1 00:00:18,710 --> 00:00:21,350 Speaker 1: Well, what's going on, you beautiful people, you good people 2 00:00:21,510 --> 00:00:24,730 Speaker 1: of Hollywoodland? My name is Seth Lundy, writer, showrunner, and 3 00:00:24,800 --> 00:00:28,080 Speaker 1: good doctor here at Double Elvis, and it's Friday, which 4 00:00:28,140 --> 00:00:30,830 Speaker 1: means it's Time yet again for another installment of The 5 00:00:30,870 --> 00:00:33,350 Speaker 1: Screening Room, which is our weekly episode of the podcast 6 00:00:33,409 --> 00:00:35,850 Speaker 1: in which we watch a movie that has something to 7 00:00:35,890 --> 00:00:38,450 Speaker 1: do with our main episode's subject and themes of the week, 8 00:00:38,570 --> 00:00:42,000 Speaker 1: and then we talk about it. This week, we featured 9 00:00:42,040 --> 00:00:45,599 Speaker 1: our fully scripted and sound design episode about the Poltergeist 10 00:00:45,760 --> 00:00:49,700 Speaker 1: franchise and the so-called Poltergeist curse. And while I think 11 00:00:49,740 --> 00:00:53,220 Speaker 1: that Poltergeist is a cool movie, certainly a cool relic 12 00:00:53,260 --> 00:00:56,420 Speaker 1: from the 80s, you know, that whole Did Steven Spielberg 13 00:00:56,500 --> 00:00:59,400 Speaker 1: actually direct this and not Toby Hooper conversation and all that? 14 00:00:59,800 --> 00:01:02,380 Speaker 1: Not to mention a piece of my origin story in 15 00:01:02,440 --> 00:01:05,429 Speaker 1: terms of being traumatized by horror films early on in 16 00:01:05,490 --> 00:01:09,590 Speaker 1: my life. I felt like the episode itself and then 17 00:01:09,610 --> 00:01:11,850 Speaker 1: the wrap party episode from Wednesday of this week kind 18 00:01:11,890 --> 00:01:14,630 Speaker 1: of covered what I wanted to say about it. I 19 00:01:14,709 --> 00:01:18,760 Speaker 1: thought about covering Poltergeist 2, The Other Side, just because 20 00:01:18,900 --> 00:01:20,920 Speaker 1: I feel like that's a pretty horrible film and it 21 00:01:20,959 --> 00:01:24,450 Speaker 1: would have made for interesting, I don't know, Would have 22 00:01:24,470 --> 00:01:26,300 Speaker 1: been interesting to talk about, and it also would have 23 00:01:26,310 --> 00:01:29,900 Speaker 1: made for a fascinating mixtape. I thought about this for 24 00:01:29,940 --> 00:01:33,340 Speaker 1: a hot minute. You watch Jo Beth Williams clip the roses, 25 00:01:33,440 --> 00:01:37,360 Speaker 1: and you think of Weens, Roses Are Free. You watch 26 00:01:37,420 --> 00:01:40,990 Speaker 1: Craig T. Nelson say or do anything, and you think 27 00:01:41,110 --> 00:01:44,310 Speaker 1: Put Me In, Coach. You think of Centerfield by John Fogerty. 28 00:01:44,690 --> 00:01:47,450 Speaker 1: You watch sweet Carol Ann once again get haunted by 29 00:01:47,490 --> 00:01:50,610 Speaker 1: those damn ghosts, and you think of Whiskey Town's The 30 00:01:50,670 --> 00:01:55,500 Speaker 1: Ballad of Carol Lynn. But Ryan Adams has that southern 31 00:01:55,560 --> 00:01:59,240 Speaker 1: drawl of his, so his Carol Lynn sounds like, oh, 32 00:01:59,320 --> 00:02:03,900 Speaker 1: Carol Ann. You watch the family run from house to 33 00:02:03,940 --> 00:02:06,440 Speaker 1: house and try to outrun the spirits that have it 34 00:02:06,480 --> 00:02:08,660 Speaker 1: out for them, and you think of running by the 35 00:02:08,740 --> 00:02:12,290 Speaker 1: far side. But we're not going to talk about Poltergeist 2. 36 00:02:12,290 --> 00:02:14,130 Speaker 1: We're not going to talk about Poltergeist 3, which I've 37 00:02:14,150 --> 00:02:17,169 Speaker 1: never seen. But we are going to stay within the 38 00:02:17,250 --> 00:02:21,840 Speaker 1: ghost zone here, given our themes this week. And given 39 00:02:21,860 --> 00:02:24,000 Speaker 1: that we are one week out from Halloween, so let's 40 00:02:24,040 --> 00:02:28,709 Speaker 1: talk about a 2017 film called A Ghost Story. A 41 00:02:28,730 --> 00:02:32,370 Speaker 1: Ghost Story is the fifth feature film from director David Lowery, 42 00:02:32,710 --> 00:02:35,890 Speaker 1: who also wrote the screenplay. It stars Rooney Mara and 43 00:02:35,950 --> 00:02:39,390 Speaker 1: Casey Affleck, both of whom Lowery had worked with on 44 00:02:39,450 --> 00:02:42,919 Speaker 1: his second feature, Ain't Them Bodies Saints, which was like 45 00:02:42,960 --> 00:02:45,880 Speaker 1: a retelling of the Bonnie and Clyde story. Lowery's got 46 00:02:45,960 --> 00:02:49,800 Speaker 1: a fascinating career because between Ain't Them Bodies Saints and 47 00:02:49,900 --> 00:02:54,120 Speaker 1: A Ghost Story, He makes Pete's Dragon for Disney, a 48 00:02:54,200 --> 00:02:57,220 Speaker 1: contemporary update of that film, which I will say, I 49 00:02:57,919 --> 00:02:59,560 Speaker 1: quite liked it when I came out. I saw that 50 00:02:59,590 --> 00:03:02,530 Speaker 1: with my kids, and I remember thinking that it was great. 51 00:03:03,410 --> 00:03:06,090 Speaker 1: And then after this film, A Ghost Story, he makes 52 00:03:06,590 --> 00:03:08,810 Speaker 1: The Old Man and the Gun, which was Robert Redford's 53 00:03:08,850 --> 00:03:11,549 Speaker 1: final leading role. Then he makes The Green Knight, this 54 00:03:11,590 --> 00:03:14,889 Speaker 1: incredible fantasy film set in the times of King Arthur. 55 00:03:15,800 --> 00:03:18,030 Speaker 1: Then he's back with Disney again. He makes Peter Pan 56 00:03:18,070 --> 00:03:20,910 Speaker 1: and Wendy, one of Disney's live-action remakes of their classic 57 00:03:21,110 --> 00:03:24,490 Speaker 1: animated films. And then this year, he went back to 58 00:03:24,650 --> 00:03:28,850 Speaker 1: original non-Disney storytelling with Mother Mary, in which Anne Hathaway 59 00:03:28,889 --> 00:03:31,500 Speaker 1: plays a pop star with new songs written for the 60 00:03:31,530 --> 00:03:35,720 Speaker 1: film by Jack Antonoff and Charlie XCX. I have not 61 00:03:35,780 --> 00:03:37,960 Speaker 1: seen Mother Mary yet, and I have not seen the 62 00:03:37,980 --> 00:03:41,640 Speaker 1: Peter Pan movie. But Lowry is a fascinating filmmaker with 63 00:03:41,660 --> 00:03:44,730 Speaker 1: an incredibly high hit rate, in my opinion. especially when 64 00:03:44,750 --> 00:03:48,500 Speaker 1: he does his own original stuff. And he has an 65 00:03:48,630 --> 00:03:52,480 Speaker 1: equally compelling and unique take on cinema, and nowhere is 66 00:03:52,520 --> 00:03:57,080 Speaker 1: that better exemplified than by this film, A Ghost Story. Now, 67 00:03:57,100 --> 00:03:59,260 Speaker 1: if you check out the poster for this movie, you 68 00:03:59,280 --> 00:04:02,320 Speaker 1: might think this is some goofy, it's the Great Pumpkin, 69 00:04:02,380 --> 00:04:07,700 Speaker 1: Charlie Brown kind of nonsense, because the poster just shows 70 00:04:07,760 --> 00:04:10,180 Speaker 1: someone under a white bed sheet with big holes cut 71 00:04:10,220 --> 00:04:13,460 Speaker 1: out for eyes. But this is not a comedy. And 72 00:04:14,000 --> 00:04:16,779 Speaker 1: very soon, as you live with the main character of 73 00:04:16,800 --> 00:04:19,760 Speaker 1: this film, which is, you know, in essence, the ghost 74 00:04:19,800 --> 00:04:22,669 Speaker 1: of Casey Affleck's character, who has only just recently died 75 00:04:23,150 --> 00:04:26,650 Speaker 1: and left behind a grieving widow, whose face is hidden 76 00:04:26,710 --> 00:04:29,930 Speaker 1: behind this white sheet. It's a conceit from a cartoon 77 00:04:29,970 --> 00:04:33,750 Speaker 1: that once played as broad comedy, but it's now playing 78 00:04:33,870 --> 00:04:37,380 Speaker 1: as this great longing. There is a weight to the sheet. 