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Speaker 1: Puff, Puff Puff. Hey, Casey, how's it going.

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Speaker 2: Hey man, get that cigarette away from me. Hi, Milly,

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Speaker 2: it's going well. Yeah, I just want to start this

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Speaker 2: episode at the top saying like, we're not promoting cigarette

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Speaker 2: smoking because it's very bad for you and it will

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Speaker 2: kill you actually, no matter how cool it looks, no

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Speaker 2: matter how cool and how delicious they taste, and uh,

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Speaker 2: you know, besides all that, we we say no, I say,

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Speaker 2: get those cigarettes out of here. So but how are you, Milly?

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Speaker 2: Besides besides you smoking a pack?

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Speaker 1: Right? And I write on the zoom what time is it?

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Speaker 1: I'm ready through my first pack. I know, I'm kidding.

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Speaker 1: I I'm great. I'm excited about this episode. I think

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Speaker 1: clearly we're doing an entire episode on smoking in the movies,

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Speaker 1: and yeah, specifically a movie that was made in nineteen

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Speaker 1: sixty seven by maybe my favorite director of all time,

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Speaker 1: Jean Pierre Melville. It's called La.

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Speaker 2: Samurai Amazing MILLI. You know, I was looking this up.

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Speaker 2: You know, we're on a zoom call right now, and

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Speaker 2: I think we've joked in the past about how funny

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Speaker 2: it would be to be like smoking in our you know,

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Speaker 2: our own zoom calls and how like inappropriate that sort

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Speaker 2: of feels. And I was looking up a Reddit post

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Speaker 2: of this manager complaining about one of his staff he

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Speaker 2: has zoom meetings with and she smokes during the zoom calls,

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Speaker 2: like smokes cigarettes during the zoom calls, and he was like,

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Speaker 2: it's totally unprofessional, but it is kind of like one

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Speaker 2: of those things where it's like, yes, I guess that

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Speaker 2: is sort of unprofessional, but like thirty forty years ago

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Speaker 2: people were doing were smoking in the office. So anyways,

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Speaker 2: a lot of the doctor's office. He's smoking in the

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Speaker 2: doctor's office. Yes, so a lot to think about with

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Speaker 2: this episode. Very excited, like you said talking about Lesama

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Speaker 2: right for this episode's my area of expertise. We're bringing

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Speaker 2: in two smoking guests, uh Brett Berg and Josiemba of

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Speaker 2: AGFA to talk about found footage. What a fabulous conversation

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Speaker 2: we have with them. I'm so excited for you guys

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Speaker 2: to listen to that. H It really got my juices flowing,

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Speaker 2: man was I I was like thrilled after that talk

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Speaker 2: with them. So, but lots happening on this episode.

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Speaker 1: Yes, so please stay tuned.

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Speaker 2: Puff Puff you're listening to Puffuff me too.

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Speaker 1: You're listening to dear movies. I love you, I love you.

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Speaker 1: What are you going to arrest me for loving movies?

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Speaker 1: Do you.

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Speaker 3: Love you?

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Speaker 1: And I've got to.

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Speaker 2: Love me to check the box?

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Speaker 1: Okay, folks, you are listening to dear movies, I love you.

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Speaker 1: We like I said, we have this episode this week

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Speaker 1: that's both both components, all components of this episode. I

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Speaker 1: feel like I have a personal stake in because the

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Speaker 1: topic smoking in the movies is obviously something that I

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Speaker 1: have thought about for so long. I feel like there

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Speaker 1: is so much to it that I'd like to talk about.

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Speaker 1: And then you know, obviously with our guests this week,

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Speaker 1: old friends. So it's gonna be a great episode, absolutely,

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Speaker 1: I have to say too. By the way, I guess,

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Speaker 1: maybe relating to the intro, when I was in Japan

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Speaker 1: a couple of weeks ago, actually it's probably like a

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Speaker 1: month ago now, I went to a bar that smoked

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Speaker 1: in the bar, and I felt like I was in

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Speaker 1: like eighteen ninety three, like yellow Stone Times. What is

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Speaker 1: going on? Yeah, it was very strange.

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Speaker 2: Yeah, I feel like when I went to Europe, I

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Speaker 2: feel like people you couldn't even smoke inside and most

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Speaker 2: of the places I went to there, you know, yeah,

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Speaker 2: you are MILLI to Jericho. I am Casey Obrian. We're

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Speaker 2: the hosts of this show here movies. I love you,

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Speaker 2: we love smoking, and mainly I just have a quick

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Speaker 2: correction I don't even know if it's a correction from

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Speaker 2: last week. Last week you asked me if I wanted

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Speaker 2: to get a drink at the bar in Wild at Heart,

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Speaker 2: Big Tuna.

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Speaker 1: I believe it was called Yes, Yes, And you asked.

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Speaker 2: Me if I want to get a drink with Bobby Perue,

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Speaker 2: you know, the character played by Willem Dafoe. And I

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Speaker 2: was trying to think of the line that he said.

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Speaker 2: And so I feel like I was really kind of

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Speaker 2: thrown off by you bring up Bobby Perue. But I

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Speaker 2: just so, I just wanted to say at the top

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Speaker 2: of this episode, the line I was trying to think

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Speaker 2: of was those are doomies.

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Speaker 1: Doomy the teeth I could I could see the teeth

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Speaker 1: when you said that, Millie.

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Speaker 2: We start every showed the same way by opening up

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Speaker 2: the old film diary crep sh Millie, would you please

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Speaker 2: open your diary up and read to me some passages.

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Speaker 1: I will in fact, Okay, So mine's a little light,

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Speaker 1: a little weird, like a little weird. What is not

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Speaker 1: a well, one of the things that I've watched is

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Speaker 1: not a movie. It's not even I couldn't even tag

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Speaker 1: it on my letterbox.

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Speaker 4: Right.

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Speaker 1: Oh, So, I I know I've been talking a lot

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Speaker 1: about Japan lately because I just went on this you know, restorative,

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Speaker 1: wonderful birthday trimp okay, But to be honest, I've been

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Speaker 1: doing this since before I left, which is that I'm

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Speaker 1: obsessed with NHK. Do you know what NHK is. I

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Speaker 1: don't know what this is. NHK is essentially like public broadcasting. Oh,

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Speaker 1: they have an app and a channel like as a

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Speaker 1: YouTube channel where you can watch all their stuff for free.

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Speaker 1: For the most part, I was. I was aware of

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Speaker 1: them back when I used to work in public broadcasting

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Speaker 1: for a very short period of time last year, and

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Speaker 1: it was we used to play their news because I think,

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Speaker 1: like most people might know n HK news. It will

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Speaker 1: play on like PBS stations and stuff here in America.

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Speaker 1: But they have this entire organization that makes all this

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Speaker 1: amazing stuff. They have the best shit, dude, Like like

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Speaker 1: they've got like shows about like you know, anything from

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Speaker 1: like anime, you know, drawing to sumo wrestling. They have

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Speaker 1: shows where they like go to people's work and see

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Speaker 1: what they're eating for lunch. I mean, come on, that's amazing.

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Speaker 1: I know that I do well. They have this program

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Speaker 1: that is you can actually there's a channel on YouTube

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Speaker 1: where you can they're all compiled. It's a playlist of

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Speaker 1: cats hanging out in different places where it's just literally

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Speaker 1: this like beautiful gentle asmri like you know, uh, it

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Speaker 1: was like a natural geographic photographer guy who just like

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Speaker 1: follows these like cats that are just hanging out in neighborhoods,

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Speaker 1: like shop cats, like you know, cats that kind of

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Speaker 1: roam the neighborhood and hang out and wander into stores,

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Speaker 1: and cats that hang out at the beach. Like I'm

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Speaker 1: just like, this is fucking incredible and they're cute. They

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Speaker 1: list the name and the gender and the age of

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Speaker 1: each cat and it's wonderful. You just like one of

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Speaker 1: we're toxicating. It's intoxicating. So I've been watching a lot

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Speaker 1: of the NHK catstuff.

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Speaker 2: Actually, Oh it's so cool. You always know the cool stuff.

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Speaker 2: I strive to be like you. I'm just like this dorky, white,

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Speaker 2: virginal idiot and you just come in with the coolest stuff.

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Speaker 1: Listen. Uh. Part of why I'm interesting is because I

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Speaker 1: was a fucking loser for most of my life. Don't

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Speaker 1: you understand. That's what makes people interesting is that they're

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Speaker 1: incredibly dorky and need things to get through the day,

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Speaker 1: including this show, which is actually called A Cat's Eye

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Speaker 1: View of Japan. Ooh, and that's what it's good title.

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Speaker 1: So that's what I've been watching. But then I have

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Speaker 1: actually watched one film that I was able to log

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Speaker 1: on a letterbox, and it was I'll have to give

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Speaker 1: you another little story about how I came across this

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Speaker 1: shit because it's also public broadcasting related. It was I

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Speaker 1: watched it on the PBS channel on YouTube and it's

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Speaker 1: called We Want the Funk. It's a documentary that was

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Speaker 1: made this year and it's all about the history of

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Speaker 1: funk music. And the reason why I watch is because

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Speaker 1: I stumbled into this show with some friends of mine

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Speaker 1: this past week where I went and saw a musician,

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Speaker 1: an African musician named Ebo Taylor, and he's been around forever.

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Speaker 1: He's from Ghana. He has made like afrobeat highlife kind

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Speaker 1: of like African funk music. Like he's like extremely famous.

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Speaker 1: He's been sampled so many times, and you know, primarily

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Speaker 1: by like hip hop and R and B artists and stuff.

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Speaker 1: And it was fucking incredible. And I was like really

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Speaker 1: supercharged after I saw the show, and then I was

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Speaker 1: like scrolling through YouTube. I was like riding the algorithm.

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Speaker 1: And then I was like, oh, I want to see

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Speaker 1: this documentary because I remember when it came on PBS

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Speaker 1: and it was great. It was so interesting.

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Speaker 2: That's fabulous. Yeah, that sounds great.

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Speaker 1: They talked about your boy Prince from Minneapolis, my guy.

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Speaker 2: Yeah, have you heard this Herbie Hancock quote.

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Speaker 1: That's been going around? No, what does that mean?

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Speaker 2: Just interviewed and he's eighty four, and they were like,

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Speaker 2: why haven't you come up with a Why haven't had

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Speaker 2: a new album in fifteen years? And he said, I

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Speaker 2: keep getting caught in YouTube rabbit holes.

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Speaker 1: Yes, that's my man right there, he said.

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Speaker 2: He goes, I'm victim to them.

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Speaker 1: Oh, we're the same. This is the thing like YouTube TikTok.

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Speaker 1: People don't understand why I love TikTok so much. I'm like,

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Speaker 1: you just fall, you fall into it and then you

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Speaker 1: just ride the wave and that sure.

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Speaker 2: Yeah, life, This is what he said. I fall into

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Speaker 2: rabbit holes on YouTube, a lot of them, new music

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Speaker 2: writing software, things about health tech things. I get victimized

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Speaker 2: by it, so to speak. But that's life, that's life.

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Speaker 1: That's exactly right. Amazing.

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Speaker 2: Well I'm sorry for that aside. Anyways, that sounds amazing.

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Speaker 2: I'll just check that out. Yeah, obviously for Minnesota's greatest son, Prince.

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Speaker 1: But that's great. Anything else, that's it. What about you?

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Speaker 4: So?

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Speaker 2: I watched two movies this week. One I watched is

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Speaker 2: nineteen eighty four is Romancing the Stone by Robert Zemeckis.

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Speaker 2: I've never seen this movie before. Do you have any

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Speaker 2: appreciation or yes, thoughts about this movie?

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Speaker 1: Yes? I do, of course. I thought it was really

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Speaker 1: fun at a great time. It's a fun romp.

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Speaker 2: It's like a romp. It's a romp.

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Speaker 1: And you know, it's kind of like very eighties to

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Speaker 1: me for two reasons. One the kind of adventure comedy yep,

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Speaker 1: do They don't really do much of those anymore, not

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Speaker 1: like this.

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Speaker 2: There was one of the Channing Tatum and Sandra Bullock

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Speaker 2: that came out like two years ago. That was sort

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Speaker 2: of a copy of Romancing the Stone, Like she's like

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Speaker 2: literally an author like Kathleen Turner's character was in Romancing

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Speaker 2: the Stone.

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Speaker 1: Yeah, that was why I was thrilled about that, because

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Speaker 1: I was like, oh, it feels like it's like a

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Speaker 1: you know, a reworking of Mans in the Stone. But

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Speaker 1: that's the second thing that makes it really eighties is

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Speaker 1: that it's about publishing. And I swearies was obsessed with publishing.

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Speaker 1: You're so right, I swear to god. If you were

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Speaker 1: an adult in the eighties, especially if you lived in

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Speaker 1: New York City, you worked in publishing.

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Speaker 2: Well, this was This is why I thought with Stillman's Now,

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Speaker 2: this isn't an eighties movie. I guess it would be

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Speaker 2: late seventies. But the Last Days of Disco. I think

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Speaker 2: both Clay Savigne and Cape Beckinsale's characters were worked in

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Speaker 2: publishing as well in that movie.

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Speaker 1: Yes, what is the Okay, what is the fuck? Now?

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Speaker 1: I've lost it? What's the John Carpenter movie about the

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Speaker 1: guy that writes the book.

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Speaker 2: In the mouth of Man the mouth?

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Speaker 1: What's that name? Sam Neil? No, the author that's in

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Speaker 1: like the fake author. Oh, summer came even then? That

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Speaker 1: is a nineties movie. I always think like that is

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Speaker 1: exactly what an eighties movie is, is like some Stephen

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Speaker 1: King or like, because the eighties was so big into

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Speaker 1: these big authors, you know, but that was like Romancing

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Speaker 1: the Stone to me in a nutshell, is like publishing

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Speaker 1: big authors, fake Sutter Kane folks. Yes, yes, yes, yes, yeah.

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Speaker 2: I guess it was the age of big like kind

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Speaker 2: of celebrity authors almost, so I feel like maybe the

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Speaker 2: movie is sort of reflect that.

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Speaker 1: Yeah, who was the big I'm trying to think of

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Speaker 1: these like big authors besides Stephen King. I guess it

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Speaker 1: was like Tom Clancy, Jackie Collins. That was a huge member.

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Speaker 1: Jackie Collins, like.

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Speaker 2: Michael Crichton, I feel like he's another one. But yeah, anyways,

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Speaker 2: really liked Romancing the Stone really a fun I just

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Speaker 2: was like in the mood for fun, and I thought

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Speaker 2: they're their dynamic was really interesting, like Michael Douglas and

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Speaker 2: Kathleen Turner. It wasn't your typical dynamic. I thought he

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Speaker 2: was going to be more like Indiana Jones, but he's

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Speaker 2: more of like kind of an annoying torp in the

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Speaker 2: jungle and she and you think she's going to be

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Speaker 2: kind of the Damsel in Distress, but she's not, and

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Speaker 2: I really enjoyed. I thought they were both great and

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Speaker 2: I had a good time with them.

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Speaker 1: Will you see the sequel, Jewel of the Nile feature.

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Speaker 2: I heard that's not as good, but I'd watch it.

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Speaker 3: Well.

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Speaker 1: It features the song when the Going Gets Tough, The

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Speaker 1: Tough Get Going by Billy Oshan. Okay, so I'll check it.

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Speaker 1: Maybe that's the only reason to watch it.

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Speaker 2: Yeah, I know Kathleen Turner didn't have a good time

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Speaker 2: on that sequel, so we'll see. And then I watched

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Speaker 2: this other movie which I think you'd really like. It

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Speaker 2: came out in twenty twenty four. It stars June Squib

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Speaker 2: and it's called Thelma. Have you seen this movie?

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Speaker 3: No?

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Speaker 1: I don't think so.

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Speaker 2: It was incredible. Basically, June Squib gets scammed out of

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Speaker 2: money from like one of those phone calls where a

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Speaker 2: person is impersonating her grandson. This is a very fun movie,

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Speaker 2: very funny, and there's sort of this through line where

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Speaker 2: she like loves Mission Impossible and is inspired by Tom

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Speaker 2: Cruise and so she's kind of decides to find the

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Speaker 2: guy who scammed her. And she's like ninety three years old,

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Speaker 2: and Parker Posey's in it, and this actor I really love,

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Speaker 2: Fred Heckinger, who was in the first season of White Lotus,

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Speaker 2: plays her grandson. And it's so sweet and so funny,

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Speaker 2: and one of the huge stars of this movie is

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Speaker 2: Richard Rountree aka Shaft, who this is his last movie.

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Speaker 2: It is so incredibly sweet. I mean, I was like

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Speaker 2: weeping because it was just so sweet and funny and

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Speaker 2: just a wonderful film. And so all four of my

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Speaker 2: grandparents have died in the last five years. I was

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Speaker 2: very lucky that they lived so long, but they all

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Speaker 2: passed away in the last five years, and so I

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Speaker 2: was just very touched by this movie and getting to

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Speaker 2: see movies dealing, you know, dealing with getting old. And

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Speaker 2: I liked that it was a movie about getting becoming,

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Speaker 2: you know, old, without it being like, oh, how terrible

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Speaker 2: is this? You know, it's a it's a it's a

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Speaker 2: much more optimistic view of it, you know. And I

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Speaker 2: don't know, I was blown away. I think you'd really

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Speaker 2: like it, Millie. It's really fun, it's really sweet.

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Speaker 1: Great, Well, I love that it affected you. I'll watch

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Speaker 1: it because you liked it so much.

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Speaker 2: Yeah, I I mean, it's a. It's just a fun,

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Speaker 2: silly movie. And there's like these kind of like I'll

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Speaker 2: put quotes around them action sequences with June's squib that

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Speaker 2: really made me laugh. And uh, it's great, Yeah, it

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Speaker 2: was great.

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Speaker 1: All Right, let's close up this old I'm smoking. I

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Speaker 1: can't even lift it.

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Speaker 2: All right, we're back, and we are here for our

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Speaker 2: main discussion, which.

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Speaker 1: Is smoking in movies.

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Speaker 2: And we're specifically gonna kind of you know, key in

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Speaker 2: on l Samurai from nineteen sixty seven, which after watching it,

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Speaker 2: there was less smoking in the movie than I remembered.

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Speaker 2: But I think the reason I wanted to talk about

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Speaker 2: this movie was the first shot of the movie is

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Speaker 2: like a long shot of him smoking a cigarette in

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Speaker 2: his empty apartment. But anyways, Millie, you've mentioned, you know,

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Speaker 2: you have a lot of thoughts about smoking in movies.

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Speaker 2: When you see people smoking cigarettes and movies, how does

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Speaker 2: that make you feel? And what's your relationship Again, we're

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Speaker 2: anti cigarette, but what is your relationship with cigarettes in

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Speaker 2: your lifetime?

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Speaker 1: Full disclosure? I used to be a smoker. Full disclosure.

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Speaker 1: I fucking loved smoking. It was so fun, so glamorous,

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Speaker 1: all these things they don't want you to say. They

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Speaker 1: don't want you to say it, but there's a reason.

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Speaker 1: It's addicting.

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Speaker 2: Yeah, they're wonderful. Yes, I think I think I can't.

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Speaker 1: I'd be lying if I said I didn't really love smoking.

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Speaker 1: I really do. It was a great time in my life.

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Speaker 1: I was young, I was into weird things. Everybody smoked

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Speaker 1: back then. You know, that's the thing is that you

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Speaker 1: realize that no one technically smokes anymore, Like there's there's

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Speaker 1: people who smoke, don't get don't get me.

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Speaker 2: It is a real even from like ten years ago.

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Speaker 2: I feel like people who are smokers now are really

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Speaker 2: put you know, given the middle finger to society in

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Speaker 2: a lot of ways now, Like you don't see smokers

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Speaker 2: in the same way that you did even a couple

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Speaker 2: of years ago. I think there's a couple of reasons

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Speaker 2: for that. Number One, they're dying off there because cigarettes

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Speaker 2: kill you well.

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Speaker 1: But but basically all the anti smoking stuff worked. I mean,

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Speaker 1: essentially they figured out that the only way to get

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Speaker 1: people stuff smoking is if you make the cigarettes twenty

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Speaker 1: dollars or whatever. Yeah, and it's like, oh, it worked.

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Speaker 1: The only people that I see smoking these days, by

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Speaker 1: the way, are old Asian guys. I don't know why.

