's her as the FBI agent-in-training Clarice Starling in 34 00:02:11,810 --> 00:02:14,630 Speaker 1: the 1991 Jonathan Demme film, The Silence of the Lambs. 35 00:02:15,970 --> 00:02:19,510 Speaker 1: Or as Jim Carrey says in The Cable Guy, Silence 36 00:02:19,910 --> 00:02:26,900 Speaker 1: of the Lambs. Yeah. Jodie Foster is doing her best 37 00:02:27,100 --> 00:02:31,060 Speaker 1: Holly Hunter in this one. Her Southern drawl is so 38 00:02:31,100 --> 00:02:33,720 Speaker 1: good that I honestly forget every time I watch this 39 00:02:33,780 --> 00:02:37,180 Speaker 1: that it's not the way that she normally talks. She 40 00:02:37,260 --> 00:02:40,120 Speaker 1: makes this film right after she's won the Oscar for 41 00:02:40,160 --> 00:02:42,780 Speaker 1: Best Actress for her role in The Accused, and this 42 00:02:42,840 --> 00:02:45,660 Speaker 1: is a really crucial moment for her because it's when 43 00:02:45,710 --> 00:02:49,610 Speaker 1: she's taking on these more grown-up roles, right? Jodie Foster 44 00:02:49,669 --> 00:02:52,410 Speaker 1: is one of the few child actors who was able 45 00:02:52,470 --> 00:02:55,429 Speaker 1: to grow up and have the roles grow up with her. 46 00:02:56,030 --> 00:02:59,010 Speaker 1: The cruel fate of some of these child actors is 47 00:02:59,060 --> 00:03:01,700 Speaker 1: that once they grow up, the parts aren't there for 48 00:03:01,740 --> 00:03:06,320 Speaker 1: them anymore. But when you consider how this film is shot, 49 00:03:06,460 --> 00:03:09,720 Speaker 1: you can see how her character is struggling to be 50 00:03:09,760 --> 00:03:12,720 Speaker 1: taken seriously, mostly because she is a woman in a 51 00:03:12,780 --> 00:03:16,320 Speaker 1: male-dominated world. Yes, but it's not hard to see the 52 00:03:16,380 --> 00:03:19,250 Speaker 1: parallels here with Jodie Foster at this point in her 53 00:03:19,290 --> 00:03:22,570 Speaker 1: career trying to be taken seriously as a grown-up actress. 54 00:03:23,250 --> 00:03:25,190 Speaker 1: And what I mean when I say consider how this 55 00:03:25,250 --> 00:03:28,640 Speaker 1: film is shot, you know, it struck me upon this 56 00:03:28,740 --> 00:03:31,919 Speaker 1: most recent viewing that every man in this film looks 57 00:03:32,000 --> 00:03:35,820 Speaker 1: directly into the camera when he's speaking to her. It's 58 00:03:35,860 --> 00:03:38,720 Speaker 1: a little unorthodox. Usually you get people, you get these 59 00:03:38,780 --> 00:03:43,580 Speaker 1: two shots of people talking and their gaze is sort of, 60 00:03:43,660 --> 00:03:46,910 Speaker 1: it's not dead on the camera. But here, every man 61 00:03:46,970 --> 00:03:51,090 Speaker 1: speaking dead on to the camera, and typically her reaction 62 00:03:51,150 --> 00:03:55,110 Speaker 1: shots are framed so that she's looking slightly off-center. But 63 00:03:55,130 --> 00:03:57,530 Speaker 1: whether it's Jack Crawford, her boss of the FBI, or 64 00:03:57,570 --> 00:04:01,510 Speaker 1: Hannibal Lecter, the serial killer she's interviewing, or the smarmy Dr. Chilton, 65 00:04:01,860 --> 00:04:04,920 Speaker 1: who is her liaison at the prison, they all look 66 00:04:05,020 --> 00:04:07,740 Speaker 1: directly at her, and the effect is like these big 67 00:04:07,820 --> 00:04:11,860 Speaker 1: bad adults towering over this FBI trainee who is in 68 00:04:11,960 --> 00:04:15,280 Speaker 1: way over her head, and is experiencing the depravity of 69 00:04:15,350 --> 00:04:18,660 Speaker 1: humanity up close and personal for the first time in 70 00:04:18,700 --> 00:04:23,900 Speaker 1: her life. Foster as Clarice is also the greatest audience 71 00:04:24,020 --> 00:04:27,720 Speaker 1: avatar because she is scared, so we are scared. She's 72 00:04:27,779 --> 00:04:31,790 Speaker 1: not this, you know, jaded, seen-it-all type there at the Bureau. 73 00:04:32,620 --> 00:04:36,030 Speaker 1: She's super driven, but she's also super naive, and I 74 00:04:36,070 --> 00:04:38,630 Speaker 1: think that helps make the experience of watching this film 75 00:04:39,070 --> 00:04:42,250 Speaker 1: as nerve-wracking as it is. You know, like, she never 76 00:04:42,330 --> 00:04:45,490 Speaker 1: seems to relax. Not that one can relax when one 77 00:04:45,550 --> 00:04:49,230 Speaker 1: is talking with Hannibal Lecter, Hannibal the Cannibal, played with 78 00:04:49,330 --> 00:04:53,409 Speaker 1: nostrils fully flared by Anthony Hopkins. Let me just say, 79 00:04:53,850 --> 00:04:56,770 Speaker 1: Anthony Hopkins does not get enough love for his nostril 80 00:04:56,850 --> 00:05:00,460 Speaker 1: performance in this film. It's some of the greatest nostril 81 00:05:00,480 --> 00:05:03,500 Speaker 1: flaring ever, whether he's trying to smell the perfume that 82 00:05:03,560 --> 00:05:05,880 Speaker 1: Clarice is wearing as she stands on the other side 83 00:05:05,900 --> 00:05:09,890 Speaker 1: of the glass outside his cell, Or while he's beating 84 00:05:09,970 --> 00:05:13,310 Speaker 1: two security guards to death and sort of relishing in 85 00:05:13,350 --> 00:05:16,930 Speaker 1: the violent act, he does all these things with nostrils 86 00:05:17,529 --> 00:05:22,109 Speaker 1: on full blast. I think the casting of Anthony Hopkins 87 00:05:22,330 --> 00:05:25,210 Speaker 1: and of Jodie Foster are crucial to the film working 88 00:05:25,230 --> 00:05:28,750 Speaker 1: the way it does. Jonathan Demme, the director, initially wanted 89 00:05:28,790 --> 00:05:31,210 Speaker 1: Michelle Pfeiffer in this role because he had just worked 90 00:05:31,230 --> 00:05:33,470 Speaker 1: with her on Married to the Mob. But I think 91 00:05:33,550 --> 00:05:36,630 Speaker 1: Pfeiffer is too worldly, if that makes sense. She doesn't 92 00:05:36,690 --> 00:05:41,250 Speaker 1: have the naivete Jodie Foster. She doesn't get lost in 93 00:05:41,290 --> 00:05:44,150 Speaker 1: the male world in quite the same way. And their 94 00:05:44,190 --> 00:05:48,500 Speaker 1: initial pick for Hannibal Lecter, Sean Connery, that would have 95 00:05:48,510 --> 00:05:53,100 Speaker 1: been an outright disaster, I think. Capital D disaster. Like, 96 00:05:53,240 --> 00:05:56,800 Speaker 1: I love Sean Connery, but, you know, his performance could 97 00:05:56,839 --> 00:06:00,700 Speaker 1: have very much veered into unintentional comedic territory. You know 98 00:06:00,720 --> 00:06:04,540 Speaker 1: what I mean? Like, I ate his liver with some 99 00:06:04,640 --> 00:06:09,540 Speaker 1: fava beans and a nice Chianti, right? Or, Have the 100 00:06:09,580 --> 00:06:15,040 Speaker 1: lambs stopped screaming yet? Clarice, Clarice. I can't even do 101 00:06:15,080 --> 00:06:19,600 Speaker 1: my Sean Connery without laughing. I kind of want to 102 00:06:19,640 --> 00:06:21,300 Speaker 1: see that now. I want to see Silence of the 103 00:06:21,360 --> 00:06:28,299 Speaker 1: Lambs with Sean Connery as Hannibal Lecter. And, you know, confoundingly, 104 00:06:29,220 --> 00:06:32,140 Speaker 1: the director for this film, initially, this script was being 105 00:06:32,200 --> 00:06:35,960 Speaker 1: written for Gene Hackman to direct. Gene Hackman never directed 106 00:06:36,020 --> 00:06:38,500 Speaker 1: a film in his life, yet He was set to 107 00:06:38,520 --> 00:06:42,100 Speaker 1: direct Silence of the Lambs. Can you imagine Silence of 108 00:06:42,120 --> 00:06:46,630 Speaker 1: the Lambs directed by Gene Hackman with Sean Connery as 109 00:06:46,690 --> 00:06:51,070 Speaker 1: Hannibal Lecter and Michelle Pfeiffer as Clary Starling? Suffice to say, 110 00:06:51,730 --> 00:06:54,290 Speaker 1: Gene Hackman took one look at the script and was like, whoa, 111 00:06:54,330 --> 00:06:56,030 Speaker 1: this is way too violent for me. I'm not going 112 00:06:56,050 --> 00:06:57,550 Speaker 1: to do it. This was adapted from a book, a 113 00:06:57,560 --> 00:07:03,990 Speaker 1: novel of the same name. I have not read that book, 114 00:07:04,029 --> 00:07:06,830 Speaker 1: but I'm assuming it's just as violent as the movie. 