79 00:04:37,450 --> 00:04:42,110 Speaker 1: There's the weight of loss and grief, but also of time. 80 00:04:42,250 --> 00:04:45,510 Speaker 1: I think more than anything, this film is about time. 81 00:04:45,950 --> 00:04:48,770 Speaker 1: It is about the passing of time, how time can 82 00:04:48,810 --> 00:04:51,550 Speaker 1: feel painfully slow, and then how it can pass by 83 00:04:51,630 --> 00:04:54,109 Speaker 1: so quickly, you feel like you've lost a few years 84 00:04:54,510 --> 00:04:57,300 Speaker 1: in the blink of an eye. Now, Casey Affleck had 85 00:04:57,360 --> 00:04:59,800 Speaker 1: just won the Academy Award for Best Actor a few 86 00:04:59,839 --> 00:05:03,200 Speaker 1: months before this film came out. He won the award 87 00:05:03,260 --> 00:05:07,860 Speaker 1: for his devastating performance in Kenneth Lonergan's Manchester by the Sea, 88 00:05:07,960 --> 00:05:11,099 Speaker 1: which when I first saw that, As the father of three, 89 00:05:11,240 --> 00:05:14,120 Speaker 1: I saw it in the theater. I was pretty much destroyed. 90 00:05:14,240 --> 00:05:16,360 Speaker 1: And for the longest time, I referred to that as 91 00:05:16,820 --> 00:05:19,620 Speaker 1: the greatest film I'll never watch again. Years later, I 92 00:05:19,760 --> 00:05:21,560 Speaker 1: wound up putting it back on again. And I was 93 00:05:21,660 --> 00:05:24,380 Speaker 1: struck the second time around by how funny it is. 94 00:05:24,580 --> 00:05:27,690 Speaker 1: And yes, it still completely levels me. But knowing the 95 00:05:27,730 --> 00:05:30,210 Speaker 1: details of the great tragedy at the center of the 96 00:05:30,250 --> 00:05:34,170 Speaker 1: film made it easier to handle when that happened the 97 00:05:34,330 --> 00:05:35,710 Speaker 1: second time around. You know what I mean? And I 98 00:05:35,730 --> 00:05:40,980 Speaker 1: was able to really appreciate the movie even more. This performance, though, 99 00:05:41,200 --> 00:05:45,660 Speaker 1: in A Ghost Story, completely the opposite of Manchester by 100 00:05:45,680 --> 00:05:49,359 Speaker 1: the Sea. Casey Affleck is practically in a mumblecore movie 101 00:05:49,420 --> 00:05:52,250 Speaker 1: in the scenes where he's alive and not hidden by 102 00:05:52,290 --> 00:05:55,190 Speaker 1: the white sheep. And then Rooney Mara, who, you know, 103 00:05:55,290 --> 00:05:57,810 Speaker 1: kicked so much ass in David Fincher's The Girl with 104 00:05:57,830 --> 00:06:00,450 Speaker 1: the Dragon Tattoo a few years before this, she is 105 00:06:00,630 --> 00:06:05,150 Speaker 1: equally subdued, sublimely subdued even. Her grief in this is 106 00:06:05,250 --> 00:06:09,219 Speaker 1: so inward-looking and so the opposite of what has long 107 00:06:09,260 --> 00:06:12,880 Speaker 1: been considered, you know, to be a great cathartic performance. 108 00:06:12,920 --> 00:06:16,340 Speaker 1: You know, the screaming, the howling, the performative, like my 109 00:06:16,380 --> 00:06:21,020 Speaker 1: character is in pain. This film becomes her film for 110 00:06:21,060 --> 00:06:24,260 Speaker 1: like most of the first half. And it's so internal 111 00:06:24,380 --> 00:06:29,610 Speaker 1: and so private and so intimate. She crushes it. Rooney Mara, 112 00:06:29,710 --> 00:06:33,470 Speaker 1: nominated for Best Actress for Dragon Tattoo, nominated for Best 113 00:06:33,510 --> 00:06:36,529 Speaker 1: Supporting Actress for Carol, but nothing for this. In fact, 114 00:06:36,830 --> 00:06:40,830 Speaker 1: a ghost story got zero Academy Award nominations. It is 115 00:06:40,890 --> 00:06:45,510 Speaker 1: a small movie. This is A24, back when A24 was 116 00:06:45,589 --> 00:06:50,050 Speaker 1: really starting to build its cool-as-fuck reputation. The budget was 117 00:06:50,110 --> 00:06:56,060 Speaker 1: dirt cheap, $ 100, 000. It grossed $ 2 million. Now, not many 118 00:06:56,100 --> 00:06:58,960 Speaker 1: people have seen this movie, as the numbers tell you. 119 00:06:59,580 --> 00:07:02,040 Speaker 1: At least not as many people who saw some of 120 00:07:02,060 --> 00:07:05,760 Speaker 1: the biggest movies that year, 2017. Movies like Star Wars, 121 00:07:05,779 --> 00:07:10,590 Speaker 1: The Last Jedi, Spider-Man Homecoming, Guardians of the Galaxy Vol. 2. 122 00:07:10,590 --> 00:07:15,050 Speaker 1: The top 10 grossing movies of 2017 are all either 123 00:07:15,170 --> 00:07:19,540 Speaker 1: franchise sequels or remakes, and four of the 10 are 124 00:07:19,600 --> 00:07:23,860 Speaker 1: comic book movies. But I would hazard a guess that 125 00:07:23,900 --> 00:07:27,880 Speaker 1: every single person who saw those big budget films would 126 00:07:27,960 --> 00:07:31,470 Speaker 1: find more in common with this tiny little movie, A 127 00:07:31,530 --> 00:07:36,150 Speaker 1: Ghost Story, because everyone's been there. We've all lost someone. 128 00:07:36,860 --> 00:07:40,040 Speaker 1: close to us, and later felt like we could feel 129 00:07:40,100 --> 00:07:43,970 Speaker 1: that person's presence next to us. You hear things around 130 00:07:44,010 --> 00:07:46,410 Speaker 1: the house. There's a strange noise. Maybe something falls from 131 00:07:46,450 --> 00:07:49,050 Speaker 1: a shelf and makes a sound when it hits the ground. 132 00:07:49,570 --> 00:07:52,550 Speaker 1: But more so, at least in my experience, it's not 133 00:07:52,590 --> 00:07:55,650 Speaker 1: these strange occurrences. It's more of a feeling. It's an 134 00:07:55,930 --> 00:08:00,170 Speaker 1: overwhelming feeling that is hard to describe. This film tries 135 00:08:00,210 --> 00:08:02,710 Speaker 1: to describe that, but it tries to describe that from 136 00:08:02,730 --> 00:08:07,240 Speaker 1: the ghost's POV as well. Everyone can also relate to 137 00:08:07,260 --> 00:08:10,020 Speaker 1: this film, because as I mentioned earlier, this is a 138 00:08:10,060 --> 00:08:14,520 Speaker 1: film about time. And it's about how we experience time 139 00:08:15,170 --> 00:08:18,950 Speaker 1: in moments of tragedy and grief, and how we navigate 140 00:08:19,070 --> 00:08:22,970 Speaker 1: through trying to make sense of the past and the future, 141 00:08:23,450 --> 00:08:25,450 Speaker 1: and also how we see our place in the grand 142 00:08:25,510 --> 00:08:30,050 Speaker 1: scheme of things, which is to say, in eternity. Just 143 00:08:30,070 --> 00:08:32,929 Speaker 1: this past weekend, I read this great little book called 144 00:08:33,030 --> 00:08:37,780 Speaker 1: Conversations on Faith by Father Antonio Spadaro and Martin Scorsese. 