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Speaker 1: Actually I think it's because if I'm not mistaken, at

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Speaker 1: least the last time, not this past time I was

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Speaker 1: in Japan, but the time before, when I was in

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Speaker 1: the Philippines, cigarettes were still cheap in Asia, so I

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Speaker 1: was like, oh, maybe that's why they're still smoking. Yeah,

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Speaker 1: you know, but I think the cost thing is what

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Speaker 1: really made people quit. On top of that, I think

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Speaker 1: more people just like vape and do that kind of

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Speaker 1: stuff now. So like, even though I feel like we

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Speaker 1: have had, there was a tiny little urgents of people

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Speaker 1: who were smoking cigarettes the old fashioned way. Like I

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Speaker 1: was on TikTok and you're like, fuck your zins. Fuck,

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Speaker 1: You're like vabes, your East six, like let's go back

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Speaker 1: to smoking like Marlboro Reds. And I was like, actually

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Speaker 1: got to agree with that, because I I've never I never.

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Speaker 1: I quit long before the East cigarette thing happened, So

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Speaker 1: I was like, thank God, because that looks to me,

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Speaker 1: I just can't with that. But look, wh yeah, yeah.

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Speaker 2: My experience with cigarette smoking, I was also a smoker

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Speaker 2: for a period of time.

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Speaker 1: Uh.

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Speaker 2: It really heated up when I was working at a

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Speaker 2: restaurant and unemployed. Of course, and working at a restaurant.

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Speaker 2: It was great because it was like going on a

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Speaker 2: mini vacation when you went outside to smoke a cigarette.

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Speaker 2: And it's more common in like restaurant work, I think

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Speaker 2: for people to go outside and yeah, smoke a cigarette.

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Speaker 2: But also I was when I was I was unemployed

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Speaker 2: for like a year and a half, two years, and

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Speaker 2: I lived with my friend Tom.

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Speaker 1: Our main job.

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Speaker 2: He was also unemployed, and his our job was cigarette smoking.

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Speaker 2: We had a little patio and he would bring home

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Speaker 2: cartons of parliaments. And one time there was like a

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Speaker 2: little convenience store right across the street from our apartment

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Speaker 2: where we would get our cartons, and they were out

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Speaker 2: one day, and the owner of this convenience store knew

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Speaker 2: us because we lived right across the street. And so

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Speaker 2: I was in the living room on the second floor

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Speaker 2: and our apartment was on the second floor. But we

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Speaker 2: had like a patio, you know, what do you call that?

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Speaker 2: A balcony that we would smoke on. Anyways, I'm talking

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Speaker 2: to Tom. His back is to the balcony, so he

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Speaker 2: can't see outside, but I can. I'm facing Tom, so

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Speaker 2: I can see outside that the owner of the convenience

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Speaker 2: store is walking towards us, waving a carton of.

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Speaker 1: Sigarettes in his hand, and I walk.

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Speaker 2: I'm walking towards the balcony, and the owner throws the

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Speaker 2: carton of cigarettes up to the second floor into my

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Speaker 2: arms and I catch it. And from Tom's vantage point,

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00:22:19,560 --> 00:22:22,159
Speaker 2: a carton of cigarettes flew into our apartment. He had

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Speaker 2: no idea that was happening. Flew into our apartment, and

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Speaker 2: I caught it, and I was like, yay, So that

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Speaker 2: was a great memory.

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Speaker 1: See, that's like a movie, It's like to the Our

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Speaker 1: point of this entire episode is that there's something inherently

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Speaker 1: cinematic about cigarettes.

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Speaker 2: Yes, And I will also say this was the most

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Speaker 2: I was the most depressed during this time, worst time,

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Speaker 2: maybe one of the worst times in my life.

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Speaker 1: Iten don't even have to go there. I swear I

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Speaker 1: think cigarettes made me depressed. Yes, I'm sure they did

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Speaker 1: as well. But like you said, there's something cinematic about smoking,

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Speaker 1: partly because watching people smoke cigarettes indoors, I mean it

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Speaker 1: looks like we're looking into outer space. Essentially, it's like

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Speaker 1: seeing space aliens on screen because it's so unrecognizable from

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Speaker 1: our reality, you know, And so it's fun to see

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Speaker 1: movies where like people in restaurants are like smoking inside.

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Speaker 1: Because if you were in a restaurant now and someone

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Speaker 1: started smoking a cigarette, I feel like the police would

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00:23:32,440 --> 00:23:35,520
Speaker 1: be called, Like it would be so outrageous for that

403
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Speaker 1: to happen. Yeah.

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00:23:37,480 --> 00:23:41,199
Speaker 2: That so it is cinematic now because like it is

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Speaker 2: so different from our reality, you know.

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Speaker 1: Well, but even like back then, so I mean part

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Speaker 1: of I think the glamour of smoking, and certainly the

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Speaker 1: reason why I think I wanted to start smoking was

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Speaker 1: because of the movies, and especially older film I mean

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Speaker 1: back in the day, everybody smoked. So when you watch

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Speaker 1: older classic Hollywood films or like classic foreign films, everyone's smoking.

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Speaker 1: Obviously we're talking about you know, Elen Delawn in a

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Speaker 1: movie from the late sixties, and he smoked in a

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Speaker 1: ton of movies. So it's like and so you start

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00:24:11,359 --> 00:24:14,920
Speaker 1: to kind of see his image of just being a

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Speaker 1: cigarette smoker and it's such part of his like ambiance

417
00:24:18,560 --> 00:24:20,920
Speaker 1: or whatever. But I I mean, even back in the

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Speaker 1: day when they used to actually have more smoking in movies,

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Speaker 1: I feel like the cigarette almost is kind of a

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Speaker 1: narrative function in a movie because it would telegraph a

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Speaker 1: lot of information about a character, like, for example, if

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Speaker 1: a woman is smoking in a movie.

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Speaker 2: Mysterious, mysterious, maybe bad news, Yeah, maybe bad news.

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Speaker 1: A little bit of a bad girl. Like what is

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Speaker 1: she gonna do if she's sitting in a bar by herself.

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Speaker 1: She can't just sit there and like look at her phone.

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Speaker 1: There's no phones, Like, you gotta smoke a cigarette to

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Speaker 1: know what to do when you're by yourself. If you're

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Speaker 1: a lady by yourself, God forbid in the nineteen forties.

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Speaker 1: But it's like another thing. Cigarettes bond characters. I mean,

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Speaker 1: there's like you know, and I think they actually bond

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Speaker 1: people generally, but like in movies, characters that smoke cigarettes

433
00:25:07,400 --> 00:25:10,920
Speaker 1: outside together. I actually love this. This is a very

434
00:25:10,920 --> 00:25:14,920
Speaker 1: subtle like thing that I notice a lot when you're

435
00:25:14,920 --> 00:25:17,480
Speaker 1: in a movie and the movie is about someone who's

436
00:25:17,520 --> 00:25:21,200
Speaker 1: either being interrogated in a police station or they're in

437
00:25:21,520 --> 00:25:25,760
Speaker 1: jail and they are offered a cigarette, or they ask

438
00:25:25,880 --> 00:25:29,119
Speaker 1: for a cigarette and they smoke either in the police

439
00:25:29,119 --> 00:25:33,760
Speaker 1: station or the jail. Come on, yeah, glamorous.

440
00:25:33,000 --> 00:25:36,680
Speaker 2: Great, it's great. It's a little vacation in the midst

441
00:25:36,720 --> 00:25:39,080
Speaker 2: of all this turmoil. You know, it takes you to

442
00:25:39,160 --> 00:25:43,600
Speaker 2: a different place. You know, it's a moment of collection, right,

443
00:25:43,680 --> 00:25:48,240
Speaker 2: But in that story, if there's a cop that's trying

444
00:25:48,280 --> 00:25:50,600
Speaker 2: to get somebody to confess and you offer them a cigarette,

445
00:25:50,640 --> 00:25:54,960
Speaker 2: they're a little more likely to relax after the cigarette.

446
00:25:55,040 --> 00:25:57,200
Speaker 1: And that's what the that's the narrative function of that

447
00:25:57,359 --> 00:26:00,520
Speaker 1: helps them have the plot along. I'm just saying there.

448
00:26:00,480 --> 00:26:04,800
Speaker 2: Is a little bit of a all right, I trust

449
00:26:05,160 --> 00:26:07,639
Speaker 2: or like I'll play ball a little bit, like if

450
00:26:07,720 --> 00:26:11,119
Speaker 2: the if the criminal accepts the cigarette, they'll be like,

451
00:26:12,160 --> 00:26:15,520
Speaker 2: this is one step towards me telling you where the

452
00:26:16,320 --> 00:26:21,080
Speaker 2: where I hit the jewels, the diamonds exactly, the diamonds. Yeah, sorry,

453
00:26:21,080 --> 00:26:22,359
Speaker 2: what you're gonna say? No, I wanted to ask you

454
00:26:22,400 --> 00:26:24,919
Speaker 2: a question please, seeing that you used to be.

455
00:26:24,920 --> 00:26:28,879
Speaker 1: A smoker back in your depressed sad boy Yeah, yeah.

456
00:26:29,960 --> 00:26:35,160
Speaker 1: Can you tell when you're watching a film and that

457
00:26:35,280 --> 00:26:38,880
Speaker 1: person who is smoking a cigarette in a film actually

458
00:26:38,920 --> 00:26:40,800
Speaker 1: smokes or has never smoked? Can you tell?

459
00:26:41,640 --> 00:26:41,840
Speaker 2: Yeah?

460
00:26:41,880 --> 00:26:43,160
Speaker 1: I absolutely can.

461
00:26:44,320 --> 00:26:46,280
Speaker 2: I can't think of an example, really, but I can

462
00:26:46,320 --> 00:26:49,720
Speaker 2: tell just the way they're kind of holding the cigarette

463
00:26:49,720 --> 00:26:52,800
Speaker 2: like they're trying to be too cool and there's like

464
00:26:52,880 --> 00:26:58,280
Speaker 2: maybe a strain of the hand or yeah, I can

465
00:26:58,320 --> 00:27:00,879
Speaker 2: definitely tell. I don't know what the tell are of

466
00:27:00,960 --> 00:27:04,399
Speaker 2: someone who is not a smoker in a movie, but

467
00:27:04,560 --> 00:27:06,800
Speaker 2: I always can tell. It's like how I can always

468
00:27:06,800 --> 00:27:08,960
Speaker 2: tell when a guy gets hair plugs. I can always

469
00:27:09,200 --> 00:27:11,240
Speaker 2: what you can tell, I can always tell.

470
00:27:11,280 --> 00:27:14,640
Speaker 1: I would love to know that those that information so

471
00:27:15,160 --> 00:27:16,920
Speaker 1: put in the chat and said it to me. Okay

472
00:27:17,680 --> 00:27:20,960
Speaker 1: for me, I feel like you're absolutely right. It's the

473
00:27:21,000 --> 00:27:23,120
Speaker 1: way they hold the cigarette. A lot of times, if

474
00:27:23,119 --> 00:27:25,280
Speaker 1: you've never smoked and you have to smoke in a

475
00:27:25,359 --> 00:27:29,439
Speaker 1: roll or something, like, you're holding it real stiff, like stiff,

476
00:27:29,560 --> 00:27:32,600
Speaker 1: either the fingers are super straight or they're holding it

477
00:27:32,640 --> 00:27:35,520
Speaker 1: with alternate fingers that you would never smoke a cigarette with.

478
00:27:35,560 --> 00:27:39,879
Speaker 1: It's very strange. And then usually it's the inhale that

479
00:27:40,000 --> 00:27:42,040
Speaker 1: gets me, Like, if you can you can tell like

480
00:27:42,080 --> 00:27:45,040
Speaker 1: a native cigarette smoker knows just how to bring it

481
00:27:45,080 --> 00:27:50,080
Speaker 1: in and blow it out real easy, breezy. Yes. But

482
00:27:50,160 --> 00:27:54,399
Speaker 1: when you're like pretending to smoke whatever it is on

483
00:27:54,520 --> 00:27:59,000
Speaker 1: set cigarette, whatever they are in the movies, and you've

484
00:27:59,040 --> 00:28:03,400
Speaker 1: never poke before, I'm like, Oh, you're fucking inhaling weird.

485
00:28:03,440 --> 00:28:04,840
Speaker 1: I don't even know if you know how to blow

486
00:28:05,080 --> 00:28:08,080
Speaker 1: up cigarettes. This is this is taking me out of it.

487
00:28:08,160 --> 00:28:10,520
Speaker 1: I can't sit here and watch it. Yeah.

488
00:28:10,600 --> 00:28:12,760
Speaker 2: I think one of the tells is, you know, when

489
00:28:12,800 --> 00:28:14,600
Speaker 2: you smoke a cigarette, you have to bring it into

490
00:28:14,600 --> 00:28:16,800
Speaker 2: your mouth and then bring it into your lungs. It's

491
00:28:16,800 --> 00:28:18,800
Speaker 2: like kind of like a two step process a little

492
00:28:18,800 --> 00:28:22,120
Speaker 2: bit and then but like you can tell when uh,

493
00:28:22,280 --> 00:28:24,040
Speaker 2: one person just brings it into their mouth and it

494
00:28:24,359 --> 00:28:27,840
Speaker 2: kind of like PLoP, the smoke sort of plops out

495
00:28:27,840 --> 00:28:29,000
Speaker 2: of their mouth as they're talking.

496
00:28:29,119 --> 00:28:31,720
Speaker 1: You know, listen. I learned the hard way because when

497
00:28:31,760 --> 00:28:33,840
Speaker 1: I over the first couple of years that I smoked,

498
00:28:34,080 --> 00:28:37,000
Speaker 1: I didn't inhale, I don't think, and was called out

499
00:28:37,040 --> 00:28:40,280
Speaker 1: on it by this cool college guy when I was

500
00:28:40,320 --> 00:28:43,920
Speaker 1: in Athens, Georgia. He was like, oh, no, are you smoking?

501
00:28:43,920 --> 00:28:45,840
Speaker 1: And I'm like yes, and he's like, no, you're not.

502
00:28:45,920 --> 00:28:49,320
Speaker 1: You're not even inhaling. And I was like, oh, devastated.

503
00:28:50,320 --> 00:28:51,320
Speaker 1: I'm devastating. Yeah.

504
00:28:51,480 --> 00:28:53,920
Speaker 2: Oh the worst type of that would be devastating if

505
00:28:53,960 --> 00:28:57,080
Speaker 2: a cool college kid from Athens, Georgia called me out.

506
00:28:57,240 --> 00:29:00,120
Speaker 2: Oh my gosh, this is why I'm interesting case. I've

507
00:29:00,120 --> 00:29:01,920
Speaker 2: had a lot of trauma in my life that I

508
00:29:01,960 --> 00:29:04,640
Speaker 2: needed to that is like the nightmare I would have

509
00:29:04,720 --> 00:29:07,360
Speaker 2: going out to a social event if a cool college

510
00:29:07,440 --> 00:29:08,600
Speaker 2: kid called me out.

511
00:29:09,040 --> 00:29:18,200
Speaker 1: Oh to this day. So before we get into La Samurai,

512
00:29:18,240 --> 00:29:21,840
Speaker 1: I wanted to ask you, what do you were there

513
00:29:21,880 --> 00:29:26,200
Speaker 1: any moments in cinema that you remember, maybe pre smoking

514
00:29:26,800 --> 00:29:29,080
Speaker 1: that kind of made you want to smoke, or like

515
00:29:29,560 --> 00:29:30,880
Speaker 1: encourage you to keep smoking.

516
00:29:32,120 --> 00:29:37,120
Speaker 2: Oh, that's a good question. I wonder if mad Men

517
00:29:37,320 --> 00:29:41,680
Speaker 2: had something because that was on when I was smoking.

518
00:29:41,840 --> 00:29:44,760
Speaker 1: Maybe that was a motivator.

519
00:29:45,120 --> 00:29:51,200
Speaker 2: You know, there's just like it's so casually done in

520
00:29:52,280 --> 00:29:56,200
Speaker 2: seventies movies especially, Yeah, I think it was more like

521
00:29:56,320 --> 00:30:02,840
Speaker 2: seventies movies like you know, uh Laine May's Mikey and Nicky.

522
00:30:04,480 --> 00:30:07,720
Speaker 1: You know, how about you? Well, a lot of things

523
00:30:07,760 --> 00:30:09,880
Speaker 1: influence me actually, I mean, besides if you want to

524
00:30:09,880 --> 00:30:13,000
Speaker 1: talk about like my favorite musicians and poets and writers

525
00:30:13,000 --> 00:30:17,640
Speaker 1: and artists who smoked, just looking at a photograph of

526
00:30:18,040 --> 00:30:23,040
Speaker 1: any famous person that existed from the eighties or before

527
00:30:23,640 --> 00:30:29,240
Speaker 1: really influenced my smoking. I remember specifically, I think when

528
00:30:29,240 --> 00:30:31,960
Speaker 1: I was in high school when I watched Reservoir Dogs

529
00:30:32,000 --> 00:30:34,920
Speaker 1: for the first time and I saw mister Blonde smoking,

530
00:30:35,640 --> 00:30:38,520
Speaker 1: especially in the very beginning where he's in the Office

531
00:30:38,640 --> 00:30:42,239
Speaker 1: with Laurence Tyranny's character Joe, and he just got out

532
00:30:42,240 --> 00:30:45,720
Speaker 1: of jail and he like gets a cigarette and he inhales.

533
00:30:45,840 --> 00:30:47,160
Speaker 1: He does the thing where you're like, oh, he's a

534
00:30:47,200 --> 00:30:51,000
Speaker 1: real smoker because he inhales the two step process and

535
00:30:51,720 --> 00:30:58,800
Speaker 1: he talks while he exhales, which is extremely attractive. I

536
00:30:58,920 --> 00:31:03,120
Speaker 1: must say, like when some but he's like Seymour Scagnetti

537
00:31:03,640 --> 00:31:06,720
Speaker 1: that fuck or whatever he says. I just I mean

538
00:31:06,760 --> 00:31:09,240
Speaker 1: I was like, well, now I got a smoke because

539
00:31:09,280 --> 00:31:12,920
Speaker 1: this guy's doing it so cool. But there's that movie,

540
00:31:12,920 --> 00:31:16,320
Speaker 1: but there was also like Breathless. I mean, come on,

541
00:31:16,560 --> 00:31:18,600
Speaker 1: Jean Lucado's Breathless, which is.

542
00:31:18,760 --> 00:31:23,080
Speaker 2: Yeah, I mean the way John Paul Belmondo has these

543
00:31:23,120 --> 00:31:25,680
Speaker 2: big lips and the way the cigarettes would just kind

544
00:31:25,680 --> 00:31:30,680
Speaker 2: of like rest on his lips made me want to smoke. Yeah, definitely.

545
00:31:31,120 --> 00:31:34,560
Speaker 1: And then of course, like when I was in college,

546
00:31:34,680 --> 00:31:37,920
Speaker 1: it was all about Wonkar Wi movies, so Bridget Lynn

547
00:31:37,920 --> 00:31:40,800
Speaker 1: and Chun King Express when she's at the bar, you know,

548
00:31:41,200 --> 00:31:44,760
Speaker 1: basically smoking the entire movie. And then any literally anytime

549
00:31:44,840 --> 00:31:47,600
Speaker 1: Tony Long smokes me lung oh.

550
00:31:47,640 --> 00:31:52,040
Speaker 2: I mean yes, most attractive, especially in the mood for love. Oh,

551
00:31:52,080 --> 00:31:55,000
Speaker 2: I just feel like he's surrounded by cigarette smoke. You know,

552
00:31:55,080 --> 00:31:59,360
Speaker 2: the thing about smoking in movies is you can't smell it.

553
00:31:59,800 --> 00:32:03,920
Speaker 2: And when you smell a cigarette smoker, now even if

554
00:32:03,920 --> 00:32:07,720
Speaker 2: they're not smoking, they fucking reach. And I think that's

555
00:32:07,760 --> 00:32:10,880
Speaker 2: something you don't quite realize when you're smoking. That It's like,

556
00:32:11,240 --> 00:32:14,280
Speaker 2: I smell like shit all the time. I am a

557
00:32:14,480 --> 00:32:22,720
Speaker 2: public nuisance. Everyone hates me, like it's it's incredible. You

558
00:32:22,720 --> 00:32:24,360
Speaker 2: don't realize that stuff while it's happening.

559
00:32:24,400 --> 00:32:28,800
Speaker 1: Oh yeah, It's like when you are a smoker, you

560
00:32:28,880 --> 00:32:31,760
Speaker 1: never know that you smell like cigarettes. You're like and

561
00:32:31,800 --> 00:32:34,479
Speaker 1: then you like literally when you stop smoking and you're like,

562
00:32:34,880 --> 00:32:38,600
Speaker 1: oh my god, I smell like the casino in California,

563
00:32:38,720 --> 00:32:39,760
Speaker 1: Split or whatever.