115 00:07:06,870 --> 00:07:09,450 Speaker 1: So I'm not really sure why that took Gene Hackman 116 00:07:09,470 --> 00:07:14,360 Speaker 1: by surprise. But anyways, you know, props to Jonathan Demme, 117 00:07:14,880 --> 00:07:16,960 Speaker 1: who became the director for this film. Props to Demme 118 00:07:17,000 --> 00:07:19,960 Speaker 1: for being able to see that the people that he 119 00:07:20,020 --> 00:07:23,080 Speaker 1: originally thought would work for this were in fact the 120 00:07:23,120 --> 00:07:25,640 Speaker 1: wrong choices. I'm going to talk more about this in 121 00:07:25,680 --> 00:07:27,310 Speaker 1: a little bit, but Jonathan Demme was one of the 122 00:07:27,350 --> 00:07:29,710 Speaker 1: best at putting the right actors in the right roles. 123 00:07:30,110 --> 00:07:32,410 Speaker 1: And not just the starring roles, but the supporting roles 124 00:07:32,510 --> 00:07:34,850 Speaker 1: as well. I know there are casting directors who do 125 00:07:34,890 --> 00:07:37,830 Speaker 1: this sort of thing, but you see time and time 126 00:07:37,870 --> 00:07:41,830 Speaker 1: again in Demi films, these faces, these voices, these characters, 127 00:07:42,290 --> 00:07:44,670 Speaker 1: just like his crew that he would reuse and reuse 128 00:07:44,690 --> 00:07:47,310 Speaker 1: that just works so well. And also like a lot 129 00:07:47,360 --> 00:07:51,580 Speaker 1: of luminaries who came from New Hollywood and New Hollywood adjacent, 130 00:07:51,600 --> 00:07:56,620 Speaker 1: you know, Scorsese, Coppola, Joe Dante, James Cameron, Jonathan Demi 131 00:07:57,240 --> 00:08:00,480 Speaker 1: got his start working for Roger Corman in the wildly 132 00:08:00,660 --> 00:08:05,680 Speaker 1: important and influential director and producer, Roger Corman, the granddaddy, 133 00:08:05,740 --> 00:08:10,930 Speaker 1: along with Cassavetes of indie filmmaking. But unlike Cassavetes, Corman 134 00:08:10,990 --> 00:08:15,370 Speaker 1: was a genre filmmaker, an exploitation filmmaker, horror film, sci-fi, 135 00:08:15,790 --> 00:08:19,130 Speaker 1: made on the cheap, right? And unlike those other directors 136 00:08:19,190 --> 00:08:22,910 Speaker 1: I mentioned, Jonathan Demme really worked for Roger Corman in 137 00:08:22,950 --> 00:08:27,490 Speaker 1: a directorial capacity for a long, long time. His first 138 00:08:27,770 --> 00:08:31,860 Speaker 1: three films as a director, Caged Heat, Crazy Mama, and 139 00:08:32,000 --> 00:08:36,380 Speaker 1: Fighting Mad are all produced by Roger Corman's company. Corman 140 00:08:36,420 --> 00:08:40,100 Speaker 1: is the one who teaches Jonathan Demme that your antagonist 141 00:08:40,179 --> 00:08:43,680 Speaker 1: must be as powerful and as compelling as your hero, 142 00:08:44,080 --> 00:08:47,120 Speaker 1: which he clearly took to heart making this film above 143 00:08:47,300 --> 00:08:50,960 Speaker 1: all else. And of course, Demme repays the favor here 144 00:08:51,440 --> 00:08:53,980 Speaker 1: in this movie by casting Roger Corman in a very, 145 00:08:54,020 --> 00:08:56,880 Speaker 1: very small role as the head of the FBI, which 146 00:08:56,940 --> 00:09:00,079 Speaker 1: is very cool. But what I find fascinating is about 147 00:09:00,140 --> 00:09:03,020 Speaker 1: Demi and about his history with Corman is that with 148 00:09:03,100 --> 00:09:06,840 Speaker 1: Silence of the Lambs, he's essentially making a prestige genre film. 149 00:09:07,120 --> 00:09:10,679 Speaker 1: It's an elevated genre film. It's the only horror film 150 00:09:10,929 --> 00:09:13,870 Speaker 1: to ever win Best Picture at the Academy Awards. I 151 00:09:13,929 --> 00:09:18,170 Speaker 1: believe it's only one of three films to win all 152 00:09:18,290 --> 00:09:22,050 Speaker 1: top five awards. And I think the other two are 153 00:09:23,010 --> 00:09:26,720 Speaker 1: It Happened One Night and One Flew Over the Cuckoo's Nest. 154 00:09:27,040 --> 00:09:31,910 Speaker 1: But anyways, I digress. Some of you are probably sitting 155 00:09:31,929 --> 00:09:35,320 Speaker 1: there saying, you prefer your genre films to be down 156 00:09:35,360 --> 00:09:38,550 Speaker 1: and dirty, you know, rough around the edges, not ready 157 00:09:38,600 --> 00:09:41,240 Speaker 1: for prime time. You certainly don't want them winning Best 158 00:09:41,280 --> 00:09:44,439 Speaker 1: Picture at the Oscars, and I get it. But I 159 00:09:44,540 --> 00:09:47,640 Speaker 1: think there are a few movies that are built as 160 00:09:47,720 --> 00:09:51,719 Speaker 1: well as this one. It's a masterclass. It's telling a 161 00:09:51,760 --> 00:09:55,320 Speaker 1: story and pushing a narrative forward in a propulsive way. 162 00:09:55,820 --> 00:09:59,400 Speaker 1: It's shot evocatively. It's cut in a way that individual 163 00:09:59,480 --> 00:10:02,479 Speaker 1: scenes talk with each other in this kind of dialogue, right? 164 00:10:03,320 --> 00:10:07,370 Speaker 1: And it never loses sight of its humble genre film distinction. 165 00:10:07,890 --> 00:10:10,870 Speaker 1: I think of the moment when Clarice first goes to 166 00:10:10,890 --> 00:10:15,290 Speaker 1: visit Hannibal Lecter and Dr. Chilton is warning her about 167 00:10:15,330 --> 00:10:17,819 Speaker 1: getting too close to the glass, getting too close to Lecter. 168 00:10:18,470 --> 00:10:19,990 Speaker 1: And as he's telling her this, he's telling her this 169 00:10:20,050 --> 00:10:23,030 Speaker 1: story about a nurse who got too close to Hannibal 170 00:10:23,070 --> 00:10:25,170 Speaker 1: Lecter and how he bit off and ate her tongue. 171 00:10:25,190 --> 00:10:28,440 Speaker 1: And he's telling her this, showing her a photo of 172 00:10:28,480 --> 00:10:31,360 Speaker 1: this carnage he's describing. And we don't see the photo. 173 00:10:31,800 --> 00:10:35,060 Speaker 1: We just see Clarice looking at the photo and reacting 174 00:10:35,120 --> 00:10:37,970 Speaker 1: to it. And they've just stepped into this area before 175 00:10:38,000 --> 00:10:41,309 Speaker 1: she goes to the row of cells. It's bathed in 176 00:10:41,350 --> 00:10:44,589 Speaker 1: this red light. And the camera angle goes slightly askew, 177 00:10:44,650 --> 00:10:49,320 Speaker 1: like Dutch angle style. And it's clear that we're entering hell, right? 178 00:10:49,380 --> 00:10:52,760 Speaker 1: That this is not your standard police procedural movie. It's 179 00:10:52,840 --> 00:10:56,800 Speaker 1: going to be unlike anything you've seen before, which in 1991, 180 00:10:56,800 --> 00:10:59,660 Speaker 1: it certainly was. And we're going to be taken there 181 00:10:59,840 --> 00:11:05,429 Speaker 1: into the depths of hell, to the depths of depraved 182 00:11:06,010 --> 00:11:10,410 Speaker 1: humanity by experts, you know, by a family as much 183 00:11:10,450 --> 00:11:13,310 Speaker 1: as a team, because Jonathan Demme was very loyal. He 184 00:11:13,370 --> 00:11:17,010 Speaker 1: worked with the same people over and over again. His cinematographer, 185 00:11:17,370 --> 00:11:20,490 Speaker 1: Taka Fujimoto, who worked with him since his first film, 186 00:11:20,950 --> 00:11:23,390 Speaker 1: all the way up to maybe not his last, but 187 00:11:23,490 --> 00:11:26,870 Speaker 1: almost to the very end. His editor, Craig McKay, worked 188 00:11:26,890 --> 00:11:29,530 Speaker 1: with him time and time again. And it's kind of 189 00:11:29,570 --> 00:11:31,890 Speaker 1: weird because the whole thing is a little improbable, right? 190 00:11:31,929 --> 00:11:36,220 Speaker 1: Like Jonathan Demme, sure, accomplished filmmaker. Sure, he had nine 191 00:11:36,300 --> 00:11:39,140 Speaker 1: feature films under his belt at this point. Plus the 192 00:11:39,300 --> 00:11:43,320 Speaker 1: incredible Talking Heads concert film, Stop Making Sense. But he 193 00:11:43,380 --> 00:11:47,510 Speaker 1: just made something wild. with Melanie Griffith and Jeff Daniels, 194 00:11:48,530 --> 00:11:52,030 Speaker 1: a screwball road movie comedy thriller. And then he made 195 00:11:52,150 --> 00:11:55,120 Speaker 1: Married to the Mob with Michelle Pfeiffer and Matthew Modine, 196 00:11:55,150 --> 00:11:59,060 Speaker 1: this offbeat crime romantic comedy flick. You would not have 197 00:11:59,100 --> 00:12:02,120 Speaker 1: necessarily pegged him as the guy to make this movie. 