145 00:08:37,820 --> 00:08:41,420 Speaker 1: It's basically just transcript of these conversations that these two 146 00:08:41,440 --> 00:08:44,689 Speaker 1: guys had together. And in the book, Scorsese talks about 147 00:08:44,730 --> 00:08:46,890 Speaker 1: this concept of time. So I've been thinking a lot 148 00:08:46,970 --> 00:08:49,670 Speaker 1: about this these last few days. This was kind of like, 149 00:08:49,710 --> 00:08:53,770 Speaker 1: you know, synchronicity, that this film is about these same 150 00:08:53,870 --> 00:08:57,679 Speaker 1: ideas I've been thinking about. In the book, Martin Scorsese 151 00:08:57,720 --> 00:09:01,520 Speaker 1: mentions watching this talk online by a spiritual teacher, and 152 00:09:01,600 --> 00:09:04,680 Speaker 1: someone asked him a question about eternity. And this guy says, 153 00:09:05,570 --> 00:09:08,770 Speaker 1: that eternity isn't this place that's off in the distance somewhere. 154 00:09:08,809 --> 00:09:10,770 Speaker 1: It's not a place we journey to when we die. 155 00:09:11,590 --> 00:09:14,070 Speaker 1: He said that the past is always behind us, the 156 00:09:14,130 --> 00:09:17,250 Speaker 1: future is always ahead of us, and it's also unknowable 157 00:09:17,550 --> 00:09:20,450 Speaker 1: that the past, quote unquote, and the future, quote unquote, 158 00:09:20,490 --> 00:09:24,790 Speaker 1: are merely ideas created by us humans in order to 159 00:09:24,850 --> 00:09:28,470 Speaker 1: give ourselves a sense of structure. And then Scorsese says, 160 00:09:29,309 --> 00:09:32,390 Speaker 1: yet all that really exists is right here and right now, 161 00:09:32,530 --> 00:09:36,080 Speaker 1: which we can never grasp, So in essence, we dwell 162 00:09:36,500 --> 00:09:41,640 Speaker 1: in eternity. David Lowery's 2017 film, A Ghost Story, dwells 163 00:09:42,280 --> 00:09:45,469 Speaker 1: in eternity. That's exactly what this film is about, and 164 00:09:45,490 --> 00:10:10,160 Speaker 1: we're going to get into it right after this. A 165 00:10:10,200 --> 00:10:13,660 Speaker 1: ghost story opens with a Virginia Woolf quote. Whatever hour 166 00:10:13,740 --> 00:10:18,219 Speaker 1: you woke, there was a door shutting. This is a 167 00:10:18,260 --> 00:10:21,400 Speaker 1: line from a short story called A Haunted House, which 168 00:10:21,460 --> 00:10:23,760 Speaker 1: informs us what we are about to see, even if 169 00:10:23,800 --> 00:10:26,950 Speaker 1: we don't fully understand it yet. The film opens with 170 00:10:27,050 --> 00:10:30,010 Speaker 1: Rooney Mara and Casey Affleck, who are never named, by 171 00:10:30,030 --> 00:10:32,990 Speaker 1: the way. Casey Affleck, we know, is a musician or 172 00:10:33,010 --> 00:10:35,390 Speaker 1: a composer who works from home. They are there on 173 00:10:35,410 --> 00:10:37,949 Speaker 1: their couch. It's a very intimate scene, very domestic. They're 174 00:10:37,970 --> 00:10:40,949 Speaker 1: wrapped up. each other having this conversation. It's a fairly 175 00:10:40,990 --> 00:10:44,690 Speaker 1: innocuous conversation, but the score, the music behind it is 176 00:10:44,750 --> 00:10:48,470 Speaker 1: very dramatic, very tense, almost as if the score knows 177 00:10:48,550 --> 00:10:51,670 Speaker 1: more about what's going on than we do. The couple 178 00:10:51,870 --> 00:10:55,130 Speaker 1: hears these weird noises in their house from time to time. 179 00:10:55,170 --> 00:10:58,979 Speaker 1: And at one point, Casey Affleck's eyes follow this glimmer 180 00:10:59,000 --> 00:11:01,420 Speaker 1: of light that's dancing around. It rises to the ceiling. 181 00:11:02,280 --> 00:11:05,020 Speaker 1: Then the camera follows it as it drifts heavenward all 182 00:11:05,059 --> 00:11:07,860 Speaker 1: the way up into the galaxy above. where it settles 183 00:11:07,920 --> 00:11:11,720 Speaker 1: in a cluster of stars. The couple continues to hear 184 00:11:11,780 --> 00:11:14,679 Speaker 1: strange noises. One night, it sounds like something huge has 185 00:11:14,760 --> 00:11:16,600 Speaker 1: landed on the piano out in the living room. So 186 00:11:16,620 --> 00:11:20,199 Speaker 1: they both rush out there in the dark. He's opening 187 00:11:20,240 --> 00:11:23,400 Speaker 1: doors that are nervously creaking in the silence. What was that? 188 00:11:23,480 --> 00:11:26,540 Speaker 1: They don't know. There's nothing there. So they go back 189 00:11:26,590 --> 00:11:29,070 Speaker 1: to bed, and they share a moment of intimacy as 190 00:11:29,630 --> 00:11:31,590 Speaker 1: she is trying to settle down from being spooked. And 191 00:11:32,250 --> 00:11:34,410 Speaker 1: this is something the film is interested in. It's interested 192 00:11:35,050 --> 00:11:39,500 Speaker 1: in these moments, moments of waking eternity that would otherwise 193 00:11:39,540 --> 00:11:43,679 Speaker 1: appear banal. David Lowery holds these moments and these shots 194 00:11:43,740 --> 00:11:46,220 Speaker 1: for longer than you would typically expect, and then he 195 00:11:46,320 --> 00:11:49,660 Speaker 1: cuts between moments also in ways that you wouldn't expect, 196 00:11:50,760 --> 00:11:53,510 Speaker 1: which also serve to move the story along in this 197 00:11:53,570 --> 00:11:57,410 Speaker 1: patient way. For example, we're here with the couple in bed, 198 00:11:57,470 --> 00:11:59,790 Speaker 1: he fades out of the shot, and the next thing 199 00:11:59,830 --> 00:12:03,150 Speaker 1: we see is an exterior shot of their very modest 200 00:12:03,410 --> 00:12:05,830 Speaker 1: house the next day, And all we can see beyond 201 00:12:05,850 --> 00:12:08,610 Speaker 1: the house is what appears to be smoke drifting into 202 00:12:08,630 --> 00:12:11,470 Speaker 1: the shot and then drifting out. The camera very slowly 203 00:12:11,530 --> 00:12:13,689 Speaker 1: pans to the right. And as it does, it reveals 204 00:12:14,290 --> 00:12:17,550 Speaker 1: a car crash that's just occurred between two cars right 205 00:12:17,570 --> 00:12:19,650 Speaker 1: there on the side of the road outside the house. 206 00:12:19,850 --> 00:12:22,930 Speaker 1: And eventually we see that Casey Affleck's character is dead 207 00:12:23,010 --> 00:12:27,059 Speaker 1: behind the wheel of his car. None of this is explained. 208 00:12:28,000 --> 00:12:30,360 Speaker 1: We don't know what happened in the accident. We don't 209 00:12:30,380 --> 00:12:33,330 Speaker 1: know who the other person was, if they survived. All 210 00:12:33,370 --> 00:12:36,010 Speaker 1: we know is we find ourselves at the hospital. Rooney 211 00:12:36,030 --> 00:12:38,740 Speaker 1: Mara is standing at a table next to a nurse. 212 00:12:38,760 --> 00:12:40,900 Speaker 1: There's a white sheet covering the body of her dead husband. 