564
00:32:39,800 --> 00:32:42,560
Speaker 2: You're just like, exactly a smell like the carpet of

565
00:32:42,600 --> 00:32:43,200
Speaker 2: a casino.

566
00:32:43,320 --> 00:32:45,920
Speaker 1: Yeah, yeah, the Ramada Inn that's been around since like

567
00:32:46,160 --> 00:32:48,720
Speaker 1: the nineteen fifties. I just want to point out a

568
00:32:48,720 --> 00:32:52,800
Speaker 1: couple other of my favorite smoking scenes. Well, you obviously

569
00:32:52,920 --> 00:32:59,840
Speaker 1: have legendary classic like smoking actors like Bogart, like James Dean. Right.

570
00:33:02,680 --> 00:33:06,600
Speaker 1: I think an iconic smoking scene in classic film is

571
00:33:06,640 --> 00:33:10,440
Speaker 1: now Voyager with Paul Henry and Betty Davis where he

572
00:33:10,520 --> 00:33:14,720
Speaker 1: lights two cigarettes in his mouth and gives her one,

573
00:33:14,800 --> 00:33:18,240
Speaker 1: which I feel like is has been replicated so often

574
00:33:18,360 --> 00:33:20,760
Speaker 1: in films and what I you know, when that scene

575
00:33:20,760 --> 00:33:23,280
Speaker 1: in The Royal Tennant Bombs where Margot Tennemaum does that

576
00:33:23,320 --> 00:33:25,720
Speaker 1: on the rooftop with Richie, I feel like we're all

577
00:33:25,760 --> 00:33:28,880
Speaker 1: talking about now Voyager, because it was like when you

578
00:33:28,920 --> 00:33:31,160
Speaker 1: see that, you're like, holy shit, that's hot as hell,

579
00:33:31,600 --> 00:33:35,240
Speaker 1: Like somebody's lighting a cigarette for you in their mouth

580
00:33:35,280 --> 00:33:36,360
Speaker 1: and then giving it to you.

581
00:33:36,400 --> 00:33:39,880
Speaker 2: Come on, yeah, I you know, in the Royal ten

582
00:33:39,920 --> 00:33:42,440
Speaker 2: of Moms, she smokes in the bathroom and then like

583
00:33:42,720 --> 00:33:45,360
Speaker 2: when but she's hiding it all the time, like that's

584
00:33:45,400 --> 00:33:47,000
Speaker 2: part of her characters that she hides that she's a

585
00:33:47,040 --> 00:33:49,560
Speaker 2: cigarette smoker. But I'm like, no one could really hide

586
00:33:49,600 --> 00:33:51,680
Speaker 2: a hair cigarette smoker. And she's smoking in the bathroom

587
00:33:51,720 --> 00:33:54,000
Speaker 2: and then someone knocks and she puts a cigarette out

588
00:33:54,040 --> 00:33:56,800
Speaker 2: and like spray's a little perfume and they don't notice it,

589
00:33:56,800 --> 00:34:00,760
Speaker 2: and I'm like, it's the stinkiest thing, Like you stink.

590
00:34:01,720 --> 00:34:06,000
Speaker 1: As someone, as someone who try to hide the fact

591
00:34:06,000 --> 00:34:08,840
Speaker 1: that they smoked from their parents, I will tell you

592
00:34:08,880 --> 00:34:11,560
Speaker 1: that it was unsuccessful, like you think you're you think

593
00:34:11,560 --> 00:34:13,920
Speaker 1: you got the grift going. You're like, oh, yeah, they

594
00:34:14,160 --> 00:34:18,560
Speaker 1: can't catch me, baby, I'm I'm so good. And then no, later,

595
00:34:18,680 --> 00:34:20,400
Speaker 1: much much later at your adults' is like, oh, we

596
00:34:20,440 --> 00:34:23,000
Speaker 1: knew you were smoking because you stank like shit. Okay,

597
00:34:23,440 --> 00:34:25,480
Speaker 1: so I have to say Royal ten of bombs, but

598
00:34:25,680 --> 00:34:29,320
Speaker 1: again now Voyager. One of the sexiest scenes that features

599
00:34:29,360 --> 00:34:33,240
Speaker 1: a cigarette is Dorothy Danridge and Harry Belafonte and Carmen Jones.

600
00:34:33,360 --> 00:34:35,560
Speaker 1: It's that iconic scene where he is like, she's painting

601
00:34:35,600 --> 00:34:38,680
Speaker 1: her toenails with cigarette hanging out of her mouth and

602
00:34:38,760 --> 00:34:43,520
Speaker 1: he comes over. It's so sexy. I mean, come on,

603
00:34:43,560 --> 00:34:47,359
Speaker 1: that's why cigarettes were made, right, I have. I would

604
00:34:47,360 --> 00:34:51,480
Speaker 1: be remiss if I didn't mention Roy Scheider in pretty

605
00:34:51,560 --> 00:34:53,880
Speaker 1: much every movie, but especially.

606
00:34:53,440 --> 00:34:58,240
Speaker 2: All that Jazz, Yes and Jaws.

607
00:34:58,440 --> 00:34:59,640
Speaker 1: Jaws. He's got a lott.

608
00:35:00,280 --> 00:35:03,560
Speaker 2: Yes, he's got a lot of He's a good cigarette

609
00:35:03,600 --> 00:35:05,680
Speaker 2: hanging out on the side of the mouth actor. He

610
00:35:05,840 --> 00:35:06,240
Speaker 2: is our.

611
00:35:06,160 --> 00:35:10,120
Speaker 1: Finest cigarette smoking actress for my money. I have to say,

612
00:35:10,200 --> 00:35:12,800
Speaker 1: I feel like he's the best at it besides Bogert.

613
00:35:14,239 --> 00:35:17,160
Speaker 2: But he he feels like he's a real smoker, Like

614
00:35:17,360 --> 00:35:20,640
Speaker 2: he's like tanned like leather by the smoke.

615
00:35:20,880 --> 00:35:21,080
Speaker 3: You know.

616
00:35:21,680 --> 00:35:25,400
Speaker 1: Oh, he absolutelyffocating. What the fuck a you're talking about?

617
00:35:25,520 --> 00:35:28,120
Speaker 1: He looked like a cigarette. He looks like a cigarette.

618
00:35:28,719 --> 00:35:34,200
Speaker 2: He visually looks like he has been smoking, like for

619
00:35:34,320 --> 00:35:36,240
Speaker 2: his entire life, since he was twelve years.

620
00:35:36,080 --> 00:35:40,720
Speaker 1: Old, since he was like seven years old. Yeah, it's like, yeah,

621
00:35:40,760 --> 00:35:45,400
Speaker 1: when uh, speaking of wild at Heart, when when Nicholas

622
00:35:45,440 --> 00:35:51,920
Speaker 1: Cage reveals he's been smoking since he was four, Like,

623
00:35:52,719 --> 00:35:53,680
Speaker 1: oh my god.

624
00:35:54,760 --> 00:36:01,520
Speaker 2: Well, speaking of David Lynch, cigarettes essentially killed David, you know,

625
00:36:01,560 --> 00:36:04,120
Speaker 2: and he was like a smoker to the end, and

626
00:36:04,160 --> 00:36:07,879
Speaker 2: he had I remember when he had he had some

627
00:36:08,400 --> 00:36:12,040
Speaker 2: he said something about not directing anymore somewhat recently, and

628
00:36:12,120 --> 00:36:15,440
Speaker 2: he was saying like I really loved cigarettes, but they

629
00:36:15,520 --> 00:36:17,000
Speaker 2: bit me, you know.

630
00:36:17,280 --> 00:36:20,719
Speaker 1: Yeah, and he kind of resigned to the fact that

631
00:36:20,760 --> 00:36:22,680
Speaker 1: he was going to die of emphasy. But like he

632
00:36:22,760 --> 00:36:24,560
Speaker 1: was kind of like, yeah, well said I liked smoking

633
00:36:24,560 --> 00:36:26,279
Speaker 1: too much, but this is the way it has to go,

634
00:36:26,760 --> 00:36:26,960
Speaker 1: you know.

635
00:36:27,160 --> 00:36:27,560
Speaker 2: Yeah.

636
00:36:27,680 --> 00:36:31,680
Speaker 1: Yeah, which in a way it's sad. It's sort of poetic,

637
00:36:31,719 --> 00:36:36,400
Speaker 1: but it's also very sad. It is it is, Yeah,

638
00:36:36,440 --> 00:36:40,799
Speaker 1: but I will say so Roy Scheider, Geraldine Chaplin and

639
00:36:40,840 --> 00:36:46,000
Speaker 1: remember my name of course cigarette on the poster. But

640
00:36:46,000 --> 00:36:48,480
Speaker 1: then you also have stuff like again Sharon Stone and

641
00:36:48,520 --> 00:36:52,440
Speaker 1: Basic Instinct and Bancroft in The Graduate. I love the

642
00:36:52,440 --> 00:36:54,920
Speaker 1: cigarette smoking and Once upon a Time in Hollywood speaking

643
00:36:54,920 --> 00:36:56,160
Speaker 1: of Tarantino.

644
00:36:56,000 --> 00:36:59,640
Speaker 2: Yes, I mean Leo is a great cigarette smoker in

645
00:36:59,680 --> 00:37:06,239
Speaker 2: that movie and Brat Pigs, Yes, Brad Pitt two, and

646
00:37:06,280 --> 00:37:09,840
Speaker 2: they're obviously, to me, sort of imitating old actors, like

647
00:37:09,880 --> 00:37:12,000
Speaker 2: the people that we're talking about who smoked.

648
00:37:11,800 --> 00:37:17,440
Speaker 1: Since they were four. But then also Leo's iconic cigarette

649
00:37:17,480 --> 00:37:20,680
Speaker 1: smoking in Django Unchained with the fucking little what do

650
00:37:20,680 --> 00:37:24,640
Speaker 1: you call it? Little Tennessee Williams, the little uh what

651
00:37:24,680 --> 00:37:25,880
Speaker 1: do you call that thing?

652
00:37:26,120 --> 00:37:31,839
Speaker 2: Extender? One of those uh cigarette what is that?

653
00:37:31,960 --> 00:37:36,319
Speaker 1: Like? Yeah, it's like yeah, Corilla, Yeah, I call it

654
00:37:36,360 --> 00:37:42,600
Speaker 1: the Tennessee Williams Corilla Deville cigarette holder thing. But I

655
00:37:42,640 --> 00:37:45,000
Speaker 1: mean there's memes of him on the internet smoking that

656
00:37:45,480 --> 00:37:47,280
Speaker 1: smoking that cigarette through that thing.

657
00:37:47,760 --> 00:37:51,320
Speaker 2: And I would say Clappers would have those cigarette holders.

658
00:37:53,760 --> 00:37:56,759
Speaker 1: Exactly. And my last one is a small is a

659
00:37:56,760 --> 00:37:58,480
Speaker 1: small one. I wanted to go a little bit indie,

660
00:37:58,480 --> 00:38:02,200
Speaker 1: but there's a movie called Columbus that came out, oh

661
00:38:02,239 --> 00:38:05,439
Speaker 1: with John Chow with John Show. There's a scene where

662
00:38:05,520 --> 00:38:08,759
Speaker 1: John Show is smoking a cigarette and he's got a

663
00:38:08,800 --> 00:38:11,160
Speaker 1: notebook under his arm, and I was like, this is

664
00:38:11,200 --> 00:38:14,799
Speaker 1: the hottest man I've ever seen in my life. So

665
00:38:15,360 --> 00:38:16,120
Speaker 1: that's that's it.

666
00:38:16,160 --> 00:38:17,839
Speaker 2: I want to see that movie. It looks good.

667
00:38:17,920 --> 00:38:22,600
Speaker 1: Oh it's fantastic. It's actually so much better than you

668
00:38:22,600 --> 00:38:26,200
Speaker 1: would think because it was a quietly released and you know,

669
00:38:26,239 --> 00:38:28,360
Speaker 1: it was like an indie movie. But it's so good.

670
00:38:28,400 --> 00:38:29,080
Speaker 1: It's so good.

671
00:38:29,200 --> 00:38:30,759
Speaker 2: It has but it gets brought up.

672
00:38:30,800 --> 00:38:31,680
Speaker 1: I feel like it has.

673
00:38:32,200 --> 00:38:33,320
Speaker 2: People like that movie.

674
00:38:33,719 --> 00:38:35,239
Speaker 4: So well.

675
00:38:35,239 --> 00:38:39,200
Speaker 1: Anyway, that's my history of sayank you what a time.

676
00:38:39,320 --> 00:38:42,399
Speaker 2: I mean, it's there really isn't anything out there that's

677
00:38:42,440 --> 00:38:46,520
Speaker 2: equivalent to it in terms of like the warning is like, hey,

678
00:38:46,520 --> 00:38:49,960
Speaker 2: if you keep this will kill you. Sure, you know,

679
00:38:50,200 --> 00:38:53,120
Speaker 2: there's like even alcohol is like only drink this much

680
00:38:53,719 --> 00:38:57,720
Speaker 2: per week, but there's no amount of cigarettes that are healthy.

681
00:38:58,160 --> 00:39:00,800
Speaker 1: You know. It's sort of interesting. No, Well, I remember,

682
00:39:01,239 --> 00:39:03,120
Speaker 1: I will say this. When I was like eighteen years old,

683
00:39:03,520 --> 00:39:07,120
Speaker 1: I went to this doctor that was basically like an

684
00:39:07,239 --> 00:39:09,960
Speaker 1: urgent care like a community urgent care doctor, and she

685
00:39:10,120 --> 00:39:14,360
Speaker 1: told me when I was eighteen, back in the late nineties,

686
00:39:14,920 --> 00:39:17,839
Speaker 1: that if you smoked one cigarette a day you might

687
00:39:17,880 --> 00:39:18,320
Speaker 1: be okay.

688
00:39:19,640 --> 00:39:25,279
Speaker 2: Well, famously, Joan Didion was like, I will smoke five

689
00:39:25,320 --> 00:39:29,520
Speaker 2: cigarettes a day, no more, no less. WHOA And she

690
00:39:29,600 --> 00:39:32,600
Speaker 2: did not die of lung cancer? Yeah, well she didn't

691
00:39:32,640 --> 00:39:34,200
Speaker 2: kill her, so we're not doctor.

692
00:39:34,280 --> 00:39:36,720
Speaker 1: Maybe five isn't it? And I don't think the doctor

693
00:39:36,800 --> 00:39:39,719
Speaker 1: that told me that was a doctor. So just throw

694
00:39:39,840 --> 00:39:41,279
Speaker 1: that out there. Don't smoke.

695
00:39:41,560 --> 00:39:45,480
Speaker 2: Jone Didion is not a doctor. This quack that Millie

696
00:39:45,480 --> 00:39:49,879
Speaker 2: went to may or may not be a doctor, Millie.

697
00:39:50,040 --> 00:39:53,799
Speaker 2: I'm gonna do this. Let's get into La Samurai. I

698
00:39:53,840 --> 00:39:55,839
Speaker 2: really feel like we could have talked. We could keep

699
00:39:55,880 --> 00:39:59,719
Speaker 2: talking about cigarettes forever for another twenty four hours, uh,

700
00:40:00,080 --> 00:40:01,040
Speaker 2: twenty four hour marathon.

701
00:40:01,200 --> 00:40:01,560
Speaker 1: Okay.

702
00:40:01,640 --> 00:40:07,640
Speaker 2: So this movie Le Samurai's directed by Jumpier Melville from

703
00:40:07,719 --> 00:40:13,920
Speaker 2: nineteen sixty seven. It's about Jeff Jeff Costello played by

704
00:40:14,040 --> 00:40:18,360
Speaker 2: Alenda Lahn, who is a stoic hitman and criminal in Paris.

705
00:40:19,120 --> 00:40:22,720
Speaker 2: He's hired to kill Marty, the owner of a popular

706
00:40:22,800 --> 00:40:28,600
Speaker 2: club called Marty's. He does, but he gets one hundred

707
00:40:29,120 --> 00:40:35,160
Speaker 2: caught by a jazz piano player d'lare played by Kathy Rosier.

708
00:40:35,840 --> 00:40:38,520
Speaker 2: But when he is arrested and the police ask Kathy

709
00:40:38,600 --> 00:40:42,000
Speaker 2: to identify him. She says, it's not him. Why, I

710
00:40:42,040 --> 00:40:46,040
Speaker 2: don't know. The police are after Jeff and so are

711
00:40:46,040 --> 00:40:48,839
Speaker 2: the men who hired him to kill Marty. But what's

712
00:40:48,880 --> 00:40:54,280
Speaker 2: our raincoat? Wearing hot he gonna do? That's le Samurai fantastic.

713
00:40:54,280 --> 00:40:55,760
Speaker 2: You think it was funny his name was Jeff.

714
00:40:56,280 --> 00:40:58,720
Speaker 1: Yeah, it was like hef almost Jeff.

715
00:40:59,160 --> 00:41:03,000
Speaker 2: It reminds me of the at Pixie Song space where

716
00:41:03,040 --> 00:41:06,760
Speaker 2: it's like Jeffrey with one F Jeffrey.

717
00:41:07,160 --> 00:41:11,200
Speaker 1: Do you know that song? I do, Okay, but you

718
00:41:11,280 --> 00:41:14,600
Speaker 1: did a fantastic job, just like Frank.

719
00:41:15,560 --> 00:41:19,399
Speaker 2: Now you have a large cutout of Lendolon in your

720
00:41:19,520 --> 00:41:22,319
Speaker 2: room that you kiss before bed every night.

721
00:41:22,400 --> 00:41:22,880
Speaker 1: Definitely.

722
00:41:23,040 --> 00:41:25,480
Speaker 2: Do you feel like sometimes he's like this that comes

723
00:41:25,560 --> 00:41:29,920
Speaker 2: up with other actors. He's like too attractive that it's

724
00:41:30,320 --> 00:41:32,760
Speaker 2: jarring to have him in a scene and his looks

725
00:41:33,040 --> 00:41:34,080
Speaker 2: aren't commented on.

726
00:41:34,360 --> 00:41:37,880
Speaker 1: Yes, I say that pretty much every day. I say

727
00:41:37,920 --> 00:41:41,839
Speaker 1: that to the cutout when I'm kissing his mouth raw

728
00:41:43,800 --> 00:41:46,279
Speaker 1: with like the paper around his mouth, just like eating

729
00:41:46,360 --> 00:41:51,680
Speaker 1: away by saliva. He like, this is the thing that

730
00:41:51,719 --> 00:41:53,759
Speaker 1: I think is so interesting about a Lendolon is that

731
00:41:54,080 --> 00:41:56,520
Speaker 1: he was obviously like playing a lot of bad guys.

732
00:41:56,560 --> 00:41:58,640
Speaker 1: I mean, he was definitely in the Melville universe, but

733
00:41:58,719 --> 00:42:01,160
Speaker 1: he was like French cry actors, kind of like a

734
00:42:01,480 --> 00:42:08,560
Speaker 1: French noir actor. He was so hot and you're like.

735
00:42:10,320 --> 00:42:11,320
Speaker 2: Most almost distracted.

736
00:42:11,360 --> 00:42:13,920
Speaker 1: It's almost distracting. I mean, I feel like American Newar guys,

737
00:42:13,960 --> 00:42:17,560
Speaker 1: like just for an example, American Awar guys were like

738
00:42:18,160 --> 00:42:20,880
Speaker 1: I guess, functionally hot in the Hollywood way, but like

739
00:42:21,000 --> 00:42:23,279
Speaker 1: had some weirdness to them, Like there was always kind

740
00:42:23,280 --> 00:42:25,919
Speaker 1: of like a squirreliness, like maybe like a little scar,

741
00:42:26,120 --> 00:42:30,320
Speaker 1: like a little weird pock mark or something, you know

742
00:42:30,360 --> 00:42:32,200
Speaker 1: what I mean, there was like something about them. They

743
00:42:32,200 --> 00:42:35,040
Speaker 1: weren't totally they were character actors, right. That was like

744
00:42:35,080 --> 00:42:36,240
Speaker 1: the thing about noir guys.

745
00:42:36,719 --> 00:42:40,080
Speaker 2: I mean, think of like Humphrey Bogart. He like he's attractive,

746
00:42:40,120 --> 00:42:43,840
Speaker 2: but you're like he's kind of weird looking, you know,

747
00:42:44,000 --> 00:42:44,480
Speaker 2: or like you.