198 00:12:02,559 --> 00:12:05,600 Speaker 1: But in a way, by elevating the genre film here, 199 00:12:06,340 --> 00:12:10,160 Speaker 1: Jonathan Demme elevates himself as well. And right after this, 200 00:12:10,580 --> 00:12:14,140 Speaker 1: he makes Philadelphia. He makes Beloved based on the Toni 201 00:12:14,160 --> 00:12:18,230 Speaker 1: Morrison novel. He makes Rachel Getting Married, his late career masterpiece. 202 00:12:19,050 --> 00:12:23,090 Speaker 1: This film is a film about death's head moths, about 203 00:12:23,210 --> 00:12:27,250 Speaker 1: Ford Pintos and fava beans, about Quantico and skin lotion. 204 00:12:27,770 --> 00:12:29,660 Speaker 1: And we're going to get into it right after this. 205 00:12:54,800 --> 00:12:56,600 Speaker 1: All right, guys, welcome back. Dr. Lundy hanging with you 206 00:12:56,640 --> 00:13:00,309 Speaker 1: here in the screening room in Hollywoodland. We're talking about 207 00:13:00,530 --> 00:13:03,569 Speaker 1: Jonathan Demme's The Silence of the Lambs. And I guess 208 00:13:03,610 --> 00:13:08,510 Speaker 1: thinking about this from 30,000 foot view, there are six 209 00:13:08,590 --> 00:13:10,819 Speaker 1: things that I wanted to talk about when I talk 210 00:13:10,860 --> 00:13:14,760 Speaker 1: about The Silence of the Lambs. Number one, this is 211 00:13:14,840 --> 00:13:19,140 Speaker 1: the most quotable horror film of all time. Don't believe me? 212 00:13:19,780 --> 00:13:22,600 Speaker 1: Tell me what is, if this is not it. I've 213 00:13:22,620 --> 00:13:25,559 Speaker 1: already mentioned I ate his liver with some fava beans 214 00:13:25,700 --> 00:13:29,679 Speaker 1: and a nice Chianti. There's also the Lecter line, I 215 00:13:30,580 --> 00:13:32,380 Speaker 1: do wish we could chat longer, but I'm having an 216 00:13:32,440 --> 00:13:36,439 Speaker 1: old friend for dinner. And then there's the Buffalo Bill line, 217 00:13:36,580 --> 00:13:38,950 Speaker 1: it rubs the lotion on its skin or it gets 218 00:13:39,030 --> 00:13:42,630 Speaker 1: the hose again. I don't know if these quotes come 219 00:13:42,670 --> 00:13:45,270 Speaker 1: directly from the Thomas Harris novel. I have not read that, 220 00:13:45,630 --> 00:13:48,910 Speaker 1: nor have I read any Thomas Harris novel. I think 221 00:13:48,990 --> 00:13:52,750 Speaker 1: you can see in this book and in this film, though, 222 00:13:53,429 --> 00:13:58,609 Speaker 1: the roots for our contemporary fascination with serial killers. Thomas 223 00:13:58,630 --> 00:14:02,040 Speaker 1: Harris was pulling from a number of real-life serial killers 224 00:14:02,160 --> 00:14:06,460 Speaker 1: to create the character of Hannibal Lecter, including Ed Gein, 225 00:14:06,540 --> 00:14:10,760 Speaker 1: the infamous body snatcher who robbed graves and made clothes 226 00:14:10,800 --> 00:14:14,370 Speaker 1: and household items from skin and bone. Gein gets referenced 227 00:14:14,410 --> 00:14:17,590 Speaker 1: before this film, of course, in Alfred Hitchcock's Psycho, in 228 00:14:17,630 --> 00:14:22,710 Speaker 1: Tobey Hooper's The Texas Chainsaw Massacre. But 1991 is around 229 00:14:22,730 --> 00:14:26,270 Speaker 1: the time that Unsolved Mysteries has become a popular TV show. 230 00:14:26,930 --> 00:14:30,710 Speaker 1: NBC's Dateline is about to premiere the following year. And 231 00:14:30,750 --> 00:14:34,810 Speaker 1: this is the year, 1991, that Jeffrey Dahmer is arrested 232 00:14:35,790 --> 00:14:40,700 Speaker 1: after sexually assaulting, killing, cannibalizing his victims. Dahmer was arrested 233 00:14:40,740 --> 00:14:44,000 Speaker 1: in July of 91. Silence of the Lambs was released 234 00:14:44,050 --> 00:14:48,040 Speaker 1: a few months before on Valentine's Day. diabolically, I might add. 235 00:14:48,840 --> 00:14:51,120 Speaker 1: And yes, while pop culture had a thing for serial 236 00:14:51,160 --> 00:14:53,640 Speaker 1: killers ever since the days of Jack the Ripper and 237 00:14:53,680 --> 00:14:58,070 Speaker 1: probably before that, this movie is where the psychology of 238 00:14:58,120 --> 00:15:03,010 Speaker 1: our shared cultural obsession really took hold, the FBI profiler 239 00:15:03,250 --> 00:15:06,670 Speaker 1: of it all. After this movie, throughout the 90s, you 240 00:15:06,690 --> 00:15:09,870 Speaker 1: get Natural Born Killers, you get Copycat with Sigourney Weaver, 241 00:15:09,910 --> 00:15:12,590 Speaker 1: you get The Bone Collector and Spike Lee's Summer of Sam, 242 00:15:13,030 --> 00:15:15,500 Speaker 1: and then you get David Fincher's Seven, which along with 243 00:15:15,810 --> 00:15:18,910 Speaker 1: The Silence of the Lambs really is the definitive serial 244 00:15:18,950 --> 00:15:22,630 Speaker 1: killer film of the decade, but it's not as quotable 245 00:15:22,890 --> 00:15:27,270 Speaker 1: as this one. Number two, Jonathan Demme's character actors. I 246 00:15:27,330 --> 00:15:31,890 Speaker 1: touched on this briefly earlier. This film is stacked with 247 00:15:31,930 --> 00:15:35,210 Speaker 1: incredible character actors. First, let's get Chris Isaac out of 248 00:15:35,230 --> 00:15:37,830 Speaker 1: the way, okay? Chris Isaac, hot on the success of 249 00:15:37,950 --> 00:15:42,030 Speaker 1: Wicked Game, appears as an FBI SWAT team guy here. 250 00:15:42,410 --> 00:15:44,460 Speaker 1: He's got like one line maybe, or maybe he has 251 00:15:44,520 --> 00:15:47,470 Speaker 1: no lines at all, He's really just there to make 252 00:15:47,490 --> 00:15:52,290 Speaker 1: you go, damn, those SWAT dudes are handsome AF, right? Notably, 253 00:15:52,350 --> 00:15:55,910 Speaker 1: I may add, is that this 91 is one year 254 00:15:55,970 --> 00:16:00,260 Speaker 1: before Robert Altman puts Lyle Lovett in the player. So 255 00:16:00,360 --> 00:16:02,540 Speaker 1: the other week when I was talking about Mulholland Drive 256 00:16:02,580 --> 00:16:04,780 Speaker 1: and I said that David Lynch was like, hold my 257 00:16:04,820 --> 00:16:08,920 Speaker 1: beer and cast Billy Ray Cyrus. Actually, it was Robert 258 00:16:08,960 --> 00:16:11,940 Speaker 1: Altman who first said, hold my beer to Jonathan Demme 259 00:16:12,400 --> 00:16:15,610 Speaker 1: when Altman cast Lyle Lovett immediately following this movie. I 260 00:16:15,690 --> 00:16:18,489 Speaker 1: seriously wonder if these directors were all like, hey, I 261 00:16:18,530 --> 00:16:21,090 Speaker 1: want to have my own version of a musician who 262 00:16:21,130 --> 00:16:24,210 Speaker 1: has never appeared in a film before and really can't 263 00:16:24,350 --> 00:16:27,890 Speaker 1: act at all. But I just want my bizarre version 264 00:16:27,910 --> 00:16:30,100 Speaker 1: of that. Doesn't it feel like this? Chris Isaac, Lyle Lovett, 265 00:16:30,120 --> 00:16:33,620 Speaker 1: Billy Ray Cyrus. What was going on? The 1990s is 266 00:16:33,720 --> 00:16:37,140 Speaker 1: probably what was going on. Beyond Chris Isaac, you've got 267 00:16:37,280 --> 00:16:40,800 Speaker 1: Anthony Heald as Dr. Frederick Chilton, who is so cringy 268 00:16:40,840 --> 00:16:43,350 Speaker 1: and slimy and comes on to Clarice like he actually 269 00:16:43,380 --> 00:16:46,330 Speaker 1: has a shot. You've got Charles Napier as one of 270 00:16:46,370 --> 00:16:49,410 Speaker 1: the poor bastard cop security guards who gets his face 271 00:16:49,510 --> 00:16:51,930 Speaker 1: bit off by Hannibal Lecter. Or maybe it's the other 272 00:16:51,970 --> 00:16:54,210 Speaker 1: guy who gets his face bit off. But Napier gets 273 00:16:54,510 --> 00:16:58,570 Speaker 1: strung up in that Francis Bacon-type pose there outside the cage, right? 274 00:16:59,290 --> 00:17:02,960 Speaker 1: Charles Napier has this B-movie James Caan presence kind of 275 00:17:02,980 --> 00:17:06,500 Speaker 1: going on. You've got the incomparable Tracy Walter as the 276 00:17:06,560 --> 00:17:08,639 Speaker 1: guy at the funeral home who does not put the 277 00:17:08,700 --> 00:17:11,580 Speaker 1: smelly stuff under his nose when they go to inspect 278 00:17:11,640 --> 00:17:14,570 Speaker 1: this rotting corpse of a girl. It's so gross. And 279 00:17:14,609 --> 00:17:18,930 Speaker 1: he apparently just wants to like smell it all. Tracy Walter, dude, 280 00:17:18,950 --> 00:17:22,050 Speaker 1: what are you doing? Tracy Walter, you've seen him in 281 00:17:22,109 --> 00:17:26,139 Speaker 1: Repo Man, City Slickers, Tim Burton's Batman, At Close Range, 282 00:17:26,160 --> 00:17:29,199 Speaker 1: which we covered a while back. Incredible scene here with 283 00:17:29,240 --> 00:17:32,140 Speaker 1: Tracy Walter. You've got Frankie Faison as the nice guy 284 00:17:32,160 --> 00:17:34,260 Speaker 1: at the prison who's like, hey, Clarice, here, you can 285 00:17:34,300 --> 00:17:36,260 Speaker 1: hang your coat here. It's going to be fine. You're 286 00:17:36,280 --> 00:17:39,240 Speaker 1: going to do great. You know, as Dr. Chilton is 287 00:17:39,260 --> 00:17:43,210 Speaker 1: putting the full court press on her. Frankie Faison, Maximum Overdrive, 288 00:17:43,270 --> 00:17:47,890 Speaker 1: Do the Right Thing, Coming to America. Great, great character actor. 