213 00:12:41,520 --> 00:12:44,340 Speaker 1: The sheet's pulled back. She has a moment after which 214 00:12:44,360 --> 00:12:47,710 Speaker 1: she pulls the sheet back up and she leaves. Once again, 215 00:12:47,760 --> 00:12:51,469 Speaker 1: Lowry's camera just waits there and it waits and it 216 00:12:51,510 --> 00:12:55,750 Speaker 1: doesn't move. And then after a few moments, the body 217 00:12:55,809 --> 00:12:58,210 Speaker 1: rises beneath the sheet. It comes to a sitting position, 218 00:12:58,290 --> 00:13:01,590 Speaker 1: still obscured behind the fabric. And the next thing we 219 00:13:01,650 --> 00:13:04,810 Speaker 1: see is the ghost of Casey Affleck's character still hidden 220 00:13:05,330 --> 00:13:07,750 Speaker 1: under a sheet, which now has two holes cut out 221 00:13:07,790 --> 00:13:10,890 Speaker 1: for eyes, wandering through the halls of the hospital, walking 222 00:13:10,929 --> 00:13:13,120 Speaker 1: past doctors and patients, but no one can see him. 223 00:13:13,820 --> 00:13:16,100 Speaker 1: There is no music during this entire stretch, by the way. 224 00:13:17,200 --> 00:13:19,440 Speaker 1: The ghost leaves the hospital, walks through a giant green 225 00:13:19,500 --> 00:13:23,020 Speaker 1: field outside, and eventually makes his way back home. He's 226 00:13:23,179 --> 00:13:26,020 Speaker 1: all alone. He looks at a single photo tacked on 227 00:13:26,070 --> 00:13:29,350 Speaker 1: the fridge of his former self with his wife. And 228 00:13:29,510 --> 00:13:33,280 Speaker 1: though the exterior sheet can make no expression. We can 229 00:13:33,380 --> 00:13:39,470 Speaker 1: feel the pain. Eventually, Rooney Mara's character returns home, and 230 00:13:39,510 --> 00:13:42,530 Speaker 1: the ghost of her husband watches her go through these motions, 231 00:13:43,030 --> 00:13:46,130 Speaker 1: completely unaware that he is there. Someone has dropped off 232 00:13:46,170 --> 00:13:48,490 Speaker 1: a pie for her, some sympathy food, and she begins 233 00:13:48,530 --> 00:13:50,630 Speaker 1: to eat it directly from the pan that it's in. 234 00:13:51,050 --> 00:13:53,790 Speaker 1: She sinks down to the floor, sitting there, her back 235 00:13:53,850 --> 00:13:56,670 Speaker 1: against the kitchen counter, and she eats, quietly crying as 236 00:13:56,700 --> 00:13:59,360 Speaker 1: she does. Then she goes and lies down, and the 237 00:13:59,420 --> 00:14:03,280 Speaker 1: music now returns. as the ghost follows her, touching her 238 00:14:03,320 --> 00:14:06,120 Speaker 1: back to comfort her, but she's not aware of the gesture. 239 00:14:07,200 --> 00:14:09,230 Speaker 1: There's a great shot soon after this of the ghost 240 00:14:09,260 --> 00:14:12,670 Speaker 1: standing in the living room, and he's watching as his 241 00:14:12,730 --> 00:14:15,270 Speaker 1: widow emerges from the bathroom and heads out the front 242 00:14:15,309 --> 00:14:17,950 Speaker 1: door to get on with her day. But we stay 243 00:14:17,970 --> 00:14:21,000 Speaker 1: there in the shot. Shot does not change. And all 244 00:14:21,030 --> 00:14:23,040 Speaker 1: of a sudden, she comes out of the bathroom again 245 00:14:23,140 --> 00:14:25,120 Speaker 1: and walks out the front door. And then again, she 246 00:14:25,160 --> 00:14:27,300 Speaker 1: comes out of the bathroom. And every time she does, 247 00:14:27,640 --> 00:14:31,010 Speaker 1: she's like in a different outfit, right? Suddenly, time is 248 00:14:31,090 --> 00:14:33,430 Speaker 1: moving faster than it has been up to this point. 249 00:14:33,470 --> 00:14:36,190 Speaker 1: Time has moved so slow, but now we're moving fast. 250 00:14:37,470 --> 00:14:40,690 Speaker 1: The ghost and his widow stand side by side in 251 00:14:40,790 --> 00:14:45,310 Speaker 1: one shot, watching as the rain falls outside. Soon, snow 252 00:14:45,370 --> 00:14:47,930 Speaker 1: is falling, winter has arrived, and then like a passing storm, 253 00:14:48,410 --> 00:14:51,109 Speaker 1: it's green again and spring is here. At some point, 254 00:14:51,130 --> 00:14:53,490 Speaker 1: the ghost looks out one of the windows of the 255 00:14:53,530 --> 00:14:56,500 Speaker 1: house at the neighboring house and sees another figure under 256 00:14:56,620 --> 00:15:00,000 Speaker 1: another bed sheet This one also with eye holes cut out. 257 00:15:00,360 --> 00:15:03,080 Speaker 1: The neighboring ghost raises a hand beneath the sheet and 258 00:15:03,260 --> 00:15:08,510 Speaker 1: the subtitles say, hi. And this conversation starts in subtitles 259 00:15:08,590 --> 00:15:12,170 Speaker 1: as ominous music begins to build. I'm waiting for someone, 260 00:15:12,650 --> 00:15:18,490 Speaker 1: the neighboring ghost says. Who? Our ghost asks. I don't remember. Later, 261 00:15:18,990 --> 00:15:22,060 Speaker 1: the ghost watches as his widow comes home with another man. 262 00:15:22,500 --> 00:15:25,120 Speaker 1: They kiss in the doorway. The ghost becomes angry. The 263 00:15:25,140 --> 00:15:27,490 Speaker 1: lights in the house start to flicker and books come 264 00:15:27,550 --> 00:15:30,910 Speaker 1: crashing off the shelf. It's here that we flash back 265 00:15:30,970 --> 00:15:34,550 Speaker 1: to an earlier conversation between Mara and Affleck when he 266 00:15:34,580 --> 00:15:36,430 Speaker 1: was alive. He's telling her he doesn't want to talk 267 00:15:36,460 --> 00:15:39,480 Speaker 1: about it anymore, whatever they're talking about, and he deflects 268 00:15:39,940 --> 00:15:43,260 Speaker 1: this conversation by playing her a song that he's working on. 269 00:15:43,860 --> 00:15:45,680 Speaker 1: When the song finishes, she just hands him back his 270 00:15:45,700 --> 00:15:51,120 Speaker 1: headphones and walks away. And back in the present, with 271 00:15:51,140 --> 00:15:56,060 Speaker 1: this conversation, this moment of conflict probably still on her mind, 272 00:15:57,020 --> 00:15:59,580 Speaker 1: Rooney Mara's character is packing up the house. She's painting. 273 00:15:59,620 --> 00:16:03,080 Speaker 1: She's preparing to leave and to move on. Before she does, 274 00:16:03,160 --> 00:16:05,280 Speaker 1: she writes something down on a scrap of paper. She 275 00:16:05,340 --> 00:16:07,420 Speaker 1: sticks it in a crack in the wall, painting over 276 00:16:07,440 --> 00:16:14,370 Speaker 1: the spot, and then she's gone. The ghost is left behind. Instantly, 277 00:16:14,400 --> 00:16:16,470 Speaker 1: his attention turns to that crack in the wall, and 278 00:16:16,490 --> 00:16:18,670 Speaker 1: he's trying to dig that scrap of paper out to 279 00:16:18,730 --> 00:16:21,530 Speaker 1: read it. But before he can, suddenly the front door 280 00:16:21,570 --> 00:16:24,430 Speaker 1: swings open and kids run inside. Once again, time's moving 281 00:16:24,470 --> 00:16:27,070 Speaker 1: quickly as these new tenants fill up the house. The 282 00:16:27,110 --> 00:16:28,890 Speaker 1: ghost is moving from one room to the next, and 283 00:16:28,910 --> 00:16:30,550 Speaker 1: the weeks and the months are just flying by. It 284 00:16:30,590 --> 00:16:32,930 Speaker 1: seems like it's a new season every time he enters 285 00:16:32,990 --> 00:16:37,370 Speaker 1: a new room. The ghost resorts to what we associate 286 00:16:37,430 --> 00:16:40,770 Speaker 1: as ghostly activity by making the lights flicker again. He 287 00:16:40,810 --> 00:16:42,670 Speaker 1: grabs a glass of milk from the table, drops it 288 00:16:42,710 --> 00:16:45,330 Speaker 1: on the floor, it smashes, the family screams, and then 289 00:16:45,350 --> 00:16:47,820 Speaker 1: they all recoil in horror as he starts to throw 290 00:16:47,890 --> 00:16:51,300 Speaker 1: dishes from the cupboard. To this family, these dishes just 291 00:16:51,360 --> 00:16:53,980 Speaker 1: appear to be flying out of the cupboard on their own. 292 00:16:54,640 --> 00:16:58,160 Speaker 1: The family is ultimately replaced by younger tenants, these people 293 00:16:58,180 --> 00:17:00,180 Speaker 1: in their 20s or 30s. They have a house party. 