748
00:42:44,400 --> 00:42:48,640
Speaker 1: Know, Alan Ladd was short, yeah, but you know, Robert

749
00:42:48,760 --> 00:42:52,160
Speaker 1: Ryan had kind of a weird face, like he was

750
00:42:52,239 --> 00:42:54,399
Speaker 1: kind of like, you know, he had those like weird

751
00:42:54,440 --> 00:42:57,279
Speaker 1: Downtroden face. I mean, a Lendelawn is basically like a

752
00:42:57,360 --> 00:43:02,399
Speaker 1: catalog model angel wrapped in like in his trench coat,

753
00:43:02,480 --> 00:43:07,320
Speaker 1: and I'm just like, I it's distracting in a sense

754
00:43:07,360 --> 00:43:10,040
Speaker 1: because you're like, oh, he's supposed to pull off the

755
00:43:10,080 --> 00:43:13,640
Speaker 1: greatest heist of all time, but he's so attracted that

756
00:43:13,719 --> 00:43:15,439
Speaker 1: everyone would notice that he was doing.

757
00:43:15,600 --> 00:43:17,840
Speaker 2: Well, That's what I was saying, Like, there's a huge

758
00:43:17,840 --> 00:43:19,839
Speaker 2: part in this movie where they bring in all these

759
00:43:19,880 --> 00:43:22,799
Speaker 2: people and some of them are intentionally saying they don't

760
00:43:22,840 --> 00:43:26,120
Speaker 2: recognize him because they wanted this Marty guy killed. But

761
00:43:27,320 --> 00:43:30,120
Speaker 2: if you're asking witnesses, hey, did you see this guy

762
00:43:30,760 --> 00:43:33,160
Speaker 2: in the restaurant, I feel like everyone'd be like, oh,

763
00:43:33,200 --> 00:43:36,600
Speaker 2: you mean the hottest human being on planet Earth? Yeah,

764
00:43:36,640 --> 00:43:40,239
Speaker 2: I saw him. He was there. Like, he's so distracting

765
00:43:40,320 --> 00:43:44,400
Speaker 2: that it made it kind of like unbelievable as a

766
00:43:44,440 --> 00:43:46,960
Speaker 2: storyline that people would be like, I'm not sure if

767
00:43:47,000 --> 00:43:48,040
Speaker 2: I saw him, you know.

768
00:43:48,200 --> 00:43:51,000
Speaker 1: Yeah, that's the thing is that I talked about. I mean,

769
00:43:51,040 --> 00:43:54,120
Speaker 1: I guess we could have technically done le circ Larrouge

770
00:43:54,400 --> 00:43:56,680
Speaker 1: for the podcast, even though I did it on I

771
00:43:56,680 --> 00:43:57,880
Speaker 1: Saw what You did, and I had a lot to

772
00:43:57,920 --> 00:44:00,520
Speaker 1: say about it because there's actually an icon of smoking

773
00:44:00,560 --> 00:44:04,200
Speaker 1: scene in that movie. But in that movie also a

774
00:44:04,280 --> 00:44:07,800
Speaker 1: Jean Pierre Millville movie, also starring a Lende Lawn. He's

775
00:44:07,920 --> 00:44:12,719
Speaker 1: like supposed to be like a cat burglar, and you're

776
00:44:12,800 --> 00:44:16,840
Speaker 1: just like, absolutely not, even if he was wearing a mask.

777
00:44:17,160 --> 00:44:20,239
Speaker 1: He's got like the hottest body, Like he's just too

778
00:44:20,440 --> 00:44:24,400
Speaker 1: hot to be a criminal. And I know that I

779
00:44:24,440 --> 00:44:26,880
Speaker 1: say that and knowing that there have been hot criminals

780
00:44:26,880 --> 00:44:30,640
Speaker 1: in the past, of course, but in the line of

781
00:44:30,719 --> 00:44:33,480
Speaker 1: duty that he's in where he's supposed to be, Like,

782
00:44:33,560 --> 00:44:36,319
Speaker 1: I mean, he's getting put into a police lineup with

783
00:44:36,480 --> 00:44:42,719
Speaker 1: like forty fifty dudes and he's clearly the hottest one

784
00:44:42,719 --> 00:44:45,359
Speaker 1: out of all of them. Yes, you're like, there's no

785
00:44:45,480 --> 00:44:49,600
Speaker 1: way he's like taller, hotter, more fit.

786
00:44:49,800 --> 00:44:52,840
Speaker 2: Like it's it's it's ridiculous.

787
00:44:54,200 --> 00:44:56,520
Speaker 1: I swear so. I spent a while since I've seen

788
00:44:56,560 --> 00:45:01,640
Speaker 1: the Samurai, but me too. It is one of my favorites.

789
00:45:01,680 --> 00:45:04,920
Speaker 1: Sets up this premise that I love about all hitmen,

790
00:45:06,000 --> 00:45:09,880
Speaker 1: which is a hitmanism. I'm gonna call it a hitmanism,

791
00:45:10,560 --> 00:45:16,960
Speaker 1: and it's when a hitman has to remove a bullet

792
00:45:17,000 --> 00:45:19,319
Speaker 1: from his body or tend to his own wound in

793
00:45:19,360 --> 00:45:19,960
Speaker 1: his apartment.

794
00:45:21,040 --> 00:45:23,760
Speaker 2: Hell yeah, and they have the little kidney. They usually

795
00:45:23,760 --> 00:45:28,520
Speaker 2: have a kidney bean shaped metal dish with which they

796
00:45:28,600 --> 00:45:31,760
Speaker 2: PLoP the bullet into. That does not happen in this movie,

797
00:45:31,760 --> 00:45:33,879
Speaker 2: but that is sort of one of the you know,

798
00:45:34,600 --> 00:45:35,520
Speaker 2: trademarks of that.

799
00:45:35,719 --> 00:45:44,040
Speaker 1: Yes, and the apartments are invariably the most fucking downtrodden, disgusting,

800
00:45:44,200 --> 00:45:49,200
Speaker 1: skid row ass places desolate. Yeah, except he has a bird.

801
00:45:49,520 --> 00:45:53,520
Speaker 1: He also has a bird, which plays heavily into the film.

802
00:45:53,560 --> 00:45:57,680
Speaker 1: I feel like it's an allegory perhaps, but yeah, so

803
00:45:57,760 --> 00:46:00,880
Speaker 1: he's like in the shitty little apartment with his bird,

804
00:46:01,040 --> 00:46:07,280
Speaker 1: and he's removing Civil War esque bandages from his arms

805
00:46:07,440 --> 00:46:12,440
Speaker 1: and he's like removed anyway. I love hitmanisms like that.

806
00:46:12,640 --> 00:46:14,960
Speaker 2: Yes, but this this movie kind of is like a

807
00:46:15,040 --> 00:46:20,439
Speaker 2: classic hit Man movie where it's like he finishes the job,

808
00:46:20,520 --> 00:46:21,840
Speaker 2: but he's set up.

809
00:46:21,840 --> 00:46:23,719
Speaker 1: By the people who hired him.

810
00:46:24,000 --> 00:46:29,080
Speaker 2: Yes, you know, And so that was fun for to

811
00:46:29,120 --> 00:46:32,560
Speaker 2: see such an early version of that type of movie

812
00:46:33,200 --> 00:46:35,960
Speaker 2: with this movie, you know, it reminded me of did

813
00:46:36,000 --> 00:46:39,719
Speaker 2: you see David Fincher's The Killer from twenty twenty three

814
00:46:39,760 --> 00:46:41,239
Speaker 2: with Michael Fassbender.

815
00:46:41,400 --> 00:46:43,200
Speaker 1: Oh of course I did. Well. See.

816
00:46:43,239 --> 00:46:46,200
Speaker 2: I feel like that is like sort of a in

817
00:46:46,239 --> 00:46:49,000
Speaker 2: some ways a modern less Samurai. But see in that

818
00:46:49,040 --> 00:46:50,960
Speaker 2: there's a specific part where he's like, I need to

819
00:46:51,000 --> 00:46:54,320
Speaker 2: blend in so I dress really bad like a German tourist.

820
00:46:54,440 --> 00:46:57,040
Speaker 1: Right, right, right? Have we talked about this movie? I

821
00:46:57,040 --> 00:47:00,399
Speaker 1: feel like we talked about this movie before because that

822
00:47:00,480 --> 00:47:08,560
Speaker 1: movie stands out to me because I so speaking of hypmnisms, right, yeah,

823
00:47:08,840 --> 00:47:12,600
Speaker 1: Michael Fassbender in that movie is so weird and like

824
00:47:12,680 --> 00:47:15,120
Speaker 1: listens to the Smiths, which I'm like, do Hitman listen

825
00:47:15,160 --> 00:47:18,480
Speaker 1: to the Smiths? I'm not sure. I guess we'll see.

826
00:47:19,960 --> 00:47:23,640
Speaker 2: He eats egg mcmuffins, but only the egg meat and cheese.

827
00:47:23,719 --> 00:47:26,239
Speaker 2: He does not eat the uh, he doesn't eat the

828
00:47:26,280 --> 00:47:27,120
Speaker 2: English muffin part.

829
00:47:27,280 --> 00:47:29,200
Speaker 1: Well, And like the most notable to me is that,

830
00:47:29,320 --> 00:47:32,200
Speaker 1: like in the past, in old Hitman movies, perhaps in

831
00:47:32,320 --> 00:47:37,160
Speaker 1: old Jean Pierre Millville films, and especially in Italian crime

832
00:47:37,200 --> 00:47:41,480
Speaker 1: films from like the seventies, everybody is drinking J and B. Scotch.

833
00:47:42,080 --> 00:47:44,080
Speaker 1: Mm hmm. That's a classic.

834
00:47:44,800 --> 00:47:46,319
Speaker 2: I feel like that shows up in a lot of

835
00:47:46,400 --> 00:47:49,040
Speaker 2: genre movies, yes, JB.

836
00:47:49,160 --> 00:47:54,120
Speaker 1: Scotch definitely, you know, in these like European action films,

837
00:47:54,200 --> 00:47:58,400
Speaker 1: crime films. So when I watched The Killer with Michael Fassbender,

838
00:47:58,440 --> 00:48:02,040
Speaker 1: the David Fincher movie. I was like, this motherfucker's drinking Ensure?

839
00:48:04,400 --> 00:48:08,040
Speaker 1: So is he? Are we saying that Ensure is the

840
00:48:08,120 --> 00:48:10,200
Speaker 1: new Hitman drink of choice? Like they don't want to

841
00:48:10,239 --> 00:48:13,200
Speaker 1: drink Scotch now they just want protein shakes.

842
00:48:13,600 --> 00:48:16,720
Speaker 2: No one has any style anymore. I bet Fastbender wasn't

843
00:48:16,760 --> 00:48:19,480
Speaker 2: the killer in that movie. Wasn't smoking SIGs?

844
00:48:19,680 --> 00:48:21,839
Speaker 1: Oh he was drinking in sure. I guess we're when

845
00:48:21,880 --> 00:48:26,560
Speaker 1: mom drinks so she doesn't get osteoporosis or whatever. It's crazy.

846
00:48:26,840 --> 00:48:29,680
Speaker 1: They're crazy out here with the hitmanisms. Anyway, I must say,

847
00:48:30,600 --> 00:48:32,759
Speaker 1: good movie, though I thought I actually liked it. I

848
00:48:32,840 --> 00:48:33,120
Speaker 1: liked it.

849
00:48:33,160 --> 00:48:35,840
Speaker 2: I liked that movie. Yeah. Have you seen any of

850
00:48:35,920 --> 00:48:39,160
Speaker 2: Alan Allendelon's English movie The thing about him is he

851
00:48:39,239 --> 00:48:41,800
Speaker 2: tried to come over to the US to make it

852
00:48:41,840 --> 00:48:44,120
Speaker 2: as a big Hollywood dude because he was like this

853
00:48:44,280 --> 00:48:47,919
Speaker 2: huge star in Europe, but he wanted to, you know,

854
00:48:48,160 --> 00:48:52,320
Speaker 2: make it in Hollywood. But he claims his French accent

855
00:48:52,640 --> 00:48:55,880
Speaker 2: stopped him from becoming a huge star. But have you

856
00:48:55,920 --> 00:49:02,000
Speaker 2: seen any of his English language movies? I actually have, Nah,

857
00:49:02,160 --> 00:49:04,600
Speaker 2: I was just curious to see how those were like.

858
00:49:04,640 --> 00:49:07,839
Speaker 2: That just shows you how those were not I don't

859
00:49:07,840 --> 00:49:09,440
Speaker 2: think particularly well received.

860
00:49:11,000 --> 00:49:19,640
Speaker 1: Yeah, he it was no eve Montaon right, like Who's Who?

861
00:49:19,640 --> 00:49:21,239
Speaker 1: I think is like one of the best examples of

862
00:49:21,280 --> 00:49:23,440
Speaker 1: like a French actor that like had an accent but

863
00:49:23,480 --> 00:49:26,799
Speaker 1: did American movies, a lot of English language movies. Yeah,

864
00:49:26,800 --> 00:49:31,279
Speaker 1: I never saw it. Honestly, to me, there was a

865
00:49:31,360 --> 00:49:34,200
Speaker 1: classic period of a landolon movies, and I feel like

866
00:49:34,400 --> 00:49:37,319
Speaker 1: it is like a world in which I stay. I

867
00:49:37,440 --> 00:49:39,160
Speaker 1: returned to it constantly.

868
00:49:39,880 --> 00:49:41,400
Speaker 2: Well, he had such a run.

869
00:49:41,680 --> 00:49:47,200
Speaker 1: I mean the cutout that I make out with every

870
00:49:47,280 --> 00:49:51,680
Speaker 1: night behind me is from Rocco and his Brothers, which is,

871
00:49:51,840 --> 00:49:54,040
Speaker 1: you know, one of the He's a lot younger in

872
00:49:54,080 --> 00:49:58,320
Speaker 1: that movie than in Samurai, and it's perfect. It's like

873
00:49:58,360 --> 00:50:00,359
Speaker 1: a perfect film. And so I'm just like, I don't know,

874
00:50:00,560 --> 00:50:04,080
Speaker 1: it's like when it's good, you don't want to go

875
00:50:05,480 --> 00:50:08,160
Speaker 1: too far. Like I feel like he's got such good

876
00:50:08,280 --> 00:50:10,040
Speaker 1: movies all in a row that I'm like, I love

877
00:50:10,080 --> 00:50:14,040
Speaker 1: my little world. He's an icon of smoking because of

878
00:50:14,080 --> 00:50:17,520
Speaker 1: these movies, Like he's an icon of like French crime

879
00:50:17,920 --> 00:50:22,120
Speaker 1: cigarette smoking. Melville was a big part of that image obviously,

880
00:50:22,600 --> 00:50:26,520
Speaker 1: but also I think that like generally you can't get

881
00:50:26,560 --> 00:50:30,200
Speaker 1: any better smoking than in like French crime films.

882
00:50:31,040 --> 00:50:35,080
Speaker 2: Well, there's just so many, Like there's so many. I

883
00:50:35,080 --> 00:50:39,239
Speaker 2: feel like, long takes on just a person's face with

884
00:50:39,360 --> 00:50:41,759
Speaker 2: like a cigarette in their lips and the smoke just

885
00:50:41,840 --> 00:50:45,200
Speaker 2: wafting up like that is like part of the genre,

886
00:50:45,800 --> 00:50:49,560
Speaker 2: and so it's very conducive to cigarette smoking, you know.

887
00:50:49,920 --> 00:50:53,000
Speaker 2: Like the opening sequence of this movie, it's just this

888
00:50:53,239 --> 00:50:56,480
Speaker 2: long take of him laying on his bed with the

889
00:50:56,560 --> 00:50:59,399
Speaker 2: damn bird chirping and him just smoking a cigarette. It's

890
00:50:59,440 --> 00:51:00,600
Speaker 2: like five and it's long.

891
00:51:00,680 --> 00:51:04,040
Speaker 1: Yeah, I mean it's almost like the French were good

892
00:51:04,040 --> 00:51:07,640
Speaker 1: at smoking. Yeah, look at John.

893
00:51:07,440 --> 00:51:11,480
Speaker 2: Bier Melville's run. Speaking of runs, nineteen sixty seven La Samurai,

894
00:51:11,719 --> 00:51:15,840
Speaker 2: nineteen sixty nine Army of Shadows another one of his,

895
00:51:16,360 --> 00:51:20,520
Speaker 2: another banger, and then nineteen seventy Le circ Larrouge. That's

896
00:51:20,600 --> 00:51:23,960
Speaker 2: like three or four years. What an incredible run.

897
00:51:24,520 --> 00:51:26,440
Speaker 1: I mean, you don't even want to get me started

898
00:51:26,600 --> 00:51:31,680
Speaker 1: on my favorite of his films, Leon Moren Priest, which

899
00:51:31,719 --> 00:51:34,680
Speaker 1: is Oh yes, I think it's in the first slot

900
00:51:34,680 --> 00:51:38,520
Speaker 1: on my letterboxed faves. Wow, it's maybe number one, it's

901
00:51:38,520 --> 00:51:39,520
Speaker 1: definitely the four.

902
00:51:39,920 --> 00:51:45,200
Speaker 2: But I haven't seen it. Holy shit, Casey, you're putting

903
00:51:45,200 --> 00:51:45,920
Speaker 2: it on The Lost.

904
00:51:45,960 --> 00:51:48,239
Speaker 1: Oh my god, you watch it, Li, you will die.

905
00:51:48,280 --> 00:51:48,799
Speaker 1: Its so good.

906
00:51:49,520 --> 00:51:52,800
Speaker 2: I love priest movies. I love Diary of a Country Priest.

907
00:51:53,560 --> 00:51:55,080
Speaker 2: You're gonna love First Reformed.

908
00:51:55,280 --> 00:51:58,520
Speaker 1: Yeah, and you just watch Black Narcissius, so you're gonna

909
00:51:58,800 --> 00:52:06,799
Speaker 1: totally go crazy because it's kind of conceptually the same thing. Cool. Yeah, Conclave.

910
00:52:06,840 --> 00:52:09,200
Speaker 1: I want to see Conclave. I haven't seen. They've been

911
00:52:09,200 --> 00:52:12,880
Speaker 1: pushing Conclave a lot because of the new priest or

912
00:52:12,920 --> 00:52:15,080
Speaker 1: I'm sorry, the new the new priest, the old pope,

913
00:52:15,239 --> 00:52:16,399
Speaker 1: the new Pope. As of this.

914
00:52:16,440 --> 00:52:20,000
Speaker 2: Time, there is no new pope. We're in between.

915
00:52:21,320 --> 00:52:23,759
Speaker 1: Well, you know, you know who they got. There's a

916
00:52:23,840 --> 00:52:28,319
Speaker 1: Filipinos at the forefront. You don't know that. I've been

917
00:52:28,400 --> 00:52:31,440
Speaker 1: gutted for this guy. Like everybody, all the Filipinos I know,

918
00:52:31,480 --> 00:52:34,200
Speaker 1: are rallying behind this guy. Like they're just basically like,

919
00:52:34,239 --> 00:52:36,360
Speaker 1: we need our dude in there, we need our people

920
00:52:36,400 --> 00:52:40,200
Speaker 1: in there. It's time. Yes, I agree. You know it's funny.

921
00:52:40,320 --> 00:52:42,880
Speaker 2: My wife is Filipino, and this is something that I

922
00:52:42,920 --> 00:52:47,080
Speaker 2: think Minnesotans and Filipinos have in common. Anyone who is

923
00:52:47,440 --> 00:52:55,000
Speaker 2: even slightly slightly Filipino they're they are celebrated, haralded, and uh,

924
00:52:55,360 --> 00:52:56,560
Speaker 2: you know they love them.

925
00:52:56,960 --> 00:53:01,479
Speaker 1: You know, even Rob Schneider, he's Filipino. I know that. Okay,

926
00:53:01,680 --> 00:53:04,160
Speaker 1: listen when they find when they find out that, like

927
00:53:04,200 --> 00:53:06,479
Speaker 1: this happens a lot with sports players. If a sports

928
00:53:06,520 --> 00:53:09,560
Speaker 1: player comes out as like half Filipino, forget it. You're

929
00:53:09,560 --> 00:53:12,000
Speaker 1: a part. You're a part. That's why my mom loves

930
00:53:12,080 --> 00:53:14,160
Speaker 1: Kana Reeves so much because she claims that there's some

931
00:53:14,239 --> 00:53:15,520
Speaker 1: Filipino ancestry.