289 00:17:48,690 --> 00:17:51,590 Speaker 1: And then you've also got Paul Lazar and Dan Butler, 290 00:17:51,730 --> 00:17:55,850 Speaker 1: unforgettable as these two nerdy scientists who help Clarice identify 291 00:17:55,869 --> 00:17:59,600 Speaker 1: the death's head moth and bring some much needed comic relief. 292 00:18:00,200 --> 00:18:03,020 Speaker 1: Just like Demi's crew, a lot of these actors worked 293 00:18:03,040 --> 00:18:05,460 Speaker 1: with him again and again and are a huge part 294 00:18:05,500 --> 00:18:09,860 Speaker 1: about what makes his filmography so special. Number three, this 295 00:18:09,900 --> 00:18:14,130 Speaker 1: is a big one. cross-cutting and parallel editing. They say 296 00:18:14,190 --> 00:18:17,399 Speaker 1: that the movie is made in the editing room, and 297 00:18:17,420 --> 00:18:20,659 Speaker 1: that is absolutely true. Editors will get all this footage 298 00:18:21,340 --> 00:18:24,679 Speaker 1: that's been shot for the movie. Oftentimes, you get scenes 299 00:18:24,720 --> 00:18:28,730 Speaker 1: that are shot from different angles, and you've got different 300 00:18:28,790 --> 00:18:32,810 Speaker 1: takes you can choose from. And so truly, truly, the 301 00:18:32,850 --> 00:18:35,709 Speaker 1: movie comes together in the editing room. And a lot 302 00:18:35,730 --> 00:18:38,889 Speaker 1: of times, you know, Some directors edit their own films. 303 00:18:38,970 --> 00:18:41,810 Speaker 1: The Coen brothers and Steven Soderbergh are two examples of 304 00:18:41,850 --> 00:18:45,969 Speaker 1: directors who famously have these pseudonyms for editors, but it's 305 00:18:46,010 --> 00:18:49,520 Speaker 1: really just them. Then you've also got directors like Martin Scorsese, 306 00:18:49,580 --> 00:18:53,879 Speaker 1: who works very closely with Thelma Schumacher, his longtime editor. 307 00:18:55,080 --> 00:18:59,500 Speaker 1: But what makes this film stand out is that its pace, 308 00:19:00,700 --> 00:19:05,510 Speaker 1: its propulsion, its storytelling, it is all a product of 309 00:19:05,710 --> 00:19:09,929 Speaker 1: its incredible... editing, which really drives the story forward. And 310 00:19:09,950 --> 00:19:12,629 Speaker 1: it comes to a head here with the way, I mean, 311 00:19:12,650 --> 00:19:15,270 Speaker 1: it cross cuts and it parallel edits throughout, but there's 312 00:19:15,290 --> 00:19:17,510 Speaker 1: this scene near the end of the film I want 313 00:19:17,530 --> 00:19:19,129 Speaker 1: to talk about. Every time I watch this movie, by 314 00:19:19,170 --> 00:19:21,270 Speaker 1: the way, I ask myself, is this the most perfectly 315 00:19:21,310 --> 00:19:24,490 Speaker 1: constructed movie of all time? It's made like a Swiss watch. 316 00:19:25,290 --> 00:19:27,970 Speaker 1: Now I could be wrong here, but I'm pretty sure 317 00:19:27,990 --> 00:19:31,149 Speaker 1: this had never been done before, okay? Now my favorite scene, 318 00:19:31,290 --> 00:19:33,889 Speaker 1: as I just alluded to in this film, it's the 319 00:19:33,930 --> 00:19:36,710 Speaker 1: second to last scene. It's where Clarice finds Buffalo Bill 320 00:19:37,190 --> 00:19:39,830 Speaker 1: the serial killer they've been tracking. But the way that 321 00:19:39,869 --> 00:19:45,530 Speaker 1: Jonathan Demme and his editor Craig McKay deliver the visual information, 322 00:19:46,030 --> 00:19:48,869 Speaker 1: you are made to think that Jack Crawford, who I 323 00:19:48,890 --> 00:19:50,879 Speaker 1: didn't even mention Scott Glenn, by the way, who plays 324 00:19:50,940 --> 00:19:54,620 Speaker 1: Jack Crawford, this is Clarice's boss at the FBI. Scott 325 00:19:54,640 --> 00:19:57,899 Speaker 1: Glenn is incredible in this. You think that Crawford and 326 00:19:57,940 --> 00:20:01,639 Speaker 1: his team are closing in on Buffalo Bill, while Clarice 327 00:20:02,340 --> 00:20:05,490 Speaker 1: is somewhere else entirely, and she's kind of unknowingly walking 328 00:20:05,630 --> 00:20:12,070 Speaker 1: into his lair. They use this, uh, doorbell shot to 329 00:20:12,130 --> 00:20:14,570 Speaker 1: fully pull off this magic trick too, because you see 330 00:20:14,650 --> 00:20:18,580 Speaker 1: Crawford's team sneaking up on this house. And while you 331 00:20:18,630 --> 00:20:21,899 Speaker 1: see Clarice going on her own, kind of what she 332 00:20:21,940 --> 00:20:26,859 Speaker 1: thinks is a boondoggle, you see Crawford's team ringing the 333 00:20:26,900 --> 00:20:29,820 Speaker 1: doorbell at the house and you see the doorbell from 334 00:20:29,960 --> 00:20:32,480 Speaker 1: inside Buffalo Bill's house ringing. But then when he opens 335 00:20:32,520 --> 00:20:36,150 Speaker 1: his door, it's actually Clarice who's standing there and you 336 00:20:36,190 --> 00:20:39,980 Speaker 1: realize that Crawford and his team are at the wrong place, right? 337 00:20:40,220 --> 00:20:43,820 Speaker 1: They're miles away from her, and here she is all 338 00:20:43,880 --> 00:20:47,310 Speaker 1: alone at Buffalo Bills. It's such a baller move that 339 00:20:47,450 --> 00:20:49,350 Speaker 1: even on the 10th watch of this movie, you're like 340 00:20:49,570 --> 00:20:53,210 Speaker 1: absolutely thrilled by this. And perhaps the greatest thing about 341 00:20:53,250 --> 00:20:57,060 Speaker 1: it all is that it wasn't even originally planned to 342 00:20:57,119 --> 00:21:00,800 Speaker 1: unfold that way. The screenplay, which was written by Ted Talley, 343 00:21:01,280 --> 00:21:04,560 Speaker 1: was very linear. It had Crawford's team ringing the bell, 344 00:21:04,890 --> 00:21:07,330 Speaker 1: It had the wrong person answering the door, and then 345 00:21:07,390 --> 00:21:11,450 Speaker 1: it cut to Clarice at Buffalo Bill's place. But this 346 00:21:11,530 --> 00:21:15,970 Speaker 1: parallel editing, this cross-cutting between these two scenes and how 347 00:21:16,020 --> 00:21:18,980 Speaker 1: it fakes you out and then sort of pulls the 348 00:21:19,040 --> 00:21:21,700 Speaker 1: rug out and you realize what's going on, I don't 349 00:21:21,760 --> 00:21:24,219 Speaker 1: think this had ever been done exactly like this before 350 00:21:24,280 --> 00:21:28,639 Speaker 1: Silence of the Lambs did it. Many films have tried 351 00:21:28,700 --> 00:21:32,060 Speaker 1: to imitate this scene in this movie in the years since. 352 00:21:32,260 --> 00:21:34,800 Speaker 1: No one's done it as well as it's done here. Again, 353 00:21:34,820 --> 00:21:38,060 Speaker 1: if I'm off my nut here and there's another example 354 00:21:38,080 --> 00:21:42,100 Speaker 1: of this, let me know, okay? Number four, sound design. 355 00:21:42,420 --> 00:21:46,580 Speaker 1: Speaking of that climactic penultimate scene, there is something that 356 00:21:46,600 --> 00:21:48,320 Speaker 1: I swear to God I heard back in the day, 357 00:21:48,400 --> 00:21:51,619 Speaker 1: back in college, I believe when I was at film school, 358 00:21:51,920 --> 00:21:54,560 Speaker 1: but I have not been able to confirm this ever since. 359 00:21:55,280 --> 00:21:57,639 Speaker 1: I was told that the sound team led by the 360 00:21:57,680 --> 00:22:00,800 Speaker 1: great Skip Leavesay, who's worked on a bunch of Coen 361 00:22:00,820 --> 00:22:04,450 Speaker 1: Brothers films as well, that they blended this low tone 362 00:22:04,570 --> 00:22:08,010 Speaker 1: into the sound mix, like something so low that you 363 00:22:08,109 --> 00:22:10,550 Speaker 1: can't even really hear it, but you can feel it, right? 