294 00:17:00,680 --> 00:17:03,130 Speaker 1: There's a downer of a guest played by Bonnie Prince Billy. 295 00:17:03,850 --> 00:17:06,109 Speaker 1: He's going on and on about how everyone's going to die, 296 00:17:06,230 --> 00:17:08,390 Speaker 1: even your kids, and the plates on the earth will 297 00:17:08,410 --> 00:17:10,629 Speaker 1: shift and the oceans will rise and the mountains will fall. 298 00:17:11,270 --> 00:17:15,330 Speaker 1: Cut to the house is empty and in disrepair. The 299 00:17:15,390 --> 00:17:17,629 Speaker 1: walls are ripped. The floor is torn up. The ceiling 300 00:17:17,670 --> 00:17:20,550 Speaker 1: is falling down. The ghost continues to claw at the 301 00:17:20,609 --> 00:17:23,890 Speaker 1: spot in the wall for that note. that she left there, 302 00:17:23,990 --> 00:17:26,290 Speaker 1: and at last he gets it, but just as he does, 303 00:17:26,310 --> 00:17:29,730 Speaker 1: a front-end loader comes crashing in through the window on 304 00:17:29,750 --> 00:17:32,290 Speaker 1: the opposite side of the house. The house is leveled, 305 00:17:32,750 --> 00:17:37,430 Speaker 1: reduced to rubble. We can only assume that this scrap 306 00:17:37,470 --> 00:17:39,910 Speaker 1: of paper has been dropped in the process. The house 307 00:17:39,950 --> 00:17:44,980 Speaker 1: next door is also torn down, and the neighboring ghost 308 00:17:45,220 --> 00:17:48,340 Speaker 1: stands in the rubble of their house just as Casey 309 00:17:48,400 --> 00:17:50,800 Speaker 1: Affleck's ghost stands in the rubble of his. And they 310 00:17:50,820 --> 00:17:53,520 Speaker 1: look at each other, and via the subtitles, this neighboring 311 00:17:53,560 --> 00:17:56,480 Speaker 1: ghost says, I don't think they're coming, right? This person, 312 00:17:56,740 --> 00:17:59,340 Speaker 1: whoever they've been waiting for. And just as they say that, 313 00:17:59,380 --> 00:18:02,440 Speaker 1: they have that realization. The body beneath the sheet is gone, 314 00:18:02,460 --> 00:18:04,980 Speaker 1: and the sheet deflates and just falls to the ground. 315 00:18:05,820 --> 00:18:09,550 Speaker 1: Our ghost stays. Construction builds up around him. A skyscraper 316 00:18:09,680 --> 00:18:12,450 Speaker 1: is part of this epic urban renewal that swallows up 317 00:18:12,490 --> 00:18:14,510 Speaker 1: the whole area. The ghost goes up to one of 318 00:18:14,530 --> 00:18:17,810 Speaker 1: the top floors of this new giant building, walks out 319 00:18:17,850 --> 00:18:23,970 Speaker 1: to the into the neon city below. But the ghost 320 00:18:24,030 --> 00:18:28,109 Speaker 1: is not dead, of course. The ghost finds himself back 321 00:18:28,310 --> 00:18:31,210 Speaker 1: on this plot of land where his house once stood. 322 00:18:31,970 --> 00:18:35,899 Speaker 1: But now there's a farmer hammering stakes in the ground. 323 00:18:36,720 --> 00:18:39,000 Speaker 1: And as we see a wagon pull up with all 324 00:18:39,040 --> 00:18:43,020 Speaker 1: these homesteaders, we realize that we have gone back in time, that, 325 00:18:43,780 --> 00:18:47,440 Speaker 1: you know, I don't know, time is a flat circle. Yeah. 326 00:18:48,960 --> 00:18:52,120 Speaker 1: Eternity continues to soldier on with the quickness, I guess. 327 00:18:52,740 --> 00:18:54,980 Speaker 1: The ghost is once again back inside of his own house. 328 00:18:55,050 --> 00:18:58,010 Speaker 1: He watches as Casey Affleck and Rooney Mara first step 329 00:18:58,030 --> 00:19:00,470 Speaker 1: foot inside the house, decide to buy it. He watches 330 00:19:00,510 --> 00:19:03,010 Speaker 1: them settle there. He watches them argue. He watches them 331 00:19:03,070 --> 00:19:06,170 Speaker 1: make up. We see the scene where the ghost slams 332 00:19:06,230 --> 00:19:08,330 Speaker 1: on the piano keys late at night, and we get 333 00:19:08,350 --> 00:19:11,650 Speaker 1: that scene again where the couple runs out to investigate, 334 00:19:11,690 --> 00:19:14,270 Speaker 1: and they can't figure out what's going on, what's making 335 00:19:14,310 --> 00:19:17,100 Speaker 1: these noises. We even get to the spot where the 336 00:19:17,140 --> 00:19:19,480 Speaker 1: Casey Affleck character dies again. And now there are two 337 00:19:19,520 --> 00:19:22,920 Speaker 1: ghosts inside this house, right? Follow me here. When Rooney 338 00:19:22,940 --> 00:19:26,680 Speaker 1: Mara moves out and at long last, our ghost goes 339 00:19:26,720 --> 00:19:28,780 Speaker 1: to the hole in that wall, pulls out the scrap 340 00:19:28,820 --> 00:19:31,070 Speaker 1: of paper that his widow wrote on and reads it. 341 00:19:31,700 --> 00:19:35,179 Speaker 1: And immediately after he does, the body disappears and the 342 00:19:35,240 --> 00:19:40,460 Speaker 1: bed sheet crumples to the floor below. Built to Spill 343 00:19:41,440 --> 00:19:46,040 Speaker 1: has this song called Randy Described Eternity. I thought of 344 00:19:46,060 --> 00:19:49,970 Speaker 1: that song because that's what this film does. It describes eternity. 345 00:19:50,280 --> 00:19:55,699 Speaker 1: in 90 minutes, no less. We are eternity, guys. And 346 00:19:55,720 --> 00:19:58,500 Speaker 1: there are other songs this film makes you think of 347 00:19:59,140 --> 00:20:03,000 Speaker 1: beyond Randy Described Eternity. Let's talk about them, and let's 348 00:20:03,020 --> 00:20:07,850 Speaker 1: make a hypothetical, theoretical, metaphorical, potentially possible mixtape coming up 349 00:20:08,250 --> 00:20:23,310 Speaker 1: right after this. All right, guys, we're back here in 350 00:20:23,330 --> 00:20:26,470 Speaker 1: the screening room in Hollywood land. My name is Dr. 351 00:20:26,510 --> 00:20:32,230 Speaker 1: Lundy and talking about a ghost story, 2017 David Lowery film. 352 00:20:33,130 --> 00:20:36,740 Speaker 1: What's make a hypothetical, theoretical, metaphorical, potentially possible and mixtape 353 00:20:36,820 --> 00:20:42,540 Speaker 1: inspired by this movie. My mind went to the police 354 00:20:42,920 --> 00:20:45,460 Speaker 1: right off the bat because the police had this album 355 00:20:45,540 --> 00:20:48,949 Speaker 1: called ghost in the machine. Early eighties comes out right 356 00:20:48,990 --> 00:20:53,790 Speaker 1: before synchronicity. First of all, I love the police. The 357 00:20:53,830 --> 00:20:57,310 Speaker 1: police get dumped on a lot. I know Sting is, 358 00:20:57,570 --> 00:21:01,790 Speaker 1: you know, kind of a dork. And, you know, the 359 00:21:01,830 --> 00:21:04,720 Speaker 1: whole like tantric sex of it all and the whole 360 00:21:04,760 --> 00:21:07,000 Speaker 1: like playing the fucking lute or whatever he likes to 361 00:21:07,020 --> 00:21:09,320 Speaker 1: play these days. And I know he's got a big 362 00:21:09,380 --> 00:21:11,820 Speaker 1: ego and all that shit. But like, and I also 363 00:21:11,859 --> 00:21:15,290 Speaker 1: know this whole argument about cultural appropriation and like, you know, 364 00:21:15,369 --> 00:21:19,150 Speaker 1: that they're whitewashed reggae or whatever you're going to argue about. 