932
00:53:15,640 --> 00:53:18,400
Speaker 2: I've heard this too, Yes, I've heard this too. The

933
00:53:18,440 --> 00:53:22,840
Speaker 2: new lead singer of Journey Filipino. But the same is

934
00:53:22,880 --> 00:53:27,880
Speaker 2: with Minnesotan's. If you have any sort of passing, like

935
00:53:28,320 --> 00:53:32,040
Speaker 2: if you're like ma, a celebrity's mom was from Minnesota,

936
00:53:32,080 --> 00:53:34,040
Speaker 2: I feel like we know about that. It's sort of

937
00:53:34,040 --> 00:53:38,280
Speaker 2: a similar thing. So I related to Tricia on that, yes,

938
00:53:38,480 --> 00:53:45,080
Speaker 2: very immediately. Anyways, any other thoughts on Le Samurai Millie.

939
00:53:44,800 --> 00:53:47,640
Speaker 1: I don't know. Classic film. Everybody should watch it. It's

940
00:53:47,680 --> 00:53:51,120
Speaker 1: on Criterion Channel. It's uh, it's there's no danger of

941
00:53:51,120 --> 00:53:53,720
Speaker 1: it going away because I think that it's a Janis title,

942
00:53:53,800 --> 00:53:54,560
Speaker 1: so they own it.

943
00:53:54,560 --> 00:53:57,839
Speaker 2: It's one of the classic film school you gotta see

944
00:53:57,840 --> 00:53:59,520
Speaker 2: this movie. Yeah, like movies.

945
00:53:59,719 --> 00:54:02,040
Speaker 1: And if you don't know who Llendlan is and you

946
00:54:02,080 --> 00:54:04,200
Speaker 1: want to just you know, die right into his hotness.

947
00:54:04,200 --> 00:54:06,480
Speaker 1: You can't find a better movie than The Samurai as

948
00:54:06,520 --> 00:54:07,600
Speaker 1: far as I'm concerned.

949
00:54:07,680 --> 00:54:14,880
Speaker 2: So not about a Samurai. Just know that going you.

950
00:54:14,880 --> 00:54:17,239
Speaker 1: Know the quote at the beginning that is in every

951
00:54:17,320 --> 00:54:23,120
Speaker 1: John piter Mellville movie that sometimes is made up. He'll

952
00:54:23,160 --> 00:54:26,600
Speaker 1: explain to you why he equates Samurais with Hitman. Do

953
00:54:26,640 --> 00:54:27,239
Speaker 1: you know what I'm saying?

954
00:54:27,280 --> 00:54:30,000
Speaker 2: Sure, Yeah, there's a connective tissue there.

955
00:54:30,080 --> 00:54:41,680
Speaker 1: Sure, all right. So we have a couple of great

956
00:54:41,680 --> 00:54:46,480
Speaker 1: guests for this week's My Area of Expertise, which is

957
00:54:46,920 --> 00:54:48,600
Speaker 1: part of the show where we bring on a guest

958
00:54:48,640 --> 00:54:54,319
Speaker 1: to talk about their very specific niche area of film knowledge.

959
00:54:54,680 --> 00:54:57,759
Speaker 1: And I have to say I love these guys. I've

960
00:54:57,800 --> 00:54:59,600
Speaker 1: known them for a very long time. We used to

961
00:54:59,640 --> 00:55:02,759
Speaker 1: work to together. I was technically on the board of

962
00:55:03,320 --> 00:55:06,160
Speaker 1: the nonprofit that they work for, which is called the

963
00:55:06,200 --> 00:55:11,080
Speaker 1: American Genre Film Archive based out of Austin, Texas. And

964
00:55:11,840 --> 00:55:17,200
Speaker 1: their programmers, their musicians, their writers that they just do

965
00:55:17,320 --> 00:55:19,520
Speaker 1: a lot. They were a lot of hats. They've presented

966
00:55:19,520 --> 00:55:23,759
Speaker 1: a lot of films in their past and currently and

967
00:55:23,840 --> 00:55:26,160
Speaker 1: I just loved them at pieces and I'm glad that

968
00:55:26,200 --> 00:55:28,520
Speaker 1: they're here to talk about their area of expertise. So

969
00:55:28,640 --> 00:55:33,560
Speaker 1: please everybody welcome Rettberg and Joe Ziamba from the American

970
00:55:33,560 --> 00:55:34,520
Speaker 1: genre film Markive.

971
00:55:34,719 --> 00:55:36,279
Speaker 2: Hi, I'm so happy to be here.

972
00:55:36,480 --> 00:55:38,520
Speaker 4: Yeah, a longtime listener, first time caller.

973
00:55:40,880 --> 00:55:43,680
Speaker 1: Well, I'm glad you guys are here because I think

974
00:55:44,680 --> 00:55:47,960
Speaker 1: y'all are really perfect for the topic that we're going

975
00:55:48,000 --> 00:55:50,640
Speaker 1: to talk about today, which is very near and dear

976
00:55:50,680 --> 00:55:52,080
Speaker 1: to my heart. And I was wondering if y'all wanted

977
00:55:52,080 --> 00:55:53,200
Speaker 1: to set that up a bit. What do you what

978
00:55:53,200 --> 00:55:55,040
Speaker 1: are you? What is your area of expertise?

979
00:55:55,120 --> 00:56:00,319
Speaker 4: Guys, Well, Joe and I have had a we had

980
00:56:00,360 --> 00:56:05,239
Speaker 4: a long history bounding about the region of found footage.

981
00:56:05,920 --> 00:56:09,200
Speaker 4: And this comes in various forms. This could be stuff

982
00:56:09,320 --> 00:56:11,319
Speaker 4: you just watch on the Internet, or it could be

983
00:56:11,760 --> 00:56:14,759
Speaker 4: tapes passed around the underground that somehow made their way

984
00:56:14,800 --> 00:56:17,719
Speaker 4: to us. I worked in a video store for many

985
00:56:17,760 --> 00:56:22,560
Speaker 4: years in the aughts. Joe and I crosspaths like twelve

986
00:56:22,600 --> 00:56:26,000
Speaker 4: years ago at Sina Family, which was as a now

987
00:56:26,040 --> 00:56:32,320
Speaker 4: defunct movie theater here in Los Angeles. It's a multifaceted

988
00:56:32,360 --> 00:56:34,640
Speaker 4: plane and I don't mean to sound new agy or

989
00:56:34,680 --> 00:56:36,760
Speaker 4: weird about it, but there's a lot of intersecting points

990
00:56:36,760 --> 00:56:38,920
Speaker 4: between myself, Joe, and this medium.

991
00:56:39,640 --> 00:56:42,520
Speaker 1: Yeah. Well, okay, I want to set this up properly

992
00:56:42,600 --> 00:56:45,399
Speaker 1: because I have a feeling that there are people out

993
00:56:45,440 --> 00:56:51,040
Speaker 1: there who are maybe younger, who maybe have never experienced

994
00:56:51,880 --> 00:56:58,000
Speaker 1: the heartache of having to find things without YouTube or

995
00:56:59,560 --> 00:57:04,000
Speaker 1: archived or just googling. So let's talk a little bit

996
00:57:04,040 --> 00:57:06,600
Speaker 1: about that, because I think we're roughly the same age, right,

997
00:57:06,600 --> 00:57:08,719
Speaker 1: We kind of grew up in the same era of

998
00:57:08,840 --> 00:57:13,680
Speaker 1: like home video television, kind of like pre internet, right,

999
00:57:14,440 --> 00:57:16,720
Speaker 1: And I've certainly talked about this on you know, on

1000
00:57:16,760 --> 00:57:20,080
Speaker 1: the podcast before, about you know, having to find like

1001
00:57:20,200 --> 00:57:24,000
Speaker 1: eighth generation dubs of movies back in the day, and uh,

1002
00:57:24,440 --> 00:57:26,920
Speaker 1: you know, not everything was obviously on home video or

1003
00:57:27,000 --> 00:57:29,200
Speaker 1: stream there was no streaming, so it was just such

1004
00:57:29,240 --> 00:57:33,360
Speaker 1: a challenge to find stuff in that at some point,

1005
00:57:33,400 --> 00:57:38,360
Speaker 1: the challenge was sort of the thrill, you know, And

1006
00:57:38,440 --> 00:57:42,080
Speaker 1: so I just wanted to get y'all's opinion about what

1007
00:57:42,320 --> 00:57:45,280
Speaker 1: was like growing up in that era, you know, set

1008
00:57:45,320 --> 00:57:48,080
Speaker 1: it up for everybody who maybe doesn't understand what we're

1009
00:57:48,080 --> 00:57:48,600
Speaker 1: talking about.

1010
00:57:49,120 --> 00:57:51,920
Speaker 4: Oh yeah, Well, I think to give us some context,

1011
00:57:52,240 --> 00:57:55,120
Speaker 4: we were all late gen X, and that kind of

1012
00:57:55,160 --> 00:57:59,600
Speaker 4: sets the scene. And I'm very burned on it because

1013
00:58:00,240 --> 00:58:03,120
Speaker 4: I was not Gen X growing up. I was born

1014
00:58:03,120 --> 00:58:06,880
Speaker 4: in seventy nine, and so I was considered the next generation.

1015
00:58:07,160 --> 00:58:10,400
Speaker 4: But somewhere in the twenty tens, all things, all three

1016
00:58:10,400 --> 00:58:15,320
Speaker 4: of us got retroactively lumped into gen X. Not happy

1017
00:58:15,360 --> 00:58:19,720
Speaker 4: about it, but oh well, I kind of like it.

1018
00:58:19,760 --> 00:58:21,280
Speaker 1: But I also do I get what you mean. I

1019
00:58:21,320 --> 00:58:21,880
Speaker 1: get what you mean.

1020
00:58:22,200 --> 00:58:26,720
Speaker 4: There are worse things there are, Yeah, So I guess

1021
00:58:26,880 --> 00:58:29,080
Speaker 4: this was. We all grew up at a time without

1022
00:58:29,080 --> 00:58:32,920
Speaker 4: the Internet in the home, necessarily without cell phones, and

1023
00:58:32,920 --> 00:58:34,920
Speaker 4: we were the last generation I think to do so

1024
00:58:36,120 --> 00:58:38,160
Speaker 4: I had cable television in the home, so I feel

1025
00:58:38,200 --> 00:58:40,720
Speaker 4: like I was as plugged in as possible as plugged

1026
00:58:40,720 --> 00:58:44,720
Speaker 4: into someone could be, you know, from that generation. But

1027
00:58:44,760 --> 00:58:46,800
Speaker 4: they were also the generation that had to send away

1028
00:58:46,840 --> 00:58:50,440
Speaker 4: for things through mail order if you really wanted them. Joe,

1029
00:58:50,480 --> 00:58:52,360
Speaker 4: I'm sure you did that a lot. Absolutely.

1030
00:58:52,360 --> 00:58:55,200
Speaker 3: That's my introduction to all of this, actually was I

1031
00:58:55,240 --> 00:58:59,960
Speaker 3: remember reading about underground VHS tapes of compilations, like homemade

1032
00:59:00,040 --> 00:59:02,440
Speaker 3: compilations that people made, and then film Threat had released

1033
00:59:02,440 --> 00:59:04,720
Speaker 3: a couple I think with like really gross titles like

1034
00:59:05,320 --> 00:59:08,560
Speaker 3: anal cathode to something you know, just like what like,

1035
00:59:08,800 --> 00:59:10,600
Speaker 3: and I was I was fascinated by them, but I

1036
00:59:10,640 --> 00:59:12,200
Speaker 3: didn't want to watch them because I knew they would

1037
00:59:12,200 --> 00:59:13,720
Speaker 3: have stuff on it. At the time, I was really

1038
00:59:13,760 --> 00:59:17,640
Speaker 3: young that I would like really disturbed me. So it

1039
00:59:17,680 --> 00:59:20,280
Speaker 3: was like the DVDR eras when I really got into it,

1040
00:59:20,320 --> 00:59:22,520
Speaker 3: like Revenge is My Destiny dot com in five Minutes

1041
00:59:22,560 --> 00:59:25,840
Speaker 3: to Live dot com when they actually had found footage

1042
00:59:25,840 --> 00:59:28,320
Speaker 3: pieces that you could buy on DBDR, and it was

1043
00:59:28,320 --> 00:59:30,320
Speaker 3: really electric because you had no idea what you're going

1044
00:59:30,360 --> 00:59:32,840
Speaker 3: to get. Some of them could be really horrible and boring,

1045
00:59:32,880 --> 00:59:35,800
Speaker 3: and some were just like revelations. So it was very

1046
00:59:35,840 --> 00:59:38,760
Speaker 3: It was like the feeling of sending away for something

1047
00:59:38,760 --> 00:59:40,400
Speaker 3: and not knowing exactly what you're going to get. It's

1048
00:59:40,400 --> 00:59:42,560
Speaker 3: hard to describe, but is like all part of the

1049
00:59:43,240 --> 00:59:44,280
Speaker 3: experience of doing it.

1050
00:59:44,520 --> 00:59:47,200
Speaker 2: And so these compilations that you guys are like sending

1051
00:59:47,200 --> 00:59:50,480
Speaker 2: out for or like seeking out what kind of like

1052
00:59:50,680 --> 00:59:53,480
Speaker 2: just for our listeners, like what kind of footage is

1053
00:59:53,600 --> 00:59:59,560
Speaker 2: actually on these compilations? What are these like narrative stories, documentaries,

1054
01:00:00,040 --> 01:00:03,000
Speaker 2: home videos or all of the above, Like, what exactly

1055
01:00:03,080 --> 01:00:06,880
Speaker 2: is the content of this type of like found footage

1056
01:00:06,920 --> 01:00:08,600
Speaker 2: that you're seeking out at this time?

1057
01:00:08,920 --> 01:00:11,360
Speaker 4: Oh boy, I mean I would have to classify most

1058
01:00:11,360 --> 01:00:16,080
Speaker 4: of it as edgy. Yeah, you know, things that could

1059
01:00:16,160 --> 01:00:20,360
Speaker 4: not be broadcast or were secreted away into the archives

1060
01:00:20,400 --> 01:00:24,760
Speaker 4: of whatever broadcast entity, never to be seen. I don't know,

1061
01:00:24,880 --> 01:00:28,320
Speaker 4: like random collisions of crap, which is I guess was

1062
01:00:28,440 --> 01:00:33,560
Speaker 4: the basis of YouTube. Sometimes they were here's a compilation

1063
01:00:33,720 --> 01:00:36,800
Speaker 4: of all like the best moments from Italian horror movies.

1064
01:00:37,440 --> 01:00:42,680
Speaker 4: Sometimes it was here's like bloopers or you know, things

1065
01:00:42,680 --> 01:00:48,440
Speaker 4: that are just too too hot for TV, incredible commercials,

1066
01:00:48,760 --> 01:00:52,520
Speaker 4: you know, the proto meme stuff. I guess the things

1067
01:00:52,520 --> 01:00:54,840
Speaker 4: that were really worthy in that world were of a

1068
01:00:55,000 --> 01:00:58,200
Speaker 4: proto meme, proto viral nature.

1069
01:00:59,440 --> 01:01:03,000
Speaker 1: I think that actually, key, I think this is exactly

1070
01:01:04,480 --> 01:01:07,680
Speaker 1: what we were doing. Is I think we were watching

1071
01:01:08,640 --> 01:01:14,960
Speaker 1: compilations of memes or you know, viral videos, and you know,

1072
01:01:15,320 --> 01:01:17,880
Speaker 1: it was just this thing where there were certain people

1073
01:01:18,360 --> 01:01:21,520
Speaker 1: that had It almost felt like there were people who

1074
01:01:21,800 --> 01:01:24,840
Speaker 1: were just like home recording and they were recording things

1075
01:01:24,840 --> 01:01:27,600
Speaker 1: off of TV or they had you know, somehow had

1076
01:01:27,600 --> 01:01:31,200
Speaker 1: an older brother that had footage of when like the

1077
01:01:31,240 --> 01:01:34,320
Speaker 1: max Hedroom guy broke into the TV station and took

1078
01:01:34,320 --> 01:01:37,280
Speaker 1: it over. You know, like these like weird random moments

1079
01:01:37,280 --> 01:01:40,760
Speaker 1: that happened like in either on TV or on video

1080
01:01:40,880 --> 01:01:45,000
Speaker 1: or something and made comps and it would just be

1081
01:01:45,080 --> 01:01:48,640
Speaker 1: like one thing after another. And I mean I think

1082
01:01:48,680 --> 01:01:51,680
Speaker 1: I started too around that Five Minutes to Live era,

1083
01:01:51,840 --> 01:01:57,360
Speaker 1: which was a mail order label really for a while.

1084
01:01:57,920 --> 01:02:00,400
Speaker 1: But you know, I bought like all of the found

1085
01:02:00,400 --> 01:02:03,240
Speaker 1: footage stuff like back in the day, Like you know,

1086
01:02:03,320 --> 01:02:05,640
Speaker 1: I was just thinking about this the other day. I

1087
01:02:05,680 --> 01:02:08,560
Speaker 1: you know, bought James Brown's Future Shock, which was this

1088
01:02:10,120 --> 01:02:13,400
Speaker 1: short lived sort of soul train type of show that

1089
01:02:13,480 --> 01:02:17,760
Speaker 1: he had made in Atlanta actually in the seventies. And

1090
01:02:17,880 --> 01:02:19,600
Speaker 1: I mean, where would you be able to find that?

1091
01:02:19,800 --> 01:02:22,040
Speaker 1: Somebody dug it up, found it, put it on a

1092
01:02:22,160 --> 01:02:25,280
Speaker 1: VHS tape or like a DVDR and sold it through

1093
01:02:25,280 --> 01:02:28,760
Speaker 1: a website, and it was that kind of stuff. And

1094
01:02:29,240 --> 01:02:33,040
Speaker 1: I also remember stuff like TV Carnage and Everything Is Terrible,

1095
01:02:33,080 --> 01:02:34,560
Speaker 1: which I think is kind of like the thing that

1096
01:02:34,680 --> 01:02:38,640
Speaker 1: more people know about now, which were kind of like

1097
01:02:38,720 --> 01:02:45,160
Speaker 1: compilations of television movies like random stuff like a lot

1098
01:02:45,200 --> 01:02:50,320
Speaker 1: of Christian television like public broadcasting, which was so fun

1099
01:02:50,360 --> 01:02:51,760
Speaker 1: to watch, like if you just put it on at

1100
01:02:51,800 --> 01:02:54,800
Speaker 1: a party, everybody would sit around and watch it, right.

1101
01:02:55,640 --> 01:02:59,720
Speaker 4: Yeah. I also Five Minutes to Live was Atlanta based.

1102
01:03:00,040 --> 01:03:02,040
Speaker 4: I think that guy who ran the labels where I

1103
01:03:02,080 --> 01:03:02,800
Speaker 4: didn't realize that.

1104
01:03:03,200 --> 01:03:06,840
Speaker 1: Yeah, I think there's a little bit of drama there. Well,

1105
01:03:06,920 --> 01:03:08,800
Speaker 1: I won't go into it because I don't know a

1106
01:03:08,840 --> 01:03:14,280
Speaker 1: lot about it, but I do believe that perhaps people

1107
01:03:14,280 --> 01:03:16,560
Speaker 1: are owed money or something. This is all I've heard.

1108
01:03:16,800 --> 01:03:19,760
Speaker 1: That's all I know. I'm not gonna go any further

1109
01:03:19,840 --> 01:03:24,040
Speaker 1: than that. But yeah, there was like a lot of

1110
01:03:24,080 --> 01:03:27,480
Speaker 1: different players back then. And then also again to Joe's

1111
01:03:27,520 --> 01:03:30,000
Speaker 1: earlier point of this is something that I think is

1112
01:03:30,040 --> 01:03:34,320
Speaker 1: really interesting too about where you would find like these

1113
01:03:34,360 --> 01:03:37,280
Speaker 1: mail order catalogs, because I remember seeing it in the

1114
01:03:37,320 --> 01:03:41,640
Speaker 1: back of like Fangoria and Room Orgue and Film Threat

1115
01:03:41,680 --> 01:03:45,520
Speaker 1: and all these magazines. But then I also would see like,

1116
01:03:45,560 --> 01:03:48,360
Speaker 1: do y'all remember the Sessions catalog, which was kind of

1117
01:03:48,360 --> 01:03:52,680
Speaker 1: this like skater like mail order catalog that you would

1118
01:03:52,720 --> 01:03:55,840
Speaker 1: find in the middle of like Alternative Press magazine. Do

1119
01:03:55,840 --> 01:03:59,880
Speaker 1: you remember Alternative Press magazine? And you could buy like

1120
01:04:00,400 --> 01:04:06,040
Speaker 1: skater clothes skater ephemera, like fucking like you know, weird

1121
01:04:06,240 --> 01:04:10,960
Speaker 1: alien neon signs for your bedroom clothes. But you could

1122
01:04:10,960 --> 01:04:14,920
Speaker 1: also buy records, and you could also buy tapes, like

1123
01:04:14,920 --> 01:04:20,440
Speaker 1: you could buy like compilations of like weird concerts that happened,

1124
01:04:20,480 --> 01:04:24,240
Speaker 1: and just kind of like viral like what they would

1125
01:04:24,280 --> 01:04:26,840
Speaker 1: call kind of underground videos, which were just kind of

1126
01:04:26,920 --> 01:04:30,640
Speaker 1: like again what we're talking about, And so it was

1127
01:04:30,680 --> 01:04:35,720
Speaker 1: always really embedded with like like kind of like you know,

1128
01:04:35,800 --> 01:04:41,080
Speaker 1: anti mainstream culture, sort of like skater punk, rock heavy

1129
01:04:41,120 --> 01:04:43,120
Speaker 1: metal culture. It was all kind of part and party

1130
01:04:43,160 --> 01:04:43,680
Speaker 1: of all of this.