364 00:22:11,170 --> 00:22:14,040 Speaker 1: And that when Clarice stumbles into Buffalo Bill's place and 365 00:22:14,100 --> 00:22:16,619 Speaker 1: he kills the lights and she's fumbling around in the 366 00:22:16,650 --> 00:22:20,840 Speaker 1: darkness while he cases her with those night vision goggles, 367 00:22:21,740 --> 00:22:24,560 Speaker 1: that the tone, that low tone was suddenly cut out 368 00:22:24,580 --> 00:22:27,000 Speaker 1: of the mix. So while you don't hear it throughout 369 00:22:27,020 --> 00:22:29,620 Speaker 1: the film, and you don't hear it go away, your 370 00:22:29,680 --> 00:22:32,459 Speaker 1: body can feel that it's suddenly gone, and you are 371 00:22:32,570 --> 00:22:37,149 Speaker 1: even more terrified. Is this true? Again, I cannot confirm 372 00:22:37,190 --> 00:22:40,650 Speaker 1: or deny, but I just love the concept of this, 373 00:22:40,830 --> 00:22:42,990 Speaker 1: even if it just is a concept. And I wonder 374 00:22:43,030 --> 00:22:47,050 Speaker 1: if this is a move that filmmakers have pulled since 375 00:22:47,070 --> 00:22:48,970 Speaker 1: this movie came out as well, because it just seems 376 00:22:49,030 --> 00:22:52,889 Speaker 1: like such a smart thing to do, right? Anyways, let 377 00:22:52,910 --> 00:22:55,690 Speaker 1: me know if you've heard about that either, or if 378 00:22:55,730 --> 00:22:58,390 Speaker 1: this is sort of like some urban myth or whatever. 379 00:22:59,190 --> 00:23:03,119 Speaker 1: All right, number five, Buffalo Bill. We've got to mention 380 00:23:03,740 --> 00:23:06,859 Speaker 1: the controversy that the character of Buffalo Bill or James 381 00:23:06,900 --> 00:23:12,119 Speaker 1: Gumm played just incredibly by Ted Levine. He's like lights 382 00:23:12,200 --> 00:23:14,540 Speaker 1: out in this movie, by the way. But there was 383 00:23:14,560 --> 00:23:17,639 Speaker 1: this controversy this character caused upon the film's release, and 384 00:23:17,660 --> 00:23:22,010 Speaker 1: it's continued to sort of cause controversy in the decades since. Now, 385 00:23:22,520 --> 00:23:25,760 Speaker 1: The gay community, the LGBTQ community, even though we weren't 386 00:23:25,820 --> 00:23:29,399 Speaker 1: calling it that back in 1991, was upset because the 387 00:23:29,460 --> 00:23:33,000 Speaker 1: film made this, you know, fucked up serial killer character, 388 00:23:33,060 --> 00:23:36,980 Speaker 1: Buffalo Bill, a gay man. In more recent times, the 389 00:23:37,240 --> 00:23:40,760 Speaker 1: character has been called a transphobic portrayal, as this is 390 00:23:40,800 --> 00:23:43,460 Speaker 1: a man who wants to be a woman. He's making 391 00:23:43,500 --> 00:23:45,899 Speaker 1: a skin suit of a woman's body. And the argument 392 00:23:45,980 --> 00:23:51,510 Speaker 1: is that it vilifies that desire, that process, that person, right? 393 00:23:52,290 --> 00:23:56,530 Speaker 1: I get the blowback. For me, the scariest thing about 394 00:23:56,570 --> 00:23:59,510 Speaker 1: Buffalo Bill has never been the sexual nature of the character. 395 00:23:59,570 --> 00:24:02,580 Speaker 1: The scary thing is the fucking skin suit he's got 396 00:24:02,640 --> 00:24:06,060 Speaker 1: hanging on that mannequin and all the creepy fucking moths 397 00:24:06,160 --> 00:24:09,460 Speaker 1: flying around his house. But again, I get it. I 398 00:24:09,520 --> 00:24:13,199 Speaker 1: get the criticism. Demi at the time said this to 399 00:24:13,220 --> 00:24:15,250 Speaker 1: the New York Times. This is a quote from Jonathan Demi. 400 00:24:16,010 --> 00:24:18,550 Speaker 1: He wasn't a gay character. He was a tormented man 401 00:24:18,670 --> 00:24:21,480 Speaker 1: who hated himself and wished he was a woman. because 402 00:24:21,560 --> 00:24:23,760 Speaker 1: that would have made him as far away from himself 403 00:24:24,300 --> 00:24:28,480 Speaker 1: as he possibly could be. Now, you can say, okay, 404 00:24:28,640 --> 00:24:31,440 Speaker 1: this guy's just trying to cover his ass here. But, but, 405 00:24:32,400 --> 00:24:35,780 Speaker 1: I think Jonathan Demme was being honest with his intention, 406 00:24:36,420 --> 00:24:38,760 Speaker 1: because he then, in the same article, the same interview, 407 00:24:38,840 --> 00:24:42,159 Speaker 1: goes on to say this about those negative comments. I 408 00:24:42,270 --> 00:24:45,750 Speaker 1: got woke up. I came to realize that, in fact, 409 00:24:46,170 --> 00:24:50,290 Speaker 1: there is a tremendous absence of positive gay characters in movies. 410 00:24:51,010 --> 00:24:54,830 Speaker 1: And the next movie he makes is Philadelphia, in which 411 00:24:54,910 --> 00:24:58,300 Speaker 1: Tom Hanks plays a gay man, a lawyer, who was 412 00:24:58,380 --> 00:25:01,080 Speaker 1: let go from his firm when it's discovered that he's 413 00:25:01,100 --> 00:25:03,540 Speaker 1: been hiding the fact that he is HIV positive, that 414 00:25:03,560 --> 00:25:06,199 Speaker 1: he has AIDS. And the guy he hires to be 415 00:25:06,240 --> 00:25:09,159 Speaker 1: his own attorney when he sues for wrongful termination is 416 00:25:09,180 --> 00:25:14,530 Speaker 1: an extremely bigoted, homophobic guy played by Denzel Washington. And 417 00:25:14,570 --> 00:25:17,669 Speaker 1: it almost seems like Jonathan Demme was like, yeah, I 418 00:25:17,730 --> 00:25:21,379 Speaker 1: heard you, and it made me realize... That what I 419 00:25:21,400 --> 00:25:24,460 Speaker 1: can talk about in my next film is how we 420 00:25:24,910 --> 00:25:28,590 Speaker 1: see each other, how we incorrectly see each other, and 421 00:25:28,650 --> 00:25:30,970 Speaker 1: what I can do to help us see each other 422 00:25:31,030 --> 00:25:35,490 Speaker 1: more clearly and more accurately and with more humanity. Number six, 423 00:25:36,510 --> 00:25:39,780 Speaker 1: American Girl. You know when a musician covers a song 424 00:25:39,890 --> 00:25:42,580 Speaker 1: and suddenly it doesn't belong to the original musician anymore, 425 00:25:42,660 --> 00:25:46,879 Speaker 1: like Johnny Cash covering Nine Inch Nails Hurt. This happened 426 00:25:46,900 --> 00:25:51,400 Speaker 1: with this film because from 1991 onward, the American Girl 427 00:25:51,440 --> 00:25:54,080 Speaker 1: needle drop in this film, when we first see Catherine 428 00:25:54,100 --> 00:25:57,460 Speaker 1: Martin played by Brooke Smith, when she's about to be 429 00:25:57,700 --> 00:26:01,560 Speaker 1: abducted by Buffalo Bill, she's listening to Tom Petty's American 430 00:26:01,580 --> 00:26:05,239 Speaker 1: Girl in her car, singing along at top volume. From 431 00:26:05,240 --> 00:26:09,520 Speaker 1: 1991 onward, this movie had cornered the market on American Girl, right? 432 00:26:09,980 --> 00:26:11,560 Speaker 1: And it was such a great use of that song 433 00:26:11,580 --> 00:26:13,700 Speaker 1: because it's basically telling you like, you know, his next 434 00:26:13,740 --> 00:26:17,190 Speaker 1: victim could be anyone, right? An American Girl. And then 435 00:26:17,230 --> 00:26:20,149 Speaker 1: that needle drop was taken away by Paul Thomas Anderson 436 00:26:20,170 --> 00:26:23,250 Speaker 1: when he used American Girl as the closing track to 437 00:26:23,390 --> 00:26:27,390 Speaker 1: one battle after another in a way that completely recontextualized 438 00:26:27,430 --> 00:26:30,210 Speaker 1: the song in that way of like, wow, I never 439 00:26:30,270 --> 00:26:32,250 Speaker 1: thought I would see another use of this song that 440 00:26:32,270 --> 00:26:36,020 Speaker 1: would feel so right. But here we are, and here 441 00:26:36,100 --> 00:26:39,460 Speaker 1: we are talking about music again, which means it's time 442 00:26:39,760 --> 00:26:43,960 Speaker 1: to think about a hypothetical, theoretical, metaphorical, potentially possible mixtape 443 00:26:44,480 --> 00:26:47,960 Speaker 1: inspired by the 1991 film The Silence of the Lambs. 444 00:26:48,460 --> 00:26:50,620 Speaker 1: which we're going to do right after this quick break. 445 00:26:50,960 --> 00:27:05,699 Speaker 1: Don't go anywhere. All right, gang, it's that time. It's 446 00:27:05,740 --> 00:27:09,560 Speaker 1: time to make a hypothetical, theoretical, metaphorical, potentially possible mixtape 447 00:27:10,240 --> 00:27:14,970 Speaker 1: inspired by the 1991 film, The Silence of the Lambs. 