365 00:21:19,910 --> 00:21:22,460 Speaker 1: but I fucking love the police. I love the interplay 366 00:21:22,500 --> 00:21:25,480 Speaker 1: between these guys. I love their songs. I love their albums. 367 00:21:25,600 --> 00:21:28,560 Speaker 1: Always have, always will. This is like a Dark Horse 368 00:21:29,200 --> 00:21:32,100 Speaker 1: favorite of mine. I love this album. And it would 369 00:21:32,119 --> 00:21:34,680 Speaker 1: be obvious to include Spirits in the Material World, which 370 00:21:34,740 --> 00:21:36,960 Speaker 1: is the first track from this record, but that's so overplayed. 371 00:21:37,420 --> 00:21:41,270 Speaker 1: I'd rather choose a track like Secret Journey, in which 372 00:21:41,450 --> 00:21:45,649 Speaker 1: our guy, Gordon Sting, sings about this secret journey you 373 00:21:45,670 --> 00:21:47,990 Speaker 1: must take to become a holy man, whatever that means. 374 00:21:49,770 --> 00:21:51,369 Speaker 1: But I think what that means is that it's the 375 00:21:51,410 --> 00:21:53,730 Speaker 1: kind of journey that this ghost is on in this movie. 376 00:21:54,670 --> 00:21:56,410 Speaker 1: I think it's the kind of journey that the ghost's 377 00:21:56,510 --> 00:21:58,510 Speaker 1: widow is on. I think it's the kind of journey 378 00:21:58,910 --> 00:22:02,390 Speaker 1: we're all on, guys. Martin Scorsese knows this. You know this. 379 00:22:03,010 --> 00:22:06,330 Speaker 1: I'm getting metaphysical here, so buckle up, all right? Next song, 380 00:22:08,540 --> 00:22:10,890 Speaker 1: thinking about that car crash near the start of the film, 381 00:22:11,859 --> 00:22:15,660 Speaker 1: let's put on a David Bowie song called Always Crashing 382 00:22:15,940 --> 00:22:19,920 Speaker 1: in the Same Car. This is from his 1977 album, Low, 383 00:22:20,420 --> 00:22:22,790 Speaker 1: produced by Brian Eno. This is one of the famed 384 00:22:23,190 --> 00:22:28,110 Speaker 1: Berlin albums, a trilogy of albums that includes this one, Low, Heroes, 385 00:22:28,290 --> 00:22:31,530 Speaker 1: and Lodger, recorded, all of them recorded, I believe, in 386 00:22:31,609 --> 00:22:36,710 Speaker 1: Berlin Hansa Studios. This is when he's over there hanging 387 00:22:36,750 --> 00:22:40,050 Speaker 1: out with Iggy Pop and making Lust for Life as well, 388 00:22:40,210 --> 00:22:43,330 Speaker 1: if I'm not mistaken. The first half of this album, 389 00:22:43,369 --> 00:22:47,490 Speaker 1: by the way, might be the greatest album David Bowie 390 00:22:47,570 --> 00:22:50,520 Speaker 1: side of an album of all time. But then the 391 00:22:50,580 --> 00:22:55,500 Speaker 1: second half has got all these, like, weirdo instrumentals, all these, like, cold, 392 00:22:55,800 --> 00:22:59,920 Speaker 1: synthetic instrumentals. And I dig it. I like them a lot. 393 00:23:00,020 --> 00:23:02,340 Speaker 1: But it's a wicked tough hang when you go from 394 00:23:02,420 --> 00:23:04,320 Speaker 1: side A and you flip it. Like, when you commit, 395 00:23:04,920 --> 00:23:06,840 Speaker 1: you know, you're having a, I don't know, you're playing 396 00:23:06,880 --> 00:23:10,980 Speaker 1: fucking cribbage, or you're playing skipo with the family, whatever. 397 00:23:11,000 --> 00:23:12,340 Speaker 1: And you're like, hey, let's put a record on. You 398 00:23:12,359 --> 00:23:15,140 Speaker 1: put on low. And like, everyone's grooving to that first half, 399 00:23:15,180 --> 00:23:19,300 Speaker 1: you know, like, Sound and Visions on there and Breaking 400 00:23:19,340 --> 00:23:21,480 Speaker 1: Glass is on there and Speed of Life and Be 401 00:23:21,520 --> 00:23:24,119 Speaker 1: My Wife. And it's just like great song after great song. 402 00:23:24,440 --> 00:23:26,459 Speaker 1: And then you flip the record and it's like, you know, 403 00:23:26,480 --> 00:23:29,110 Speaker 1: like record scratch. Like what the fuck is this, right? 404 00:23:29,720 --> 00:23:35,450 Speaker 1: The whole like instrumentals. So tough hang to put this 405 00:23:35,609 --> 00:23:38,350 Speaker 1: on and listen to it side by side. I, you know, 406 00:23:38,550 --> 00:23:41,270 Speaker 1: I almost want a record. I want Low to be 407 00:23:41,790 --> 00:23:43,560 Speaker 1: songs on both sides and I want it to have 408 00:23:43,600 --> 00:23:47,310 Speaker 1: like an accompanying instrumental album that's its own thing. But 409 00:23:47,630 --> 00:23:50,020 Speaker 1: of course, we don't get that. We get Low the 410 00:23:50,040 --> 00:23:51,700 Speaker 1: way it is, which I guess is what makes it unique. 411 00:23:52,119 --> 00:23:55,700 Speaker 1: Funny thing about Low too, when this came out, Nick 412 00:23:55,720 --> 00:23:59,520 Speaker 1: Low had this joke where he saw that the album 413 00:23:59,560 --> 00:24:02,420 Speaker 1: was named Low, L-O-W, and Nick Low's name is spelled 414 00:24:02,460 --> 00:24:04,400 Speaker 1: with an E on the end. So Nick Low thought 415 00:24:04,420 --> 00:24:07,310 Speaker 1: it'd be funny if he released an EP called Bowie, 416 00:24:07,810 --> 00:24:10,690 Speaker 1: but instead of writing it B-O-W-I-E, he got rid of 417 00:24:10,710 --> 00:24:14,070 Speaker 1: the E and it's just spelled B-O-W-I. So that's a, 418 00:24:14,230 --> 00:24:16,310 Speaker 1: I don't know, pointless piece of trivia there for you. 419 00:24:17,109 --> 00:24:21,960 Speaker 1: All right, now, if you try to think about songs 420 00:24:22,100 --> 00:24:26,939 Speaker 1: about eternity, your brain comes back to you with cheese. Cheese, cheese, cheese. 421 00:24:27,140 --> 00:24:31,620 Speaker 1: Eternal Flame by the Bangles, or Cheap Trick, take your pick. 422 00:24:31,680 --> 00:24:36,109 Speaker 1: Because while eternity should be this very profound thing, and 423 00:24:36,130 --> 00:24:39,910 Speaker 1: it is when you hear Martin Scorsese and a Catholic 424 00:24:39,970 --> 00:24:43,870 Speaker 1: priest talk about this, It's inherently very saccharine and very 425 00:24:43,950 --> 00:24:49,830 Speaker 1: greeting card-esque. However, the song As by Stevie Wonder is 426 00:24:50,290 --> 00:24:53,210 Speaker 1: the exception to the rule, right? This is a song 427 00:24:53,290 --> 00:24:55,750 Speaker 1: about eternity. This is a song which states, I'll be 428 00:24:55,790 --> 00:25:00,050 Speaker 1: loving you always until the ocean covers every mountain high, 429 00:25:00,150 --> 00:25:03,210 Speaker 1: until the dolphin flies and parrots live at sea, until 430 00:25:03,230 --> 00:25:06,260 Speaker 1: we dream of life and life becomes a dream. Damn, 431 00:25:06,320 --> 00:25:09,409 Speaker 1: Stevie Wonder was on a fucking tear in the 70s. 432 00:25:10,840 --> 00:25:12,159 Speaker 1: It goes on and on like this, just like the 433 00:25:12,200 --> 00:25:14,540 Speaker 1: song goes on and on, the refrain goes on and on, 434 00:25:14,700 --> 00:25:17,230 Speaker 1: and I believe to my soul that this is what 435 00:25:17,330 --> 00:25:21,290 Speaker 1: eternity feels like in a pop song, and it feels 436 00:25:21,510 --> 00:25:26,149 Speaker 1: damn good. Again, this song is called As, A-S. It's 437 00:25:26,280 --> 00:25:29,300 Speaker 1: one of the most badass songs you will ever hear, 438 00:25:29,320 --> 00:25:32,560 Speaker 1: and it will lift you off the floor. It will 439 00:25:33,260 --> 00:25:36,560 Speaker 1: make your ass shake on its own. I'm telling you guys, 440 00:25:37,130 --> 00:25:40,100 Speaker 1: It's the best. Stevie Wonder as. All right. I'm thinking 441 00:25:40,150 --> 00:25:45,040 Speaker 1: about tearing down the house in this film and building 442 00:25:45,100 --> 00:25:49,820 Speaker 1: this huge urban hellscape, right? So let's include Big Yellow 443 00:25:49,859 --> 00:25:53,369 Speaker 1: Taxi by Joni Mitchell off her Ladies of the Canyon record. 