1131
01:04:43,680 --> 01:04:47,400
Speaker 4: Stuff, right, Yeah, I mean it was The reason why

1132
01:04:47,480 --> 01:04:49,360
Speaker 4: it's so interesting to talk about this now is that

1133
01:04:49,360 --> 01:04:51,560
Speaker 4: I think it's a hidden history and everyone, just about

1134
01:04:51,560 --> 01:04:55,560
Speaker 4: everyone on the planet has forgotten what underground culture used

1135
01:04:55,640 --> 01:04:59,560
Speaker 4: to mean. Before the Internet and social media was a

1136
01:04:59,600 --> 01:05:04,040
Speaker 4: daily reality, most content on Earth was difficult to get

1137
01:05:05,040 --> 01:05:09,680
Speaker 4: and a lot of folks were in a monoculture just

1138
01:05:09,720 --> 01:05:12,360
Speaker 4: all watching the same thing. Let's go back thirty years

1139
01:05:12,400 --> 01:05:16,280
Speaker 4: and talk about Friends versus the punk underground. Most people

1140
01:05:16,320 --> 01:05:20,320
Speaker 4: were watching Friends in Seinfeld, but there's a small number

1141
01:05:20,360 --> 01:05:24,120
Speaker 4: of us who were not necessarily watching that and instead

1142
01:05:24,560 --> 01:05:29,400
Speaker 4: reading magazines going out to rock shows, talking to other people.

1143
01:05:29,840 --> 01:05:31,800
Speaker 4: That's the thing. A lot of what we're talking about

1144
01:05:31,800 --> 01:05:35,840
Speaker 4: doesn't happen without like human contact and human interaction, which

1145
01:05:35,920 --> 01:05:41,320
Speaker 4: is increasingly rare these days. Yeah, you had to buy media.

1146
01:05:42,160 --> 01:05:43,920
Speaker 4: That was one big thing. You had to actually fork

1147
01:05:43,920 --> 01:05:49,040
Speaker 4: over money to purchase an item and you could maybe

1148
01:05:49,080 --> 01:05:50,880
Speaker 4: copy it for your friends, or if it was a

1149
01:05:50,960 --> 01:05:52,760
Speaker 4: DVD maybe at the time you didn't know how to

1150
01:05:52,800 --> 01:05:58,440
Speaker 4: copy it. So everything lived was trapped on this media

1151
01:05:58,480 --> 01:06:00,360
Speaker 4: that you had to physically hand off to someone in

1152
01:06:00,440 --> 01:06:05,000
Speaker 4: order for them to get And this created an excitement,

1153
01:06:05,320 --> 01:06:12,880
Speaker 4: tangible like culture, a subculture. And now it's funny that

1154
01:06:12,960 --> 01:06:16,520
Speaker 4: memes and viral things is overground. It is the culture.

1155
01:06:16,520 --> 01:06:20,040
Speaker 4: It's the way that people communicate with each other and

1156
01:06:20,080 --> 01:06:22,680
Speaker 4: relate to each other is through watching some guy take

1157
01:06:22,720 --> 01:06:26,040
Speaker 4: a golf club to the nuts on fail army. That's

1158
01:06:26,040 --> 01:06:29,840
Speaker 4: how we relate instead of going to shows. I don't know.

1159
01:06:30,120 --> 01:06:36,360
Speaker 1: There's commercials like they put like these like nut crushing

1160
01:06:36,480 --> 01:06:39,920
Speaker 1: videos in Like there's actual like insurance commercials and stuff

1161
01:06:39,960 --> 01:06:41,920
Speaker 1: that play memes. It's crazy.

1162
01:06:43,560 --> 01:06:48,480
Speaker 4: Also mixtapes back then, they mimicked the channel changing quality

1163
01:06:48,840 --> 01:06:53,320
Speaker 4: of our television culture, especially especially in the eighties nineties,

1164
01:06:53,360 --> 01:06:56,040
Speaker 4: where you know, cable TV is present and then you

1165
01:06:56,040 --> 01:06:59,800
Speaker 4: have hundreds of channels. So the idea of these mixtapes

1166
01:07:00,040 --> 01:07:04,160
Speaker 4: acting as an alternative to television, it was a really

1167
01:07:04,240 --> 01:07:08,480
Speaker 4: mind blowing idea and the people who made the mixtapes

1168
01:07:08,520 --> 01:07:12,280
Speaker 4: it was kind of like bands. You know, it was

1169
01:07:12,520 --> 01:07:14,480
Speaker 4: I relate everything to the band metaphor, because I think

1170
01:07:14,480 --> 01:07:16,360
Speaker 4: that's how gen X people know how to talk to

1171
01:07:16,400 --> 01:07:16,760
Speaker 4: each other.

1172
01:07:18,280 --> 01:07:21,960
Speaker 2: Well, it is interesting you bring up like how that

1173
01:07:22,040 --> 01:07:26,600
Speaker 2: sort of like underground visuals are now held at the

1174
01:07:26,640 --> 01:07:32,200
Speaker 2: same place as mainstream media. You know, it's like I

1175
01:07:32,640 --> 01:07:35,320
Speaker 2: buy something on AM, I could go to Amazon dot

1176
01:07:35,320 --> 01:07:37,880
Speaker 2: com and the same way you would find something that's

1177
01:07:37,920 --> 01:07:40,520
Speaker 2: like more alternative now is the same. It has a

1178
01:07:40,880 --> 01:07:45,760
Speaker 2: it's like on the same platform now, whereas before there

1179
01:07:45,880 --> 01:07:50,600
Speaker 2: was no real infrastructure, or like if there was an infrastructure,

1180
01:07:50,640 --> 01:07:55,080
Speaker 2: it was much more underground, much more difficult to navigate

1181
01:07:55,520 --> 01:07:59,680
Speaker 2: just to find this type of culture, let alone to

1182
01:07:59,800 --> 01:08:03,080
Speaker 2: like take it in. You know, it's very interesting how

1183
01:08:03,080 --> 01:08:03,840
Speaker 2: things have changed.

1184
01:08:03,960 --> 01:08:08,720
Speaker 4: Yeah, also buying things through these bootleggers, because let's be clear,

1185
01:08:08,800 --> 01:08:11,000
Speaker 4: the people who you were buying all these tapes from

1186
01:08:11,040 --> 01:08:14,240
Speaker 4: and magazines they're all bootleggers. None of them have the

1187
01:08:14,280 --> 01:08:16,920
Speaker 4: rights to do any of it. But the art of

1188
01:08:17,320 --> 01:08:22,320
Speaker 4: creating the mixtape and the art of distributing the mixtapes,

1189
01:08:22,360 --> 01:08:24,759
Speaker 4: those are two separate arts. They're both kind of lost

1190
01:08:24,800 --> 01:08:29,280
Speaker 4: because because everything is nothing, nothing is everything.

1191
01:08:29,600 --> 01:08:32,880
Speaker 2: Yeah, well, Millie, you had some story I remember, didn't

1192
01:08:32,880 --> 01:08:35,800
Speaker 2: You used to like buy dubs from some like security

1193
01:08:35,880 --> 01:08:38,360
Speaker 2: guard or like bouncer at some clubs.

1194
01:08:38,400 --> 01:08:41,720
Speaker 1: Am I making that up entirely? No, that is absolutely true.

1195
01:08:42,200 --> 01:08:44,799
Speaker 1: I think I've told the story before my last podcast.

1196
01:08:44,840 --> 01:08:47,960
Speaker 1: But yeah, I used to buy dubs of like Asian

1197
01:08:48,000 --> 01:08:52,120
Speaker 1: action movies from a bouncer at this really ceedy strip

1198
01:08:52,160 --> 01:08:55,840
Speaker 1: club in Atlanta. And he was a friend. He was

1199
01:08:55,880 --> 01:08:58,840
Speaker 1: the boyfriend of one of my friends from high school basically,

1200
01:08:58,920 --> 01:09:04,839
Speaker 1: and he was he had a folded up stapled papers

1201
01:09:04,880 --> 01:09:07,960
Speaker 1: like maybe like ten pages or something stapled folded and

1202
01:09:08,000 --> 01:09:10,840
Speaker 1: halfn't shoved in his back pocket, and if you were

1203
01:09:10,880 --> 01:09:15,280
Speaker 1: like wanting to see like the Heroic Trio or something,

1204
01:09:15,360 --> 01:09:18,000
Speaker 1: or like something that was like it was all Asian stuff.

1205
01:09:18,280 --> 01:09:21,880
Speaker 1: Typically a lot of you know, things you couldn't get

1206
01:09:21,920 --> 01:09:25,800
Speaker 1: imported into America because it was just extremely expensive to

1207
01:09:25,920 --> 01:09:29,840
Speaker 1: get Asian films back in the day, right or impossible,

1208
01:09:30,880 --> 01:09:34,040
Speaker 1: but he would make dubs from his collection and as

1209
01:09:34,040 --> 01:09:36,400
Speaker 1: long as you gave him fifty dollars in cash.

1210
01:09:37,080 --> 01:09:40,600
Speaker 3: Fifty Oh wow, that's pretty steep for like friends of

1211
01:09:40,760 --> 01:09:41,640
Speaker 3: friend exchange.

1212
01:09:41,720 --> 01:09:45,200
Speaker 1: Yo, these scumbags back in the day, they're like that

1213
01:09:45,240 --> 01:09:47,280
Speaker 1: didn't necessarily call him a scot. Well maybe I am.

1214
01:09:47,720 --> 01:09:49,519
Speaker 1: I don't even know. He will not be listening, so

1215
01:09:49,560 --> 01:09:53,000
Speaker 1: it doesn't really matter. But but like that was what

1216
01:09:53,200 --> 01:09:55,799
Speaker 1: Brian was talking about, how the distribution was an art form.

1217
01:09:56,040 --> 01:09:58,080
Speaker 1: It was there was a lot of guys out there

1218
01:09:58,160 --> 01:10:02,000
Speaker 1: just like charging the crazy some amounts for dubs and

1219
01:10:02,160 --> 01:10:04,960
Speaker 1: knowing that they had you because they were like where

1220
01:10:05,000 --> 01:10:06,960
Speaker 1: else you going to go? Baby, Like, I'm the only

1221
01:10:07,000 --> 01:10:09,640
Speaker 1: one you got, and so I would like give the

1222
01:10:09,680 --> 01:10:12,960
Speaker 1: sky fifty dollars in cash. He gave me like the

1223
01:10:13,000 --> 01:10:18,120
Speaker 1: story of Ricky Terrible Quality or whatever, like on a

1224
01:10:18,200 --> 01:10:21,240
Speaker 1: VHS tape, and then I was a happy college person.

1225
01:10:21,680 --> 01:10:24,600
Speaker 1: But yeah, that was like that, I mean, that's insane

1226
01:10:24,760 --> 01:10:28,120
Speaker 1: to think about, Like, you know, it's insane to think about,

1227
01:10:28,160 --> 01:10:31,559
Speaker 1: Like now the movies that I was buying from a

1228
01:10:31,600 --> 01:10:34,440
Speaker 1: bouncer to ship club are like on Criterion collection.

1229
01:10:34,439 --> 01:10:36,680
Speaker 3: Yeah, and like the four kuhd of some of those

1230
01:10:36,720 --> 01:10:39,200
Speaker 3: titles is less than fifty dollars, which is what you

1231
01:10:39,240 --> 01:10:41,720
Speaker 3: were paying on this bootleg VHS thirty years ago.

1232
01:10:42,960 --> 01:10:44,240
Speaker 1: So I want to talk to you guys a little

1233
01:10:44,240 --> 01:10:47,200
Speaker 1: bit about what you do at AGFA, because basically you're

1234
01:10:47,320 --> 01:10:51,280
Speaker 1: keeping the tradition of this alive in many ways. And

1235
01:10:51,320 --> 01:10:54,120
Speaker 1: I also want to talk about y'all specifically in your

1236
01:10:54,160 --> 01:10:58,040
Speaker 1: side projects, because I know both of you have kind

1237
01:10:58,040 --> 01:11:02,639
Speaker 1: of little side hustles that in found footage or you know,

1238
01:11:02,840 --> 01:11:06,000
Speaker 1: direct to video films. I would love to talk about that,

1239
01:11:06,080 --> 01:11:10,560
Speaker 1: But talk to me a little bit about AGFA generally,

1240
01:11:10,920 --> 01:11:15,240
Speaker 1: and then how AGFA is now kind of creating these

1241
01:11:15,320 --> 01:11:17,680
Speaker 1: comps in the same realm of what we were just

1242
01:11:17,720 --> 01:11:18,280
Speaker 1: talking about.

1243
01:11:19,479 --> 01:11:23,200
Speaker 4: Well, Joe, you give the history roundup of where we

1244
01:11:23,280 --> 01:11:23,679
Speaker 4: came from.

1245
01:11:23,840 --> 01:11:26,040
Speaker 3: Okay, all right, I'll try to keep it very brief

1246
01:11:26,120 --> 01:11:28,400
Speaker 3: because at this point AGFA is fifteen years old and

1247
01:11:28,439 --> 01:11:31,439
Speaker 3: there's been so many different iterations. But it started out

1248
01:11:31,479 --> 01:11:35,400
Speaker 3: as strictly a film archive with about three thousand feature

1249
01:11:35,479 --> 01:11:37,920
Speaker 3: length films. I'm thirty five millimeter and it was started

1250
01:11:37,960 --> 01:11:41,200
Speaker 3: by Tim and Carey League in Austin, Texas and for

1251
01:11:41,240 --> 01:11:43,559
Speaker 3: the longest time, there was one employee at AGVA and

1252
01:11:43,600 --> 01:11:46,400
Speaker 3: his name was Sebastian du Castillo. He's no longer at

1253
01:11:46,439 --> 01:11:48,120
Speaker 3: the staff, but we love him so much and he

1254
01:11:48,720 --> 01:11:52,040
Speaker 3: was the beating heart of AGFA for so long. And

1255
01:11:53,320 --> 01:11:57,080
Speaker 3: when let's see, I moved to Austin in twenty twelve

1256
01:11:57,320 --> 01:12:00,120
Speaker 3: and was introduced to the archive and seb and we

1257
01:12:00,160 --> 01:12:01,920
Speaker 3: really hit it off, and we were always kind of

1258
01:12:01,960 --> 01:12:04,240
Speaker 3: joking around at screenings like, oh, if we could do

1259
01:12:04,360 --> 01:12:07,040
Speaker 3: something more with agphilic, what can we do? And then

1260
01:12:07,080 --> 01:12:11,160
Speaker 3: it really snowballed in twenty sixteen where Tim League was

1261
01:12:11,240 --> 01:12:13,880
Speaker 3: interested in scanning films and the archive that were rare

1262
01:12:13,960 --> 01:12:15,799
Speaker 3: and so he was sending them out to be scanned,

1263
01:12:15,920 --> 01:12:18,320
Speaker 3: and the price to get them scanned was pretty enormous,

1264
01:12:18,800 --> 01:12:20,519
Speaker 3: and so I think it was his idea that which

1265
01:12:20,560 --> 01:12:22,519
Speaker 3: is like, oh, what if AGFA got a scanner and

1266
01:12:22,560 --> 01:12:24,519
Speaker 3: what if we could just digitize all these things? So

1267
01:12:24,560 --> 01:12:26,800
Speaker 3: we did a kickstarter to get that and it was successful.

1268
01:12:27,439 --> 01:12:30,120
Speaker 3: And as soon as that happened, we started working with

1269
01:12:30,120 --> 01:12:32,840
Speaker 3: Lisa Petrucci at Something Weird and got a lot of

1270
01:12:32,840 --> 01:12:35,599
Speaker 3: the Something Weird archive and started scanning those and started

1271
01:12:35,600 --> 01:12:38,400
Speaker 3: the home video label, and Brett came on to do

1272
01:12:38,520 --> 01:12:42,360
Speaker 3: the theatrical aspect of AGFA, which was basically an extension

1273
01:12:42,400 --> 01:12:44,680
Speaker 3: of sending the prints out to theaters to play, but

1274
01:12:44,720 --> 01:12:47,360
Speaker 3: then using that what we had built up with that

1275
01:12:47,479 --> 01:12:51,240
Speaker 3: to really expand it into DCPs and beyond that, and

1276
01:12:51,280 --> 01:12:54,160
Speaker 3: then Alisha join and Ivan joined and it just kind

1277
01:12:54,160 --> 01:12:56,160
Speaker 3: of went from there and we became who we are now,

1278
01:12:56,200 --> 01:13:00,000
Speaker 3: which is basically like the world's probably the world's largest

1279
01:13:00,160 --> 01:13:03,680
Speaker 3: nonprofit genre film distributor and archive. So we have a

1280
01:13:03,720 --> 01:13:07,080
Speaker 3: home video arm, a theatrical arm, we're moving into vod

1281
01:13:08,320 --> 01:13:10,519
Speaker 3: just like all sorts of stuff that we're doing anything

1282
01:13:10,560 --> 01:13:12,800
Speaker 3: and everything we can think up, any crazy idea we

1283
01:13:12,840 --> 01:13:14,960
Speaker 3: can think up to further the mission. What we're doing

1284
01:13:15,040 --> 01:13:18,360
Speaker 3: is a nonprofit we do it. So that's I hope

1285
01:13:18,400 --> 01:13:20,559
Speaker 3: that makes sense to everyone that's listening that's never heard

1286
01:13:20,560 --> 01:13:21,080
Speaker 3: of AGFA.

1287
01:13:23,040 --> 01:13:26,880
Speaker 1: And it's for genre films specifically, right, So explain that

1288
01:13:27,040 --> 01:13:29,080
Speaker 1: a little bit to the listeners.

1289
01:13:29,280 --> 01:13:31,799
Speaker 3: Right, I think for us, I mean, genre means anything

1290
01:13:31,880 --> 01:13:33,439
Speaker 3: to I mean, it could be an action movie, it

1291
01:13:33,439 --> 01:13:35,120
Speaker 3: could be a comedy, it could be a documentary. It's

1292
01:13:35,160 --> 01:13:37,200
Speaker 3: the genre, right that it is, like the name of

1293
01:13:37,240 --> 01:13:39,439
Speaker 3: the genre but for us, it seems to fall more

1294
01:13:39,479 --> 01:13:43,920
Speaker 3: into the like underground, outsider, neglected things that no one

1295
01:13:43,920 --> 01:13:47,000
Speaker 3: else is going to touch, So we take genre in

1296
01:13:47,080 --> 01:13:50,559
Speaker 3: that direction. But it's it's more of like a catch all.

1297
01:13:50,560 --> 01:13:51,760
Speaker 3: But I think that's what it means for us.

1298
01:13:52,040 --> 01:13:55,439
Speaker 1: Yeah, So, now AGFA, you know, has been releasing, they

1299
01:13:55,439 --> 01:13:57,280
Speaker 1: have a home video arm. They've been releasing a lot

1300
01:13:57,320 --> 01:14:01,000
Speaker 1: of great titles and has been had been doing so

1301
01:14:01,040 --> 01:14:03,519
Speaker 1: for years. I mean stuff that I just a lot

1302
01:14:03,560 --> 01:14:06,320
Speaker 1: of stuff I've never even heard of before, let alone

1303
01:14:06,400 --> 01:14:09,559
Speaker 1: the stuff that I never thought i'd actually see, you know.

1304
01:14:09,840 --> 01:14:12,200
Speaker 1: I mean, you've done so many great things, from like

1305
01:14:12,439 --> 01:14:16,960
Speaker 1: ed Wood to like you know, these insane like Florida

1306
01:14:17,000 --> 01:14:20,200
Speaker 1: exploitation movies, and you know, it really runs the gamut

1307
01:14:20,280 --> 01:14:24,400
Speaker 1: of so many different things. But y'all have started specifically

1308
01:14:24,479 --> 01:14:28,559
Speaker 1: making these compilations and I feel like you've done like

1309
01:14:28,560 --> 01:14:30,880
Speaker 1: at least three or four, am Am, I wrong about that,

1310
01:14:31,120 --> 01:14:33,120
Speaker 1: So talk to me a little bit about what those are.