448 00:27:16,650 --> 00:27:20,850 Speaker 1: First song. There's this great British band called Elbow, led 449 00:27:20,910 --> 00:27:25,609 Speaker 1: by Guy Garvey, who incidentally has a great radio show 450 00:27:25,890 --> 00:27:29,450 Speaker 1: on BBC Radio 6 on, well, it's Sunday mornings on 451 00:27:29,490 --> 00:27:31,920 Speaker 1: the East Coast here in the States. So that makes 452 00:27:31,980 --> 00:27:35,679 Speaker 1: it like in the afternoon over across the pond. But 453 00:27:35,740 --> 00:27:38,840 Speaker 1: I digress. Guy Garvey's in this band called Elbow. They've 454 00:27:38,880 --> 00:27:41,760 Speaker 1: got a song called Starlings, which is the lead off 455 00:27:41,820 --> 00:27:46,840 Speaker 1: track from a great record 2008 called The Seldom Seen Kid. 456 00:27:47,470 --> 00:27:49,590 Speaker 1: This is the album with Grounds for Divorce, which is 457 00:27:49,609 --> 00:27:52,550 Speaker 1: an awesome single that they really... I believe it was 458 00:27:52,570 --> 00:27:55,650 Speaker 1: a single from this record. And I'm choosing this, Starlings, 459 00:27:55,750 --> 00:27:59,150 Speaker 1: of course, because that's, you know, Clarice's last name is Starling. 460 00:27:59,930 --> 00:28:02,170 Speaker 1: This song is going to fucking shock you if you're 461 00:28:02,190 --> 00:28:04,010 Speaker 1: not ready, okay? You're going to turn it up because 462 00:28:04,050 --> 00:28:06,189 Speaker 1: it starts out kind of mellow, and then it's going 463 00:28:06,210 --> 00:28:08,770 Speaker 1: to do the quiet, loud, quiet thing where it sounds 464 00:28:08,790 --> 00:28:12,490 Speaker 1: like this fucking orchestra is exploding in your ears. So 465 00:28:12,630 --> 00:28:15,440 Speaker 1: don't say I didn't warn you, okay? Guy Garvey, I 466 00:28:15,500 --> 00:28:18,780 Speaker 1: love his voice because... His singing voice is the same 467 00:28:18,840 --> 00:28:21,159 Speaker 1: as his speaking voice in that he lets his accent 468 00:28:21,220 --> 00:28:25,419 Speaker 1: fully come through. And for an Anglophile like myself, as 469 00:28:25,480 --> 00:28:28,189 Speaker 1: Jake established the other week, it's good listening, all right? 470 00:28:28,730 --> 00:28:32,670 Speaker 1: All right, next track, Teenage FBI. A great, great song 471 00:28:32,690 --> 00:28:36,510 Speaker 1: by Guided by Voices from their 1999 album, Do the Collapse. 472 00:28:37,410 --> 00:28:40,310 Speaker 1: This was on TVT Records, produced by Rick Okasik of 473 00:28:40,350 --> 00:28:42,970 Speaker 1: The Cars. Maybe they were hoping for the Weezer effect 474 00:28:43,010 --> 00:28:45,750 Speaker 1: here since he had just produced them a few years prior. 475 00:28:46,220 --> 00:28:49,630 Speaker 1: This was an attempt to mainstream Guided by Voices. There 476 00:28:49,650 --> 00:28:51,890 Speaker 1: was a much better effort to do this made on 477 00:28:51,910 --> 00:28:55,170 Speaker 1: the follow-up to this record, an album called Isolation Drills, 478 00:28:55,630 --> 00:28:58,530 Speaker 1: which was produced by Rob Schnapp, who worked with Elliot 479 00:28:58,570 --> 00:29:02,470 Speaker 1: Smith a bunch. 2001. So wait, Do the Collapse came 480 00:29:02,490 --> 00:29:05,860 Speaker 1: out in 99. Isolation Drills came out in 2001. Is 481 00:29:05,880 --> 00:29:09,780 Speaker 1: that the longest gap between Guided by Voices albums? Two years? 482 00:29:09,820 --> 00:29:12,760 Speaker 1: That seems like something was wrong there, man. If you 483 00:29:12,780 --> 00:29:16,100 Speaker 1: don't know anything about Guided by Voices... They are like 484 00:29:16,800 --> 00:29:20,320 Speaker 1: kings of the lo-fi record. They sort of made an 485 00:29:20,520 --> 00:29:24,780 Speaker 1: art out of making records on shitty little four tracks 486 00:29:24,820 --> 00:29:27,860 Speaker 1: and eight tracks in their homes and basements and just 487 00:29:27,920 --> 00:29:30,870 Speaker 1: releasing them as is instead of going into a fancy studio, 488 00:29:30,880 --> 00:29:33,630 Speaker 1: which they did for this record due to collapse and 489 00:29:33,670 --> 00:29:37,670 Speaker 1: the follow-up isolation drills. But these work to the extent that, 490 00:29:38,290 --> 00:29:41,330 Speaker 1: you know, GBV has always been... this, they've always kind 491 00:29:41,350 --> 00:29:45,560 Speaker 1: of aimed for this big, like, arena rock nuggets like 492 00:29:45,620 --> 00:29:48,390 Speaker 1: The Who or some of these, like, British Invasion bands 493 00:29:48,430 --> 00:29:51,600 Speaker 1: of the 60s. Robert Pollard, who was their lead singer 494 00:29:51,720 --> 00:29:54,940 Speaker 1: and the primary songwriter, this is a guy who threw 495 00:29:54,980 --> 00:29:58,600 Speaker 1: a no-hitter in high school. He's the consummate rock frontman. 496 00:29:59,230 --> 00:30:02,550 Speaker 1: scissor kicks, drinking beer while he's singing. Must be the 497 00:30:02,590 --> 00:30:05,860 Speaker 1: most prolific songwriter in the history of songs and writing. 498 00:30:05,880 --> 00:30:08,980 Speaker 1: I mean, this guy's got thousands upon thousands of songs. 499 00:30:09,020 --> 00:30:11,260 Speaker 1: I wonder if, you know, I know that Dolly Parton 500 00:30:11,300 --> 00:30:15,320 Speaker 1: claimed to have written thousands of songs, but unlike Dolly Parton, 501 00:30:15,980 --> 00:30:18,660 Speaker 1: it feels like Robert Pollard has released pretty much all 502 00:30:18,700 --> 00:30:22,130 Speaker 1: the songs he's written. If you don't know GBV, this 503 00:30:22,270 --> 00:30:25,810 Speaker 1: whole record's not a great introduction, but Teenage FBI is 504 00:30:25,830 --> 00:30:29,130 Speaker 1: a great song. So check that out. All right, this 505 00:30:29,190 --> 00:30:31,590 Speaker 1: movie takes place in Baltimore, although I believe it was 506 00:30:31,730 --> 00:30:35,150 Speaker 1: shot in Pittsburgh or Philadelphia, something like that, but it's 507 00:30:35,170 --> 00:30:38,780 Speaker 1: supposed to take place in Baltimore. So let's include the 508 00:30:38,820 --> 00:30:42,300 Speaker 1: song Streets of Baltimore. This was written by Tomple Glazier 509 00:30:42,460 --> 00:30:44,820 Speaker 1: and Harlan Howard, but we're not going to do the 510 00:30:44,840 --> 00:30:46,740 Speaker 1: Bobby Bear version. We're not going to do the Willie 511 00:30:46,780 --> 00:30:49,780 Speaker 1: Nelson version or the Lemonheads version. We're going to do 512 00:30:50,260 --> 00:30:52,239 Speaker 1: the best version of this song, in my opinion, which 513 00:30:52,340 --> 00:30:58,280 Speaker 1: is by Graham Parsons from his debut solo album, GP 1973. 514 00:30:58,680 --> 00:31:01,240 Speaker 1: This record is after he's been hanging out with the 515 00:31:01,280 --> 00:31:04,700 Speaker 1: Rolling Stones. This is after he did the Flying Burrito 516 00:31:04,720 --> 00:31:07,050 Speaker 1: Brothers and was in the Byrds for a hot minute, 517 00:31:07,930 --> 00:31:12,750 Speaker 1: long after the International Submarine Band. This is just an 518 00:31:12,790 --> 00:31:16,970 Speaker 1: incredible record. Emmylou Harris is on this. Some of Elvis' 519 00:31:17,030 --> 00:31:19,960 Speaker 1: TCB band are on this. Barry Tashin from The Remains 520 00:31:20,120 --> 00:31:23,100 Speaker 1: is on this. If you like the alternative, if you 521 00:31:23,120 --> 00:31:27,090 Speaker 1: like alt-country, as it were, You know, the Jayhawks and 522 00:31:27,430 --> 00:31:31,680 Speaker 1: Sunvolt and Wilco and Uncle Tupelo and the Bottle Rockets. 