444 00:25:53,410 --> 00:25:57,110 Speaker 1: This is from, I'm going to guess 71. This is the, 445 00:25:57,170 --> 00:25:58,869 Speaker 1: you know, they paved paradise and put up a parking 446 00:25:58,910 --> 00:26:01,109 Speaker 1: lot song that, you know, you don't know what you 447 00:26:01,130 --> 00:26:04,870 Speaker 1: got until it's gone. Joni Mitchell, known for these really 448 00:26:04,950 --> 00:26:09,450 Speaker 1: complex melodies and funky tunings and unknowable chords, but this 449 00:26:09,530 --> 00:26:11,830 Speaker 1: is one of those rare Joni Mitchell songs that's just 450 00:26:12,130 --> 00:26:14,830 Speaker 1: straight down the middle. It's so catchy, and I think 451 00:26:14,869 --> 00:26:17,369 Speaker 1: she was so ahead of her time in that she 452 00:26:17,390 --> 00:26:22,430 Speaker 1: was hip to the uber-commercialization of everything, how paradise would 453 00:26:22,650 --> 00:26:25,109 Speaker 1: one day literally be turned into a site for a 454 00:26:25,150 --> 00:26:28,369 Speaker 1: dollar general. And now here we are in 2026, and 455 00:26:28,390 --> 00:26:31,530 Speaker 1: there's a so-called dollar store on every block, just like 456 00:26:31,550 --> 00:26:33,369 Speaker 1: there used to be a Starbucks on every block. And 457 00:26:33,410 --> 00:26:36,530 Speaker 1: Joni Mitchell is over here strumming her funkily tuned guitar 458 00:26:36,950 --> 00:26:40,930 Speaker 1: being like, told you so, right? Sidebar, Joni Mitchell just 459 00:26:40,970 --> 00:26:45,220 Speaker 1: became an American citizen. Congratulations. I sound like I'm Bugs Bunny. 460 00:26:47,800 --> 00:26:53,160 Speaker 1: Joni Mitchell, American citizen, about time. Speaking of singer-songwriters, Randy Newman. 461 00:26:53,260 --> 00:26:55,379 Speaker 1: Have we done a Randy Newman song before in a playlist? 462 00:26:55,480 --> 00:26:59,489 Speaker 1: I cannot remember. This is a song called Losing You. 463 00:27:00,550 --> 00:27:03,240 Speaker 1: thinking about the themes in this movie about losing a 464 00:27:03,619 --> 00:27:06,100 Speaker 1: loved one. This is called Losing You. This is from 465 00:27:06,160 --> 00:27:08,899 Speaker 1: a later period Randy Newman album called Harps and Angels 466 00:27:08,940 --> 00:27:11,540 Speaker 1: from 2008, which is a really great record. This is 467 00:27:11,580 --> 00:27:17,250 Speaker 1: just strings, piano, and Randy's voice. This song destroys me, guys. 468 00:27:17,470 --> 00:27:18,969 Speaker 1: Every time I hear it, I don't think I can 469 00:27:18,990 --> 00:27:21,810 Speaker 1: make it through the song with dry eyes. And I 470 00:27:21,869 --> 00:27:24,469 Speaker 1: say that with all sincerity. I was a fool with 471 00:27:24,490 --> 00:27:27,840 Speaker 1: my money and lost every dime. Sun stopped shining and 472 00:27:27,880 --> 00:27:30,650 Speaker 1: it rained all the time. It did set me back some, 473 00:27:30,690 --> 00:27:33,010 Speaker 1: but I made it through, though I'll never get over 474 00:27:33,350 --> 00:27:37,930 Speaker 1: losing you. It's so simple, but it's a dead-on bullseye 475 00:27:39,030 --> 00:27:42,210 Speaker 1: to your heart. And it does this funky thing at 476 00:27:42,230 --> 00:27:44,550 Speaker 1: the end where the chords change slightly on the refrain, 477 00:27:44,690 --> 00:27:47,730 Speaker 1: and the strings swell along with it, and the music 478 00:27:47,990 --> 00:27:52,550 Speaker 1: of it, the unexpected shift, it's like this emotional punch 479 00:27:52,590 --> 00:27:55,790 Speaker 1: that comes out of nowhere. This dude cooks, guys. I'm sorry, 480 00:27:55,910 --> 00:27:58,109 Speaker 1: Randy Newman cooks. And for those of you who don't know, 481 00:27:58,130 --> 00:28:01,040 Speaker 1: if all you know is the the Toy Story songs 482 00:28:01,200 --> 00:28:04,000 Speaker 1: and the songs that he gets nominated for an Academy 483 00:28:04,020 --> 00:28:07,379 Speaker 1: Award every fucking year. There's this other side of Randy Newman, 484 00:28:07,580 --> 00:28:12,220 Speaker 1: his solo records that is so subversive and so wonderful. 485 00:28:12,240 --> 00:28:14,350 Speaker 1: And if you don't know those songs and those records yet, 486 00:28:14,430 --> 00:28:17,169 Speaker 1: I envy you. Check them out. Harps and Angels is 487 00:28:17,190 --> 00:28:19,310 Speaker 1: a great record. You could also start with some of 488 00:28:19,350 --> 00:28:22,869 Speaker 1: his classic stuff from the 70s. Check it out. And, 489 00:28:23,270 --> 00:28:25,090 Speaker 1: you know, with that in mind, what do you guys have? 490 00:28:25,880 --> 00:28:27,959 Speaker 1: Songs that you could put on a mixtape if you 491 00:28:27,980 --> 00:28:31,290 Speaker 1: were so inclined. Songs that it, evoke a ghost story 492 00:28:31,550 --> 00:28:33,090 Speaker 1: in some way, get at me and let me know. 493 00:28:33,190 --> 00:28:39,520 Speaker 1: You can call me. You can text me, 617-906-6638. You 494 00:28:39,540 --> 00:28:43,000 Speaker 1: can also email me at disgracelandpod at gmail.com. While you're 495 00:28:43,020 --> 00:28:44,840 Speaker 1: doing that, I'm going to take a quick break here, 496 00:28:44,880 --> 00:28:47,720 Speaker 1: but don't go anywhere. I'll be right back just after this. 497 00:29:00,660 --> 00:29:04,030 Speaker 1: All right, Hollywoodland Gain, a ghost story. See this movie 498 00:29:04,250 --> 00:29:06,950 Speaker 1: if you have not. It is a gem. David Lowery 499 00:29:07,170 --> 00:29:13,240 Speaker 1: is a talent. I can compliment him better than that, right? 500 00:29:14,560 --> 00:29:17,600 Speaker 1: David Lowery, again, I said it before, he has a 501 00:29:17,700 --> 00:29:22,459 Speaker 1: very unique point of view, and I always welcome his films. 