1311
01:14:33,360 --> 01:14:36,759
Speaker 4: Those are us trying to make something out of nothing.

1312
01:14:37,720 --> 01:14:40,519
Speaker 4: In the process of having a Blu Ray label and

1313
01:14:40,840 --> 01:14:45,040
Speaker 4: needing to release one thing per month. Sometimes, you know,

1314
01:14:45,320 --> 01:14:49,760
Speaker 4: there's a lack of film prints for us to immediately

1315
01:14:49,800 --> 01:14:54,280
Speaker 4: do things with and we realized that because we're in

1316
01:14:54,280 --> 01:14:55,960
Speaker 4: an archive, it doesn't mean that we just have to

1317
01:14:56,000 --> 01:14:57,920
Speaker 4: take a feature film print and put that on a

1318
01:14:57,960 --> 01:15:01,679
Speaker 4: Blu ray. It means that we can utilize any material

1319
01:15:01,680 --> 01:15:07,080
Speaker 4: that we have to create something that's fun, exciting and contextual.

1320
01:15:08,600 --> 01:15:12,479
Speaker 4: So in recent times, we did a feature length edit

1321
01:15:12,760 --> 01:15:16,599
Speaker 4: of Drive in intermission snipes called Hey folks, that's it's

1322
01:15:16,640 --> 01:15:21,360
Speaker 4: intermission time. We've got a lot of trailers in our archives,

1323
01:15:21,400 --> 01:15:24,320
Speaker 4: so we've done to date two different feature length trailer

1324
01:15:24,400 --> 01:15:28,360
Speaker 4: compilations where we're not just having the trailers themselves on

1325
01:15:28,400 --> 01:15:31,760
Speaker 4: the disc, will actually make a feature length mixtape out

1326
01:15:31,760 --> 01:15:34,120
Speaker 4: of them where we choose the best bits from them.

1327
01:15:34,600 --> 01:15:38,759
Speaker 4: And then most recently we did the AGVA mystery mixtape Vault,

1328
01:15:39,680 --> 01:15:45,240
Speaker 4: which is it Valter Archive. I'm forgetting that you get fault. Yeah.

1329
01:15:45,479 --> 01:15:50,320
Speaker 4: Where during twenty twenty, in the COVID lockdown era, we

1330
01:15:50,400 --> 01:15:53,120
Speaker 4: had less to do with theaters and we just started

1331
01:15:53,160 --> 01:15:55,920
Speaker 4: tinkering around with video material that we had at our

1332
01:15:55,960 --> 01:16:00,120
Speaker 4: disposal just to make something fun and accessible and or

1333
01:16:00,320 --> 01:16:03,400
Speaker 4: just like make the day a little easier, especially in

1334
01:16:03,439 --> 01:16:05,880
Speaker 4: twenty twenty, and a lot of those have ended up

1335
01:16:05,880 --> 01:16:09,799
Speaker 4: on that Mystery Mixtape Fault a lot of random stuff

1336
01:16:10,040 --> 01:16:15,080
Speaker 4: but also a Christmas mix, a Stairway to Stardom mixed

1337
01:16:15,080 --> 01:16:17,879
Speaker 4: Stairway to Start. It was like an eighties public access

1338
01:16:17,960 --> 01:16:22,519
Speaker 4: version of American Idol. And Joe did the Lost and

1339
01:16:22,600 --> 01:16:26,479
Speaker 4: Found Video Night Mixtape, which is from the label five

1340
01:16:26,520 --> 01:16:29,200
Speaker 4: Minutes to Live, which was that one from Atlanta that

1341
01:16:29,240 --> 01:16:32,120
Speaker 4: we were talking about, right, sort of the best of

1342
01:16:32,240 --> 01:16:36,439
Speaker 4: that person's version of found footage. Yeah, and all those

1343
01:16:36,640 --> 01:16:40,920
Speaker 4: eight things are squashed together on one disc act for

1344
01:16:41,040 --> 01:16:44,280
Speaker 4: Mystery Mixtape Faults. And it was a real milestone for

1345
01:16:44,400 --> 01:16:48,080
Speaker 4: us recently because it was a release that we had

1346
01:16:48,160 --> 01:16:50,160
Speaker 4: sold out the initial run of, but we didn't actually

1347
01:16:50,200 --> 01:16:53,479
Speaker 4: tell anybody what was on it, which is pretty rare.

1348
01:16:53,560 --> 01:16:54,800
Speaker 4: That's great for Blu Ray release.

1349
01:16:55,360 --> 01:16:57,120
Speaker 3: I don't know if anyone has ever done that before

1350
01:16:57,160 --> 01:16:57,760
Speaker 3: with the Blue Ray.

1351
01:16:57,960 --> 01:17:00,400
Speaker 1: I think it's great though, It's like, you know, it's

1352
01:17:00,680 --> 01:17:03,200
Speaker 1: because it's kind of like a blind box. I don't know,

1353
01:17:03,240 --> 01:17:05,760
Speaker 1: people are obsessed with those blind boxes now. It's like

1354
01:17:05,800 --> 01:17:08,200
Speaker 1: you just like get something and put it on, and

1355
01:17:08,240 --> 01:17:11,240
Speaker 1: I mean you know that the the author or the

1356
01:17:11,320 --> 01:17:13,840
Speaker 1: curators are great, so you just have to kind of

1357
01:17:14,560 --> 01:17:19,080
Speaker 1: you know, soaking it, trust it, trust in their expertise, right. Yeah.

1358
01:17:19,120 --> 01:17:21,559
Speaker 2: It's like going to a restaurant and it's like a

1359
01:17:21,680 --> 01:17:24,760
Speaker 2: trust me a meal, you know, to the chef. It's

1360
01:17:24,800 --> 01:17:26,960
Speaker 2: like you cook up something good for me. You know,

1361
01:17:27,040 --> 01:17:29,920
Speaker 2: I trust you. When you guys are like looking through

1362
01:17:29,960 --> 01:17:32,120
Speaker 2: this footage, you know, kind of culling and trying to

1363
01:17:32,160 --> 01:17:36,639
Speaker 2: figure out what goes on these you know, mixtapes, are

1364
01:17:36,680 --> 01:17:38,320
Speaker 2: you watching a lot of stuff where you're like, this

1365
01:17:38,360 --> 01:17:42,160
Speaker 2: is just bad for like every like the thing that

1366
01:17:42,320 --> 01:17:44,479
Speaker 2: you find is that's good? You know? Like do you

1367
01:17:44,479 --> 01:17:47,160
Speaker 2: have to like, uh, you know, kiss a lot of

1368
01:17:47,200 --> 01:17:50,040
Speaker 2: frogs to find your prints in there? Or like, how

1369
01:17:50,080 --> 01:17:52,920
Speaker 2: what's that? What's that process?

1370
01:17:53,160 --> 01:17:56,640
Speaker 4: Like I would say yes to whatever metaphor you choose, okay,

1371
01:17:58,400 --> 01:18:01,880
Speaker 4: And the process is really just looking through stuff after

1372
01:18:01,920 --> 01:18:06,200
Speaker 4: stuff after stuff, trying to find the glimpses of footage

1373
01:18:06,240 --> 01:18:12,480
Speaker 4: where the spidery sense goes up, whether it's a particular

1374
01:18:13,800 --> 01:18:20,479
Speaker 4: thematic content or just contextual quality. Does it make me

1375
01:18:20,560 --> 01:18:25,640
Speaker 4: excited to share it with someone? Is it cinematic in

1376
01:18:25,680 --> 01:18:29,240
Speaker 4: some way where there's an accidental story being told through

1377
01:18:29,560 --> 01:18:32,400
Speaker 4: whatever the hell's happening that isn't exactly what they meant

1378
01:18:32,400 --> 01:18:35,519
Speaker 4: to tell, but it tells a story to us decades later.

1379
01:18:37,040 --> 01:18:39,760
Speaker 4: I'm put on the mystery mixtape Bault. One of the

1380
01:18:39,800 --> 01:18:46,679
Speaker 4: mixtapes is very Freddy centric because it's an hour sort

1381
01:18:46,720 --> 01:18:49,520
Speaker 4: of stuff that mostly has to do with horror sequels.

1382
01:18:49,880 --> 01:18:52,000
Speaker 4: I'm always fascinated by horror sequels, so that just kind

1383
01:18:52,000 --> 01:18:54,760
Speaker 4: of became a theme for one of the mixtapes. And

1384
01:18:55,840 --> 01:19:00,400
Speaker 4: Robert England and the fandom that came along with Freddy

1385
01:19:00,479 --> 01:19:02,960
Speaker 4: and it Freddy's representation of pop culture, like how it

1386
01:19:03,000 --> 01:19:08,080
Speaker 4: appeared on MTV and stuff. That's that's always fascinating to me. Yeah,

1387
01:19:08,120 --> 01:19:11,560
Speaker 4: so it's just uh, once you like, I set the

1388
01:19:11,600 --> 01:19:13,880
Speaker 4: template of Okay, this one's going to be about sequels,

1389
01:19:14,760 --> 01:19:17,120
Speaker 4: and then it's just whatever kind of fits the bill.

1390
01:19:17,400 --> 01:19:20,080
Speaker 1: That's what I think is kind of the key point

1391
01:19:20,120 --> 01:19:24,840
Speaker 1: maybe to this is the curation part, because you know,

1392
01:19:25,479 --> 01:19:29,000
Speaker 1: I think the word curator, like whatever, is being thrown

1393
01:19:29,000 --> 01:19:30,080
Speaker 1: around a lot these days.

1394
01:19:30,600 --> 01:19:32,599
Speaker 4: I get that word. Yeah at all.

1395
01:19:32,680 --> 01:19:34,519
Speaker 1: I wish I wish there was a new word. I mean,

1396
01:19:34,640 --> 01:19:37,800
Speaker 1: programmer feels good, and that's what I call myself. But

1397
01:19:37,840 --> 01:19:39,719
Speaker 1: it's like, I don't even know a lot of people

1398
01:19:39,720 --> 01:19:42,519
Speaker 1: think that's like computer programming, so we need we need

1399
01:19:42,560 --> 01:19:43,120
Speaker 1: a new word.

1400
01:19:43,240 --> 01:19:44,559
Speaker 4: But VJ.

1401
01:19:45,600 --> 01:19:49,479
Speaker 1: Yeah, I want to be a VJ ship. I want

1402
01:19:49,479 --> 01:19:54,120
Speaker 1: to be a VJ contest. But I I think that

1403
01:19:54,120 --> 01:19:57,120
Speaker 1: that's kind of the art to it, right, because you're

1404
01:19:57,200 --> 01:19:59,840
Speaker 1: obviously the person that's in charge of figuring out what's

1405
01:20:00,360 --> 01:20:04,639
Speaker 1: and what's not crap, right, And like, I think that

1406
01:20:04,640 --> 01:20:10,120
Speaker 1: that is the I think that's why when you find,

1407
01:20:10,320 --> 01:20:12,760
Speaker 1: especially even online now, you find these like kind of

1408
01:20:13,880 --> 01:20:16,439
Speaker 1: Instagram accounts or TikTok accounts with people who are just

1409
01:20:16,479 --> 01:20:20,000
Speaker 1: like making weird content, you are, in a way sort

1410
01:20:20,000 --> 01:20:23,160
Speaker 1: of like trusting that they know what's good and funny

1411
01:20:23,200 --> 01:20:25,800
Speaker 1: and interesting and versus not, you know what I mean.

1412
01:20:26,040 --> 01:20:29,280
Speaker 1: And that's why I think you know what you guys

1413
01:20:29,320 --> 01:20:32,519
Speaker 1: do is so great, is because I, as a fan,

1414
01:20:33,680 --> 01:20:35,960
Speaker 1: you know of of you guys and both your work

1415
01:20:35,960 --> 01:20:38,639
Speaker 1: and but also the work of AGFA, like trust that

1416
01:20:38,720 --> 01:20:40,880
Speaker 1: you know what you're talking about. You have a sensibility

1417
01:20:40,920 --> 01:20:43,840
Speaker 1: that I know and appreciate, and so I feel like

1418
01:20:44,600 --> 01:20:48,200
Speaker 1: I'm on the ride, you know. And I just don't

1419
01:20:48,240 --> 01:20:50,200
Speaker 1: know if people really think about it in that way,

1420
01:20:50,240 --> 01:20:51,560
Speaker 1: like when they think curation is like, oh, it's just

1421
01:20:51,600 --> 01:20:53,320
Speaker 1: somebody who's just playing whatever they want. I'm like, no, No,

1422
01:20:53,439 --> 01:20:54,680
Speaker 1: I think there's a lot more to it.

1423
01:20:54,800 --> 01:20:57,880
Speaker 4: Well, I mean, I think that it's not a conversation

1424
01:20:57,960 --> 01:21:02,000
Speaker 4: of what's good versus what's bad, or what's crap versus

1425
01:21:02,040 --> 01:21:06,240
Speaker 4: not crap. It's more about what is exciting versus dull

1426
01:21:06,560 --> 01:21:09,160
Speaker 4: because as the programmer or the editor or the VJ

1427
01:21:09,400 --> 01:21:14,960
Speaker 4: or the curator, to me, the job is seeing through

1428
01:21:15,000 --> 01:21:18,960
Speaker 4: the audience's eyes and what is going to raise their

1429
01:21:19,040 --> 01:21:22,160
Speaker 4: pulse Rather than this is what I like or this

1430
01:21:22,240 --> 01:21:25,600
Speaker 4: is what I don't like. I'm trying to think of

1431
01:21:25,640 --> 01:21:28,920
Speaker 4: what is this body of people, the seventy five people

1432
01:21:29,000 --> 01:21:31,599
Speaker 4: in a room if you want to imagine a film

1433
01:21:31,640 --> 01:21:34,519
Speaker 4: screening or something, what are they all reacting to be

1434
01:21:34,800 --> 01:21:39,679
Speaker 4: for beat? And that for me determines where the edit

1435
01:21:39,680 --> 01:21:43,280
Speaker 4: points are. Is where their interest keeps writing high versus

1436
01:21:43,400 --> 01:21:47,160
Speaker 4: when does it the peaks and valleys of their interest?

1437
01:21:47,360 --> 01:21:50,040
Speaker 3: Right, Yeah, And I think that bringing up about the

1438
01:21:50,080 --> 01:21:52,120
Speaker 3: live show, I think a lot of it ties back

1439
01:21:52,160 --> 01:21:55,920
Speaker 3: into years of hosting and programming live screenings because you're

1440
01:21:56,040 --> 01:21:58,640
Speaker 3: chasing that feeling of when the audience gets it and

1441
01:21:58,640 --> 01:22:00,320
Speaker 3: you love it. So I think that really ties in

1442
01:22:00,400 --> 01:22:03,840
Speaker 3: to the choices that you make while you're cutting these things.

1443
01:22:04,439 --> 01:22:07,280
Speaker 4: Yeah, and I think today's generation of found footage makers,

1444
01:22:07,280 --> 01:22:10,680
Speaker 4: whether it's us or I'm forgetting their name, those two

1445
01:22:10,760 --> 01:22:15,240
Speaker 4: sisters in Australia Soda Jerk, or the collective in New

1446
01:22:15,360 --> 01:22:20,760
Speaker 4: York that made the very very stark climate Change found

1447
01:22:20,760 --> 01:22:23,600
Speaker 4: footage piece, I'm forgetting their name, or the people that

1448
01:22:23,680 --> 01:22:27,320
Speaker 4: made the y two k documentary that was on HBO Max.

1449
01:22:28,400 --> 01:22:32,240
Speaker 4: I think that and everything is terrible because they're still

1450
01:22:32,240 --> 01:22:35,200
Speaker 4: continuing to make stuff, and even people like Found Footage Fest.

1451
01:22:35,280 --> 01:22:37,000
Speaker 4: You know, all the found footage makers I think at

1452
01:22:37,000 --> 01:22:40,880
Speaker 4: this point are using a somewhat empathetic lens to choose

1453
01:22:40,920 --> 01:22:44,599
Speaker 4: their material, meaning you are putting yourself in the shoes

1454
01:22:44,640 --> 01:22:46,680
Speaker 4: of the audience as a body, rather than this is

1455
01:22:46,680 --> 01:22:48,040
Speaker 4: what I like or this is what I don't like.

1456
01:22:48,120 --> 01:22:50,720
Speaker 4: I'm really excited to see everybody's found footage work now

1457
01:22:50,720 --> 01:22:54,000
Speaker 4: because I think we've hit that level that goes beyond

1458
01:22:54,200 --> 01:22:57,360
Speaker 4: the so bad it's good concept or even the what

1459
01:22:57,400 --> 01:22:59,880
Speaker 4: the fuck concept that was around in the two thousand.

1460
01:23:00,680 --> 01:23:04,320
Speaker 4: Now we've reached this place about why does this exist?

1461
01:23:04,960 --> 01:23:06,599
Speaker 4: That's the question I have in my mind every time

1462
01:23:06,640 --> 01:23:09,360
Speaker 4: I watch a piece of crazy found footage? Why does

1463
01:23:09,400 --> 01:23:11,719
Speaker 4: this exist? And then you can go down the rabbit

1464
01:23:11,800 --> 01:23:16,360
Speaker 4: hole of that creator or team or whatever to try

1465
01:23:16,360 --> 01:23:19,719
Speaker 4: to get into their head. And this foster's an empathetic

1466
01:23:19,760 --> 01:23:21,120
Speaker 4: attitude towards life in general.

1467
01:23:21,479 --> 01:23:25,680
Speaker 1: Yeah, I mean, and there's so many there are actual filmmakers.

1468
01:23:25,760 --> 01:23:29,120
Speaker 1: I think of people like Adam Curtis or Bill Morrison

1469
01:23:29,240 --> 01:23:32,720
Speaker 1: or somebody who frequently use found footage like in their

1470
01:23:32,760 --> 01:23:37,360
Speaker 1: work to tell a big story, you know, and get

1471
01:23:37,400 --> 01:23:40,280
Speaker 1: nominated for like Academy Awards in the case of Bill Morrison.

1472
01:23:40,360 --> 01:23:43,439
Speaker 1: So it's kind of like it's, yeah, it's people making

1473
01:23:43,520 --> 01:23:46,479
Speaker 1: memes and stuff, but in compilations, but it's also people

1474
01:23:46,560 --> 01:23:49,599
Speaker 1: using that found footage to tell you know, again more

1475
01:23:49,920 --> 01:23:53,000
Speaker 1: way to your point, more empathetic story is more important stories.

1476
01:23:53,040 --> 01:23:54,760
Speaker 4: And yeah, I mean think I think the best found

1477
01:23:54,760 --> 01:23:58,120
Speaker 4: footage work being made today is stuff that examines where

1478
01:23:58,120 --> 01:24:02,880
Speaker 4: we've been, where we are, and where we're going. So

1479
01:24:03,160 --> 01:24:05,720
Speaker 4: I just I like to think that's what we do

1480
01:24:05,720 --> 01:24:09,200
Speaker 4: at ACVA, and it's not just a random collision of

1481
01:24:09,960 --> 01:24:14,800
Speaker 4: crusty old things where people talk like this, and because

1482
01:24:14,800 --> 01:24:17,080
Speaker 4: there's a lot of that, and in fact, our next

1483
01:24:17,439 --> 01:24:20,080
Speaker 4: Found Footage disc release has a lot of people talking

1484
01:24:20,160 --> 01:24:25,880
Speaker 4: like this in old movies, Joe, do we want to

1485
01:24:26,160 --> 01:24:28,080
Speaker 4: talk about that at all? Are we keeping? Mom?

1486
01:24:28,360 --> 01:24:31,040
Speaker 3: Well, it goes up the preortor goes up this Thursday,

1487
01:24:31,160 --> 01:24:34,240
Speaker 3: May first, So I guess yeah, yeah, yeah.

1488
01:24:34,200 --> 01:24:37,479
Speaker 4: Go for it. Oh, this is a release called Danger Stories,

1489
01:24:38,080 --> 01:24:42,040
Speaker 4: which is our second collab with something Weird video that

1490
01:24:42,360 --> 01:24:48,240
Speaker 4: explores the realm of twentieth century educational films. Yeah. The

1491
01:24:48,240 --> 01:24:50,800
Speaker 4: first one was Drug Stories a number of years ago.