523 00:31:31,760 --> 00:31:33,910 Speaker 1: And you were like jamming all that shit in the 90s. 524 00:31:34,260 --> 00:31:37,280 Speaker 1: And you don't know Graham Parsons, GP. This is where 525 00:31:37,300 --> 00:31:41,350 Speaker 1: it all started. Just a great record, great voice. Really 526 00:31:41,390 --> 00:31:43,270 Speaker 1: tough loss that this guy died as early as he 527 00:31:43,290 --> 00:31:47,510 Speaker 1: did because he was pretty fucking special, man. Streets of Baltimore, 528 00:31:48,190 --> 00:31:50,670 Speaker 1: Graham Parsons. All right, there's a scene in the movie 529 00:31:50,710 --> 00:31:54,270 Speaker 1: where Jodie Foster goes into the storage unit and finds 530 00:31:54,370 --> 00:31:57,250 Speaker 1: this old car. I think it's like a hearse. And 531 00:31:57,750 --> 00:32:01,150 Speaker 1: she finds underneath this blanket, there's a jar, and there's 532 00:32:01,170 --> 00:32:05,120 Speaker 1: a severed head in this formaldehyde in the jar. So 533 00:32:05,580 --> 00:32:07,820 Speaker 1: I don't know of a song called Head in a Jar, 534 00:32:07,920 --> 00:32:10,560 Speaker 1: but there is one called Sample in a Jar by 535 00:32:10,580 --> 00:32:15,320 Speaker 1: the band Phish from their 1994 album Hoist. this record 536 00:32:15,340 --> 00:32:18,640 Speaker 1: was famously produced by Paul Fox, um, who some of us, uh, 537 00:32:18,680 --> 00:32:20,900 Speaker 1: I think Matt included, we used to joke about how 538 00:32:20,980 --> 00:32:24,520 Speaker 1: Paul Fox was a producer who ruined albums back in 539 00:32:24,540 --> 00:32:27,140 Speaker 1: the nineties. He was the one to blame for the 540 00:32:27,360 --> 00:32:31,280 Speaker 1: maybe giants, John Henry, which was the first record when 541 00:32:31,300 --> 00:32:36,420 Speaker 1: the two Johns went in and started like a full band. And, um, 542 00:32:36,700 --> 00:32:39,400 Speaker 1: you know, was, uh, half of that record's good and 543 00:32:39,460 --> 00:32:42,240 Speaker 1: half is not. Paul Fox also did, uh, oranges and 544 00:32:42,290 --> 00:32:44,850 Speaker 1: lemons by XTC, which, uh, again, kind of like a 545 00:32:44,910 --> 00:32:48,690 Speaker 1: half is good, half is not record. Well, first of all, listen, 546 00:32:49,970 --> 00:32:52,810 Speaker 1: long time fish head here. And in case you guys 547 00:32:52,850 --> 00:32:56,290 Speaker 1: don't know, it's like the Grateful Dead. Maine is just, 548 00:32:57,050 --> 00:32:58,790 Speaker 1: growing up in Maine, you got a lot of people 549 00:32:58,830 --> 00:33:00,530 Speaker 1: listening to the dead. And growing up in Maine in 550 00:33:00,550 --> 00:33:03,170 Speaker 1: the 90s, there was a lot of us listening to Phish. 551 00:33:03,860 --> 00:33:07,280 Speaker 1: Phish was actually the first concert I ever saw without 552 00:33:07,320 --> 00:33:09,460 Speaker 1: my parents in high school. I saw them multiple times 553 00:33:09,500 --> 00:33:12,430 Speaker 1: in high school. Then I became too cool For Fish 554 00:33:12,470 --> 00:33:14,670 Speaker 1: in college, it was like, oh, I'm not into that stuff. 555 00:33:14,750 --> 00:33:16,310 Speaker 1: And I kind of like peaced out on them for 556 00:33:16,350 --> 00:33:19,610 Speaker 1: a long, long time. Came back to them, I don't know, 557 00:33:19,730 --> 00:33:23,020 Speaker 1: like 15 years or so ago. And I've seen them 558 00:33:23,060 --> 00:33:26,560 Speaker 1: like another three times since then. They're kind of better 559 00:33:26,640 --> 00:33:29,040 Speaker 1: now than they've ever been, to be honest, now that 560 00:33:29,060 --> 00:33:33,420 Speaker 1: everybody's sober and like focused on the thing. I heard 561 00:33:33,480 --> 00:33:37,590 Speaker 1: Questlove talking recently about how he was like, never thought 562 00:33:37,610 --> 00:33:39,750 Speaker 1: that he would have anything in common with like Fish 563 00:33:39,810 --> 00:33:42,150 Speaker 1: or would not enjoy a Phish show because I think 564 00:33:42,190 --> 00:33:44,570 Speaker 1: he was misled to believe that you had to be 565 00:33:44,610 --> 00:33:47,140 Speaker 1: like under the influence of like psychedelics to enjoy it. 566 00:33:47,630 --> 00:33:49,850 Speaker 1: But he talks about going to a show and just 567 00:33:49,910 --> 00:33:53,060 Speaker 1: having the best time and the best experience. And really 568 00:33:53,120 --> 00:33:59,180 Speaker 1: the shows are an experience. And anyways, that's my Phish 569 00:33:59,540 --> 00:34:02,880 Speaker 1: spiel there. But when this record came out, Hoist, a 570 00:34:03,360 --> 00:34:06,040 Speaker 1: lot of the longtime Phish heads, I remember saying they 571 00:34:06,060 --> 00:34:08,790 Speaker 1: thought it was too slick. It was too commercial. But 572 00:34:08,810 --> 00:34:10,930 Speaker 1: I think this record kind of rules, and the songs 573 00:34:10,950 --> 00:34:14,310 Speaker 1: are really good. And Sample in a Jar really gives 574 00:34:14,350 --> 00:34:19,500 Speaker 1: you an accurate representation of Trey Anastasio's guitar tone, which 575 00:34:20,060 --> 00:34:23,020 Speaker 1: I think some days is my platonic ideal of a 576 00:34:23,180 --> 00:34:26,259 Speaker 1: guitar tone. So check it out, Sample in a Jar. 577 00:34:26,640 --> 00:34:30,719 Speaker 1: All right, let's see. The Catherine who is kidnapped by 578 00:34:31,260 --> 00:34:34,209 Speaker 1: Buffalo Bill, she is the daughter of a senator. So 579 00:34:34,330 --> 00:34:37,930 Speaker 1: let's include a track called The Senator's Daughter by Fountains 580 00:34:37,950 --> 00:34:41,810 Speaker 1: of Wayne. from their 1999 album, Utopia Parkway. This is 581 00:34:41,850 --> 00:34:46,790 Speaker 1: the last track on that record. Super low key, gentle percussion, really, 582 00:34:46,810 --> 00:34:50,830 Speaker 1: really pretty. The Senator's Daughter. Speaking of the girl who 583 00:34:50,850 --> 00:34:54,359 Speaker 1: gets kidnapped in this film, at one point she grabs the, well, 584 00:34:54,380 --> 00:34:57,600 Speaker 1: first of all, she goes down in this well in 585 00:34:57,680 --> 00:35:00,980 Speaker 1: Buffalo Bill's place there. That's where he keeps her. So naturally, 586 00:35:01,160 --> 00:35:03,239 Speaker 1: we're going to put the song down to the well 587 00:35:03,700 --> 00:35:10,239 Speaker 1: by the Pixies from their third album, Bossa Nova. 1990. 588 00:35:10,710 --> 00:35:12,569 Speaker 1: Jake and I were talking about the Pixies last week 589 00:35:12,790 --> 00:35:16,250 Speaker 1: in either in the wrap party in Hollywood land or 590 00:35:16,290 --> 00:35:18,870 Speaker 1: the after party in disgrace land. I can't remember what, 591 00:35:19,530 --> 00:35:22,430 Speaker 1: but I was, um, I was repping this album, the 592 00:35:22,450 --> 00:35:25,510 Speaker 1: boss Nova and Trump Lamond are my two favorite Pixies records. 593 00:35:26,070 --> 00:35:28,590 Speaker 1: Boss Nova is just, um, you know, there's a handful 594 00:35:28,610 --> 00:35:31,040 Speaker 1: of things that you just latch onto in high school 595 00:35:31,060 --> 00:35:33,700 Speaker 1: when you're developing your tastes. And there's some things that 596 00:35:33,739 --> 00:35:35,900 Speaker 1: just don't leave you, you know, and this is one 597 00:35:35,920 --> 00:35:38,950 Speaker 1: of them. Tom Waits' Bone Machine is another one for me. 598 00:35:39,510 --> 00:35:43,950 Speaker 1: Elvis Costello's Armed Forces. There's just some that have grabbed 599 00:35:43,989 --> 00:35:46,950 Speaker 1: and never let go. And Down to the Well is, 600 00:35:47,030 --> 00:35:50,070 Speaker 1: you know, it's pretty visceral. It's pretty cathartic, like a 601 00:35:50,110 --> 00:35:52,270 Speaker 1: lot of the best Pixie songs, and it's going on 602 00:35:52,310 --> 00:35:55,570 Speaker 1: our tape. Let's do one more song here. The dog's 603 00:35:55,630 --> 00:36:01,680 Speaker 1: name in this film, of course, is Precious. So... So 604 00:36:01,739 --> 00:36:06,719 Speaker 1: how about the Pretender song, Precious, from their 1980 self-titled 605 00:36:06,760 --> 00:36:09,350 Speaker 1: debut album? This track, by the way, has got one 606 00:36:09,370 --> 00:36:13,850 Speaker 1: of the greatest clandestine F-bombs in rock. Christy Hines is like, 607 00:36:13,930 --> 00:36:16,090 Speaker 1: fuck off at some point. She says it in a 608 00:36:16,130 --> 00:36:18,350 Speaker 1: way that you're like, wait, did she just say what 609 00:36:18,370 --> 00:36:20,529 Speaker 1: I thought she said? There was this clip that Jake 610 00:36:20,570 --> 00:36:24,030 Speaker 1: posted on Instagram recently of him talking with Payne Lindsey 611 00:36:24,550 --> 00:36:28,330 Speaker 1: from Up and Vanished, Tenderfoot TV. And he was having 612 00:36:28,370 --> 00:36:32,190 Speaker 1: Payne guess songs by just reciting lyrics. And one of 613 00:36:32,210 --> 00:36:35,989 Speaker 1: them was What's the Frequency, Kenneth? by R.E.M. And one 614 00:36:36,010 --> 00:36:39,129 Speaker 1: of the lyrics he recited was, Michael Stipe says, Don't 615 00:36:39,190 --> 00:36:41,730 Speaker 1: Fuck With Me, which he does at the very end. 616 00:36:42,190 --> 00:36:44,380 Speaker 1: He replaces one of the lyrics with that lyric. And 617 00:36:44,400 --> 00:36:47,960 Speaker 1: it reminded me of when R.E.M. played Saturday Night Live 618 00:36:48,580 --> 00:36:53,660 Speaker 1: for that album back in 1994. Monster was 94, right? 