502 00:29:22,580 --> 00:29:26,210 Speaker 1: Although I will say, I am oddly not interested at 503 00:29:26,450 --> 00:29:28,830 Speaker 1: all in the subject matter of Mother Mary. I watched 504 00:29:28,870 --> 00:29:30,350 Speaker 1: the trailer and I was just like, yeah, I don't 505 00:29:30,370 --> 00:29:32,910 Speaker 1: think that's for me. So I haven't seen it yet. Although, 506 00:29:33,010 --> 00:29:35,110 Speaker 1: you know, in deference to him, I will watch it 507 00:29:35,150 --> 00:29:37,650 Speaker 1: at some point. But A Ghost Story, The Old Man 508 00:29:37,670 --> 00:29:40,270 Speaker 1: and the Gun, The Green Knight, Ain't Them Bodies Saints. great, 509 00:29:40,450 --> 00:29:43,230 Speaker 1: great stuff. I also recommended earlier this week, if you 510 00:29:43,270 --> 00:29:46,330 Speaker 1: missed it, in the wrap party, movies like Peeping Tom, 511 00:29:46,870 --> 00:29:50,670 Speaker 1: Hour of the Wolf, and Diabolique for potential movies you 512 00:29:50,690 --> 00:29:54,140 Speaker 1: can watch during this month, during October. Not your typical 513 00:29:54,400 --> 00:29:57,540 Speaker 1: Michael Myers, Freddy Krueger, Jason, whatever his name is from 514 00:29:58,100 --> 00:30:00,720 Speaker 1: Friday the 13th, but You know, maybe some ideas for 515 00:30:00,960 --> 00:30:04,360 Speaker 1: off-the-beaten-path movies that are freaky-deaky for this time of year. 516 00:30:05,040 --> 00:30:07,160 Speaker 1: Maybe that's what I'll start calling spooky season. I'll start 517 00:30:07,180 --> 00:30:09,760 Speaker 1: calling it freaky-deaky season. That works a little bit better 518 00:30:09,780 --> 00:30:18,050 Speaker 1: for me. Give me your thoughts. 617-906-6638. That's how you 519 00:30:18,070 --> 00:30:21,830 Speaker 1: get in touch. You can email me, disgracelandpod at gmail.com. 520 00:30:21,990 --> 00:30:24,570 Speaker 1: Or if you are a member of Disgraceland All Access 521 00:30:24,710 --> 00:30:27,650 Speaker 1: over on Patreon, you can just jump in the chat, 522 00:30:27,750 --> 00:30:30,400 Speaker 1: hit me up there. I check that out as often 523 00:30:30,440 --> 00:30:32,980 Speaker 1: as I can. If you're like, what are you talking about, 524 00:30:33,020 --> 00:30:36,219 Speaker 1: Disgraceland All Access? Well, you know, our sister show is Disgraceland, 525 00:30:36,960 --> 00:30:39,240 Speaker 1: the first and still, I believe, only music and true 526 00:30:39,280 --> 00:30:42,840 Speaker 1: crime show. And we kind of joined forces over on 527 00:30:42,880 --> 00:30:46,980 Speaker 1: Patreon to create a video podcast called This Film Should 528 00:30:47,000 --> 00:30:49,560 Speaker 1: Be Played Loud. We drop a new episode every month. 529 00:30:49,620 --> 00:30:52,480 Speaker 1: Episodes are about an hour. It's video, so it's very cool. 530 00:30:52,500 --> 00:30:55,580 Speaker 1: We're doing funky stuff over there we can't do anywhere else. And, 531 00:30:55,640 --> 00:30:57,790 Speaker 1: you know, Jake and I are just there talking about 532 00:30:58,150 --> 00:31:00,120 Speaker 1: the great music from some of our favorite movies of 533 00:31:00,160 --> 00:31:02,700 Speaker 1: all time. We just dropped a new episode on Gross 534 00:31:02,740 --> 00:31:05,820 Speaker 1: Point Blank, starring John Cusack. That's from the late 90s. 535 00:31:06,120 --> 00:31:09,440 Speaker 1: We just recorded an episode, a Halloween episode on Shaun 536 00:31:09,460 --> 00:31:13,680 Speaker 1: of the Dead that we'll drop this coming Wednesday over 537 00:31:13,700 --> 00:31:16,620 Speaker 1: there on Patreon. And we've got many, many other episodes about, 538 00:31:16,640 --> 00:31:21,300 Speaker 1: you know, Goodfellas, The Big Lebowski, Days of Confused, High Fidelity, 539 00:31:21,580 --> 00:31:26,610 Speaker 1: Boogie Nights, so much more. So, disgracelandpod.com, right there on 540 00:31:26,620 --> 00:31:29,130 Speaker 1: the homepage. There's info for you to sign up and 541 00:31:29,190 --> 00:31:31,570 Speaker 1: become a member and check it out. And you get 542 00:31:31,590 --> 00:31:34,830 Speaker 1: all kinds of other perks as a member. There's no 543 00:31:35,010 --> 00:31:38,390 Speaker 1: ads on any of the episodes, Disgraced Land or Hollywood Land. 544 00:31:39,230 --> 00:31:43,590 Speaker 1: There's bonus content, bonus video content in Patreon. And you 545 00:31:43,630 --> 00:31:46,410 Speaker 1: can chat with your fellow discos over there, 24-7-365. Coming 546 00:31:46,550 --> 00:31:55,640 Speaker 1: next week here in Hollywood Land on Monday, our fully 547 00:31:55,700 --> 00:31:58,500 Speaker 1: scripted and sound design episode from the archive all about 548 00:31:58,600 --> 00:32:03,870 Speaker 1: Jane Mansfield and her surprising relationship with the founder of 549 00:32:03,910 --> 00:32:09,450 Speaker 1: the Church of Satan, Anton LaVey. Coming next week in Disgraceland, 550 00:32:09,630 --> 00:32:15,550 Speaker 1: Jake's got this story about Reggie Watts, which, shocking story, 551 00:32:15,590 --> 00:32:19,530 Speaker 1: which broke only recently in the news. And, you know, 552 00:32:19,570 --> 00:32:22,750 Speaker 1: Jake kind of like shuffled around our programming, our immediate, 553 00:32:23,150 --> 00:32:25,380 Speaker 1: our programming in the immediate future here in order to 554 00:32:25,440 --> 00:32:27,620 Speaker 1: cover the story while it was still fresh and relevant. 555 00:32:27,680 --> 00:32:30,710 Speaker 1: So that's going to be a wild, wild episode. You 556 00:32:30,730 --> 00:32:32,380 Speaker 1: don't want to miss that. And if you missed it, 557 00:32:32,710 --> 00:32:36,350 Speaker 1: this week in Disgraceland, we dropped an episode on Alice Cooper. 558 00:32:37,830 --> 00:32:39,400 Speaker 1: What do you guys got going on this weekend? I 559 00:32:39,450 --> 00:32:41,180 Speaker 1: hope you got some good shit lined up. I am 560 00:32:41,240 --> 00:32:45,400 Speaker 1: planning to go see the new Nathan Fielder, Lance Oppenheim 561 00:32:45,440 --> 00:32:50,620 Speaker 1: documentary about Elizabeth Holmes of Theranos called You Can See Everything. 562 00:32:51,530 --> 00:32:53,090 Speaker 1: This has been like one of the most talked about 563 00:32:53,130 --> 00:32:56,130 Speaker 1: movies of the year. It's sort of dominated the conversation 564 00:32:56,290 --> 00:32:58,530 Speaker 1: in all the things I listen to and read over 565 00:32:58,550 --> 00:33:00,980 Speaker 1: the last few weeks. So I'm excited to go check 566 00:33:01,000 --> 00:33:02,740 Speaker 1: that out. Maybe you guys have some good movies in 567 00:33:02,780 --> 00:33:04,540 Speaker 1: your future. If so, give me a holler. Let me 568 00:33:04,580 --> 00:33:09,560 Speaker 1: know what you saw, what you thought of it. 617-906-6638. 569 00:33:09,640 --> 00:33:12,780 Speaker 1: Perhaps I will read or play your message next week 570 00:33:12,900 --> 00:33:15,640 Speaker 1: in the wrap party. But until then, I'm going to 571 00:33:15,660 --> 00:33:18,680 Speaker 1: leave you guys with this. Here's what America was watching 572 00:33:18,790 --> 00:33:21,770 Speaker 1: at the movies in July 2017, the month that A 573 00:33:21,830 --> 00:33:27,110 Speaker 1: Ghost Story was released in theaters. Number one, Spider-Man Homecoming, 574 00:33:27,630 --> 00:33:32,730 Speaker 1: directed by John Watts. Number two, Despicable Me 3, directed 575 00:33:32,770 --> 00:33:37,250 Speaker 1: by Pierre Coffin and Kyle Balda. Number three, War for 576 00:33:37,270 --> 00:33:43,170 Speaker 1: the Planet of the Apes, directed by Matt Reeves. Number four, Dunkirk, 577 00:33:43,210 --> 00:33:48,150 Speaker 1: directed by Christopher Nolan. Number five, Baby Driver, directed by 578 00:33:48,250 --> 00:33:53,450 Speaker 1: Edgar Wright. Number six, Girls Trip, directed by Malcolm D. Lee. 579 00:33:54,590 --> 00:34:00,590 Speaker 1: Number seven, Wonder Woman, directed by Patty Jennings. Number eight. 580 00:34:00,910 --> 00:34:03,390 Speaker 1: Quit talking and start mixing.