95. 619 00:36:53,660 --> 00:36:57,810 Speaker 1: I'm going to say 94. He turned his back to 620 00:36:57,830 --> 00:37:00,930 Speaker 1: the audience and he said, Don't Fuck With Me on 621 00:37:00,989 --> 00:37:03,750 Speaker 1: live TV. I remember being like, yeah, fuck yeah, Michael Stipe. 622 00:37:04,130 --> 00:37:08,270 Speaker 1: You're the best. All right, so what do you guys have? 623 00:37:08,710 --> 00:37:12,110 Speaker 1: Songs that you could put on a mixtape if we 624 00:37:12,150 --> 00:37:14,860 Speaker 1: were to make a mixtape inspired by The Silence of 625 00:37:14,880 --> 00:37:17,060 Speaker 1: the Lambs. You can call me and leave me a 626 00:37:17,100 --> 00:37:21,759 Speaker 1: voicemail or send me a text, 617-906-6638. You can also 627 00:37:21,880 --> 00:37:26,620 Speaker 1: email me at disgracelampod at gmail.com. And while you're doing that, 628 00:37:27,020 --> 00:37:28,960 Speaker 1: I'm going to take another quick break, but don't go anywhere. 629 00:37:28,980 --> 00:37:44,720 Speaker 1: I will be right back right after this. All right, guys, 630 00:37:44,820 --> 00:37:48,410 Speaker 1: there you go. Silence of the Lambs. You guys, you've 631 00:37:48,530 --> 00:37:50,529 Speaker 1: all seen this, right? Do you agree with me that 632 00:37:50,570 --> 00:37:53,590 Speaker 1: it's one of the most perfectly constructed films of all time? 633 00:37:54,530 --> 00:37:58,009 Speaker 1: Do you get off on cross-cutting and parallel editing like 634 00:37:58,090 --> 00:38:00,689 Speaker 1: I do? Or are you like, eh, give me Michael 635 00:38:00,730 --> 00:38:06,049 Speaker 1: Mann's Manhunter over this any day? Inquiring minds want to know. 617-906-6638. 636 00:38:06,210 --> 00:38:13,260 Speaker 1: I'm not going to do a Jonathan Demme top 10 637 00:38:13,260 --> 00:38:16,460 Speaker 1: list here because it wouldn't be, I don't know, wouldn't 638 00:38:16,480 --> 00:38:21,420 Speaker 1: be prudent. Just because I haven't seen the guy's entire filmography, 639 00:38:21,580 --> 00:38:24,930 Speaker 1: if I'm being honest. I always forget at how many 640 00:38:24,989 --> 00:38:27,489 Speaker 1: films Jonathan Demme has that I have not seen. He's 641 00:38:27,510 --> 00:38:31,279 Speaker 1: got like five or six early films right out of 642 00:38:31,300 --> 00:38:34,700 Speaker 1: the gate. Some of them, the Roger Corman productions I've 643 00:38:34,760 --> 00:38:37,759 Speaker 1: never seen. There are some later on in his filmography 644 00:38:37,780 --> 00:38:41,219 Speaker 1: that I missed as well. But I will say, one 645 00:38:41,239 --> 00:38:43,760 Speaker 1: of the coolest things about Jonathan Demme is that he 646 00:38:44,219 --> 00:38:46,219 Speaker 1: seems like he always wanted to do something different. He 647 00:38:46,239 --> 00:38:48,489 Speaker 1: always wanted to work in a different genre. He always 648 00:38:48,530 --> 00:38:51,810 Speaker 1: wanted to make a different kind of film tonally. And 649 00:38:52,010 --> 00:38:53,930 Speaker 1: I love that about him. I love that he sort 650 00:38:53,950 --> 00:38:57,989 Speaker 1: of seemed hungry and creative. So these are all worth 651 00:38:58,030 --> 00:39:01,009 Speaker 1: your time. Stop Making Sense, the Talking Heads concert film. 652 00:39:01,770 --> 00:39:06,430 Speaker 1: Something Wild, which is a great, just madcap, crazy 80s film. 653 00:39:06,860 --> 00:39:09,359 Speaker 1: Married to the Mob is solid. The Silence of the Lambs, 654 00:39:09,400 --> 00:39:13,320 Speaker 1: of course. Philadelphia, Beloved. And Rachel Getting Married is really 655 00:39:13,360 --> 00:39:16,239 Speaker 1: like the dark horse here. I have the old Criterion 656 00:39:16,280 --> 00:39:18,230 Speaker 1: Collection disc of The Silence of the Lambs. And I 657 00:39:18,250 --> 00:39:21,110 Speaker 1: was looking in the lighter notes as I was rewatching 658 00:39:21,130 --> 00:39:24,630 Speaker 1: this movie, and they called Rachel Getting Married like a 659 00:39:24,750 --> 00:39:27,750 Speaker 1: minor work, like one of his minor films. And I'm like, 660 00:39:27,790 --> 00:39:29,250 Speaker 1: what are you talking about? This is like one of 661 00:39:29,270 --> 00:39:33,140 Speaker 1: your best. or one of his best. Anyways, let me 662 00:39:33,160 --> 00:39:35,399 Speaker 1: know how you feel about Jonathan Demme or maybe about 663 00:39:35,440 --> 00:39:38,140 Speaker 1: Ted Demme, you know, his nephew, both of whom have 664 00:39:38,180 --> 00:39:42,120 Speaker 1: sadly passed on. I mean, if you want more movie 665 00:39:42,160 --> 00:39:46,920 Speaker 1: content and more music content than you're getting here and 666 00:39:47,100 --> 00:39:50,250 Speaker 1: in our sister show, Disgraceland, if you want the sweet 667 00:39:50,350 --> 00:39:55,010 Speaker 1: spot overlap of Hollywoodland and Disgraceland, you're going to find 668 00:39:55,050 --> 00:39:59,390 Speaker 1: that over on our Patreon, Disgraceland, all access on Patreon, 669 00:39:59,870 --> 00:40:03,460 Speaker 1: because that's where we have a video podcast available exclusively 670 00:40:03,500 --> 00:40:07,000 Speaker 1: there called This Film Should Be Played Loud. This is 671 00:40:07,040 --> 00:40:10,700 Speaker 1: a monthly video pod co-hosted by yours truly and Jake 672 00:40:10,739 --> 00:40:14,140 Speaker 1: Brennan of Disgraceland. And what do we do there, guys? 673 00:40:14,200 --> 00:40:17,279 Speaker 1: We break down the great music in some of our 674 00:40:17,380 --> 00:40:20,830 Speaker 1: favorite films of all time. So we're talking about needle 675 00:40:20,870 --> 00:40:24,330 Speaker 1: drops and soundtracks and scores, right? We're looking at movies 676 00:40:24,469 --> 00:40:27,870 Speaker 1: through the lens of the music that soundtrack them. We 677 00:40:27,910 --> 00:40:31,910 Speaker 1: just dropped an episode last week on Shaun of the Dead, 678 00:40:32,120 --> 00:40:35,120 Speaker 1: the great Edgar Wright movie. That was our Halloween movie. 679 00:40:35,660 --> 00:40:38,780 Speaker 1: I'm not sure what we're doing yet for November, for Thanksgiving. 680 00:40:38,840 --> 00:40:40,360 Speaker 1: For a while there, we were like, yeah, we're going 681 00:40:40,380 --> 00:40:43,080 Speaker 1: to do The Last Waltz because That's where the title 682 00:40:43,100 --> 00:40:45,239 Speaker 1: of our show comes from. This film should be played loud. 683 00:40:45,260 --> 00:40:47,700 Speaker 1: That's the first thing you see on the screen for 684 00:40:47,739 --> 00:40:49,330 Speaker 1: The Last Waltz. But the more we thought about it, 685 00:40:49,700 --> 00:40:51,879 Speaker 1: and someone on Patreon actually pointed out to us, like, 686 00:40:52,400 --> 00:40:54,120 Speaker 1: this doesn't really fit in with the way that we 687 00:40:54,160 --> 00:40:56,100 Speaker 1: have our category set up for the show and stuff. 688 00:40:56,120 --> 00:40:58,540 Speaker 1: So I don't know. It might be Planes, Trains, and Automobiles, 689 00:40:58,580 --> 00:41:05,060 Speaker 1: which is a great Thanksgiving movie. Great John Hughes movie. 690 00:41:05,160 --> 00:41:09,109 Speaker 1: But we'll see. That said, though, we've got so much 691 00:41:09,469 --> 00:41:12,250 Speaker 1: in the vault. for this film should be played loud. 692 00:41:12,270 --> 00:41:15,110 Speaker 1: We've got episodes in The Big Lebowski, The Royal Tenenbaums, 693 00:41:15,190 --> 00:41:20,410 Speaker 1: Days to Confuse, High Fidelity, Goodfellas, Boogie Nights, Trainspotting. Do 694 00:41:20,450 --> 00:41:22,790 Speaker 1: the right thing. They're all there waiting for you. And 695 00:41:22,810 --> 00:41:26,540 Speaker 1: if you're not a member, just go to disgracelandpod.com right 696 00:41:26,560 --> 00:41:28,580 Speaker 1: there on the homepage as information