1492
01:24:51,240 --> 01:24:52,800
Speaker 4: That was a lot of fun to put together. That

1493
01:24:52,840 --> 01:24:56,000
Speaker 4: has the whole short weear Florrie Fisher, who's the inspiration

1494
01:24:56,120 --> 01:25:00,240
Speaker 4: for Jerry Blank from Strangers with Candy, that legend very

1495
01:25:00,479 --> 01:25:04,800
Speaker 4: proto viral film where she's addressing a whole room of

1496
01:25:04,880 --> 01:25:07,760
Speaker 4: high school is and they might be into drugs, but

1497
01:25:07,800 --> 01:25:11,760
Speaker 4: I'm telling you, don't get into the drugs like the

1498
01:25:13,280 --> 01:25:17,400
Speaker 4: just total madness. So we have a second volume called

1499
01:25:17,520 --> 01:25:20,799
Speaker 4: Danger Stories, which is all about health and safety films.

1500
01:25:22,240 --> 01:25:25,720
Speaker 4: And so the bonus feature on this disc is an

1501
01:25:25,720 --> 01:25:29,800
Speaker 4: hour long thing that I made that plays upon the

1502
01:25:29,840 --> 01:25:34,240
Speaker 4: concept of the word salad of these shorts because they're

1503
01:25:34,320 --> 01:25:36,240
Speaker 4: trying to convey a lot of information and none of

1504
01:25:36,320 --> 01:25:38,840
Speaker 4: it makes sense and none of it is even meant

1505
01:25:38,840 --> 01:25:42,200
Speaker 4: to make sense, it's just to scare you. So there's

1506
01:25:42,240 --> 01:25:45,240
Speaker 4: a lot of people talking like this very sternly about

1507
01:25:45,680 --> 01:25:50,160
Speaker 4: nuclear fallout or don't get those streptococcyx virus or whatever.

1508
01:25:50,560 --> 01:25:53,840
Speaker 4: And I just took a like thirty plus hours of

1509
01:25:53,880 --> 01:26:00,680
Speaker 4: that and did a like a deck shuffling word salad symphony,

1510
01:26:01,320 --> 01:26:04,880
Speaker 4: oh Man, kind of directly in the vein of Negative

1511
01:26:04,960 --> 01:26:08,040
Speaker 4: Land and Bruce Connor and a lot of the classic

1512
01:26:08,520 --> 01:26:15,200
Speaker 4: culture jamming stuff from the eighties and nineties in this respect, Yeah.

1513
01:26:15,680 --> 01:26:16,480
Speaker 2: Yeah, amazing.

1514
01:26:16,720 --> 01:26:20,040
Speaker 1: There's a lot of pockets we go down. I mean, honestly,

1515
01:26:20,120 --> 01:26:23,680
Speaker 1: like the industrial films, this classroom scare films like those

1516
01:26:23,760 --> 01:26:26,479
Speaker 1: used to be really big, and they used to have

1517
01:26:27,000 --> 01:26:31,519
Speaker 1: the educational archives compilations that would come out. Yeah, and

1518
01:26:31,560 --> 01:26:33,840
Speaker 1: then just like again, trailers going back to the original point.

1519
01:26:33,880 --> 01:26:36,400
Speaker 1: I mean, something weird was huge in that world. They

1520
01:26:36,439 --> 01:26:39,000
Speaker 1: used to come out with comps of trailers all the time.

1521
01:26:39,680 --> 01:26:43,200
Speaker 1: And Yeah, we could honestly talk about this forever. And

1522
01:26:43,240 --> 01:26:45,920
Speaker 1: I was telling Casey before you guys arrived, I was like,

1523
01:26:46,280 --> 01:26:49,000
Speaker 1: we could go like four or five hours on this topic.

1524
01:26:49,120 --> 01:26:51,800
Speaker 1: So let's let's keep that in mind. But I wanted

1525
01:26:51,840 --> 01:26:55,479
Speaker 1: to say, I wanted to ask you both about again

1526
01:26:55,560 --> 01:26:58,000
Speaker 1: sort of like your side projects or your passion projects,

1527
01:26:58,000 --> 01:27:03,120
Speaker 1: your other companies that you do alongside AGFA. So Joe,

1528
01:27:03,600 --> 01:27:05,280
Speaker 1: tell me a little bit about Bleeding Skull because I

1529
01:27:05,280 --> 01:27:07,080
Speaker 1: feel like this is kind of related to what we're

1530
01:27:07,080 --> 01:27:08,160
Speaker 1: talking about, right.

1531
01:27:08,760 --> 01:27:10,960
Speaker 3: Yeah, of course, I think both Museum from Video and

1532
01:27:10,960 --> 01:27:14,200
Speaker 3: Bleeding skullar absolutely. Really, they're all intertwined. They all feed

1533
01:27:14,479 --> 01:27:16,840
Speaker 3: from up you know, into the same thing. So yeah,

1534
01:27:16,880 --> 01:27:19,639
Speaker 3: I mean Bleeding Skull has been around twenty one years

1535
01:27:19,640 --> 01:27:20,880
Speaker 3: this year, from two thousand and four.

1536
01:27:20,920 --> 01:27:22,200
Speaker 4: It started out as a site.

1537
01:27:22,479 --> 01:27:24,560
Speaker 3: It was just movie reviews, and then we did a

1538
01:27:24,600 --> 01:27:26,719
Speaker 3: couple of books over the years, and now my partner

1539
01:27:26,720 --> 01:27:29,240
Speaker 3: Annie Joe and I launched a home video label, a

1540
01:27:29,320 --> 01:27:31,960
Speaker 3: Bleating Skull home video label as a Vinegar Syndrome partner

1541
01:27:32,280 --> 01:27:36,720
Speaker 3: last year in twenty twenty four. So we are. We

1542
01:27:36,800 --> 01:27:39,920
Speaker 3: love doing it so much. It's just a very pure

1543
01:27:40,120 --> 01:27:44,000
Speaker 3: and kind of there's no nothing, nothing keeping us from

1544
01:27:44,040 --> 01:27:44,920
Speaker 3: doing whatever we want to.

1545
01:27:44,920 --> 01:27:47,760
Speaker 4: Do with it. It's just really fun and yeah, we're

1546
01:27:47,760 --> 01:27:48,680
Speaker 4: having a great time with it.

1547
01:27:49,120 --> 01:27:53,840
Speaker 1: And it's primarily direct to video horror or like home

1548
01:27:54,360 --> 01:27:56,400
Speaker 1: home video horror, right.

1549
01:27:56,479 --> 01:28:00,640
Speaker 3: Yeah, yeah, it's very underground, probably the mostnderground stuff you

1550
01:28:00,680 --> 01:28:02,680
Speaker 3: can get. But I think the goal we've had with

1551
01:28:02,760 --> 01:28:05,400
Speaker 3: releasing things for Bleeding Skull is making sure that they're

1552
01:28:05,400 --> 01:28:07,280
Speaker 3: going to appeal to other people and not just us,

1553
01:28:07,360 --> 01:28:09,920
Speaker 3: because there's a whole other subset of stuff that I'm

1554
01:28:09,920 --> 01:28:12,360
Speaker 3: into that I would never think of releasing because it's

1555
01:28:12,439 --> 01:28:14,120
Speaker 3: it's just for me, like no one else is going

1556
01:28:14,160 --> 01:28:15,679
Speaker 3: to relate to it or buy it or be interested

1557
01:28:15,680 --> 01:28:17,840
Speaker 3: in it. So we try to find the titles that

1558
01:28:17,880 --> 01:28:20,000
Speaker 3: the ones that we love, each and every one of them,

1559
01:28:20,000 --> 01:28:21,680
Speaker 3: but make sure that these are things that people are.

1560
01:28:21,600 --> 01:28:23,160
Speaker 4: Going to want to buy and watch and enjoy.

1561
01:28:23,720 --> 01:28:26,760
Speaker 3: So movies like Blonde Death was the first one that

1562
01:28:26,800 --> 01:28:29,600
Speaker 3: we did, and then we did a four kuhd for

1563
01:28:29,600 --> 01:28:32,080
Speaker 3: a movie called Disembodied, which I still can't believe we

1564
01:28:32,160 --> 01:28:34,920
Speaker 3: did that. We actually made it like a four kuhd.

1565
01:28:35,040 --> 01:28:37,800
Speaker 3: But so yeah, it's a big mix of stuff, a

1566
01:28:37,920 --> 01:28:42,040
Speaker 3: very underground sov to underground sixteen millimeter films, all sorts

1567
01:28:42,040 --> 01:28:43,640
Speaker 3: of different kind of stuff, and we do have a

1568
01:28:43,680 --> 01:28:47,879
Speaker 3: found footage centered release coming later this year, which is exciting.

1569
01:28:48,439 --> 01:28:53,240
Speaker 1: Well, I have to say, y'all released a movie that's

1570
01:28:53,280 --> 01:28:57,960
Speaker 1: perhaps my favorite title of any movie that has ever

1571
01:28:58,040 --> 01:29:02,160
Speaker 1: been made, and it's actually a sequel. It's the sequel

1572
01:29:02,200 --> 01:29:06,400
Speaker 1: to the movie Fuck the Devil, and the name of

1573
01:29:06,400 --> 01:29:10,880
Speaker 1: the title is Fuck the Devil to Colon, Return of

1574
01:29:10,920 --> 01:29:11,400
Speaker 1: the Fucker.

1575
01:29:11,760 --> 01:29:12,559
Speaker 4: The Fucker's Back.

1576
01:29:14,400 --> 01:29:17,320
Speaker 1: I mean, honestly, every time I think about that, I laugh.

1577
01:29:19,560 --> 01:29:22,880
Speaker 1: So thank you for this, thank you for bringing this

1578
01:29:22,920 --> 01:29:24,439
Speaker 1: into my life, is what I'm saying.

1579
01:29:24,720 --> 01:29:28,679
Speaker 3: Thank you, thank you for even acknowledging that that you've

1580
01:29:28,680 --> 01:29:29,080
Speaker 3: watched that.

1581
01:29:30,439 --> 01:29:33,200
Speaker 1: God I had to. I mean, that title alone is

1582
01:29:33,240 --> 01:29:36,559
Speaker 1: so good. Well, and Brett, let's talk a little bit

1583
01:29:36,560 --> 01:29:39,439
Speaker 1: about Museum of Home Video two, because I remember when

1584
01:29:39,520 --> 01:29:42,799
Speaker 1: you started it. I believe was it during the pandemic

1585
01:29:42,800 --> 01:29:43,920
Speaker 1: when you started.

1586
01:29:43,920 --> 01:29:48,000
Speaker 4: Oh yeah, yeah. So Museum of Home Video is a

1587
01:29:48,040 --> 01:29:51,880
Speaker 4: live stream that I do every Tuesday night at seven

1588
01:29:51,960 --> 01:29:57,240
Speaker 4: thirty pm Pacific onwards. And it is a found footage

1589
01:29:57,320 --> 01:30:00,280
Speaker 4: variety show. It's taking all the things that we've talked

1590
01:30:00,280 --> 01:30:02,679
Speaker 4: about throughout this call and kind of turning it into

1591
01:30:02,760 --> 01:30:08,920
Speaker 4: it an MTV style presentation where it's twenty to thirty

1592
01:30:08,960 --> 01:30:11,920
Speaker 4: minutes of and then I'll come on and I'll say

1593
01:30:11,920 --> 01:30:13,479
Speaker 4: you just saw this, and now you're going to see

1594
01:30:13,479 --> 01:30:18,000
Speaker 4: this and dive back into the mix. It's something that

1595
01:30:18,080 --> 01:30:19,800
Speaker 4: was originally going to be a live show in LA

1596
01:30:20,120 --> 01:30:23,040
Speaker 4: starting in June of twenty twenty, but whoops, we couldn't

1597
01:30:23,040 --> 01:30:27,519
Speaker 4: do that, so we pivoted me and my producer Jenny Nixon,

1598
01:30:28,479 --> 01:30:31,120
Speaker 4: who Millie has known probably longer than I have. Yeah

1599
01:30:31,840 --> 01:30:37,080
Speaker 4: about it. We just decided to turn it into something online,

1600
01:30:37,520 --> 01:30:40,760
Speaker 4: and we debuted in July of twenty twenty and we

1601
01:30:40,880 --> 01:30:43,840
Speaker 4: have done it every just about every single Tuesday night

1602
01:30:43,920 --> 01:30:47,000
Speaker 4: since then, and it's formed a real interesting community of

1603
01:30:47,360 --> 01:30:53,240
Speaker 4: funny people who all are drawn Pavlovian style to found

1604
01:30:53,240 --> 01:30:57,680
Speaker 4: footage stuff. A lot of gen xers. I'll say, but

1605
01:30:57,840 --> 01:31:01,160
Speaker 4: it's old game show clips, old talk show clips, old commercials.

1606
01:31:01,600 --> 01:31:03,040
Speaker 4: I'll take a movie and I'll cut it down to

1607
01:31:03,120 --> 01:31:08,599
Speaker 4: eight minutes, very much in the style of college radio.

1608
01:31:09,200 --> 01:31:10,960
Speaker 4: But I like to say it's college radio for the

1609
01:31:11,000 --> 01:31:15,720
Speaker 4: eyes or stealing a phrase from Weird Al's UHF. It's

1610
01:31:15,760 --> 01:31:22,000
Speaker 4: the reason television was invented, so that all these years

1611
01:31:22,040 --> 01:31:23,519
Speaker 4: later we could do this with it.

1612
01:31:23,960 --> 01:31:28,400
Speaker 1: Yeah, I have to say, like I, I have loved

1613
01:31:28,439 --> 01:31:30,160
Speaker 1: working with you guys in the past. Full disclosure, I

1614
01:31:30,200 --> 01:31:32,600
Speaker 1: used to be on the board of AGFA for a

1615
01:31:32,600 --> 01:31:36,400
Speaker 1: couple of years, and I just really am happy that there,

1616
01:31:37,280 --> 01:31:40,800
Speaker 1: you know, is a place that is basically preserving this

1617
01:31:40,960 --> 01:31:42,960
Speaker 1: kind of stuff. I was wondering if maybe you could

1618
01:31:42,960 --> 01:31:45,479
Speaker 1: tell the folks, like how could they support AGFA, Like

1619
01:31:45,960 --> 01:31:48,439
Speaker 1: if they can make donations, come to screenings, buy things

1620
01:31:48,479 --> 01:31:49,360
Speaker 1: like what is it?

1621
01:31:49,479 --> 01:31:51,519
Speaker 4: Yeah, all of this things and thank you Millie. We

1622
01:31:51,560 --> 01:31:52,479
Speaker 4: miss you a lot.

1623
01:31:52,800 --> 01:31:53,720
Speaker 1: I miss you guys too.

1624
01:31:54,960 --> 01:31:57,720
Speaker 3: But all of those things you can donate directly to

1625
01:31:57,760 --> 01:32:00,840
Speaker 3: AGFA from our site. There's a donation but top. You

1626
01:32:00,880 --> 01:32:03,200
Speaker 3: can buy our blu rays. You can go to our screenings,

1627
01:32:03,200 --> 01:32:05,720
Speaker 3: you can support the venues all across the country, in

1628
01:32:05,760 --> 01:32:09,599
Speaker 3: the world who are screening our theatrical catalog everywhere. There

1629
01:32:09,640 --> 01:32:11,479
Speaker 3: are so many different ways you can support us. And

1630
01:32:11,720 --> 01:32:13,800
Speaker 3: it doesn't just have to be you know, I'm going

1631
01:32:13,880 --> 01:32:16,920
Speaker 3: to donate twenty dollars to you today. I think that

1632
01:32:17,479 --> 01:32:19,920
Speaker 3: to me, it's like the support comes from all over

1633
01:32:19,960 --> 01:32:22,439
Speaker 3: the place. It comes from audiences, it comes from people

1634
01:32:22,560 --> 01:32:25,639
Speaker 3: just like you telling us that you enjoy what we're doing.

1635
01:32:25,680 --> 01:32:27,200
Speaker 3: You know, it means a lot of This whole conversation

1636
01:32:27,280 --> 01:32:29,200
Speaker 3: is very energizing to me and feels so good. It

1637
01:32:29,240 --> 01:32:31,920
Speaker 3: makes me happy, so there's just so many ways to

1638
01:32:31,960 --> 01:32:34,840
Speaker 3: support and just to be positive and joyful about all

1639
01:32:34,880 --> 01:32:35,360
Speaker 3: these things.

1640
01:32:35,400 --> 01:32:37,040
Speaker 4: So yeah, that's my pitch.

1641
01:32:37,320 --> 01:32:39,800
Speaker 1: Well, Brett and Joe, I just wanted to say thanks

1642
01:32:39,800 --> 01:32:43,639
Speaker 1: again for coming on the podcast. Casey and I had

1643
01:32:43,680 --> 01:32:45,920
Speaker 1: an amazing time talk to me all about your area

1644
01:32:45,920 --> 01:32:49,160
Speaker 1: of expertise. I feel like, you know, this is something

1645
01:32:49,200 --> 01:32:51,120
Speaker 1: that is so near and dear to my heart. It's

1646
01:32:51,160 --> 01:32:52,760
Speaker 1: part of how I grew up, So it felt very

1647
01:32:52,800 --> 01:32:55,280
Speaker 1: personal to me to be having this conversation with you guys,

1648
01:32:55,479 --> 01:33:00,439
Speaker 1: but also just like amazing interesting, you know, sort of

1649
01:33:00,479 --> 01:33:03,000
Speaker 1: to dive back into that world of you know, like

1650
01:33:03,040 --> 01:33:06,080
Speaker 1: the pre digital eras. So thank you for coming.

1651
01:33:06,720 --> 01:33:08,920
Speaker 4: Thank you, I mean, this was It's always a joy

1652
01:33:08,960 --> 01:33:11,200
Speaker 4: to talk about the stuff and and getting to talk

1653
01:33:11,240 --> 01:33:12,679
Speaker 4: to you as a highlight of any week.

1654
01:33:12,920 --> 01:33:27,160
Speaker 2: Absolutely, Oh my gosh, what a stimulating conversation with Brett

1655
01:33:27,160 --> 01:33:30,400
Speaker 2: and Joe I was. So that's a world I don't

1656
01:33:30,439 --> 01:33:33,960
Speaker 2: necessarily know a ton about, but I'm very interested in.

1657
01:33:34,560 --> 01:33:38,120
Speaker 1: And yeah, I loved hearing.

1658
01:33:37,800 --> 01:33:39,920
Speaker 2: What they had to say about found footage. It was

1659
01:33:39,960 --> 01:33:41,240
Speaker 2: really a great combo.

1660
01:33:42,120 --> 01:33:45,400
Speaker 1: Yeah, love those guys, love ACFA. Support them if you can.

1661
01:33:45,479 --> 01:33:49,120
Speaker 1: They're a great nonprofit out here doing the good work

1662
01:33:49,439 --> 01:33:53,360
Speaker 1: so absolutely well. Now is our.

1663
01:33:55,200 --> 01:33:59,080
Speaker 2: Segment Employees Picks, where we recommend a movie based on

1664
01:33:59,120 --> 01:34:02,040
Speaker 2: what we talked about today, Millie, do you have a

1665
01:34:02,080 --> 01:34:04,080
Speaker 2: film recommendation for the folks out there?

1666
01:34:05,080 --> 01:34:08,040
Speaker 1: Yeah? I was like, I could run down the whole

1667
01:34:08,160 --> 01:34:13,360
Speaker 1: gamut of things. There's so many titles that he could

1668
01:34:13,400 --> 01:34:15,719
Speaker 1: be included.

1669
01:34:15,760 --> 01:34:18,879
Speaker 2: I mean I had Oh, there's so many, even Greece,

1670
01:34:19,520 --> 01:34:22,759
Speaker 2: even though I do not like Greece. But Danny Zuko

1671
01:34:22,840 --> 01:34:25,320
Speaker 2: turned around with a cigarette in his mouth. Tell listen,

1672
01:34:25,520 --> 01:34:28,000
Speaker 2: just because you like Greece too more doesn't mean you

1673
01:34:28,040 --> 01:34:29,200
Speaker 2: have to hate Greece.

1674
01:34:30,040 --> 01:34:33,479
Speaker 1: Listen. I didn't like I I didn't like Greece before

1675
01:34:33,520 --> 01:34:37,120
Speaker 1: I discovered Greece too, by the way, So it was

1676
01:34:37,160 --> 01:34:41,479
Speaker 1: not like I'm not like retroactively disliking the first Grease

1677
01:34:41,520 --> 01:34:43,559
Speaker 1: because I like Greece too. I was like, I don't

1678
01:34:43,640 --> 01:34:45,400
Speaker 1: like this very much, or you know, I was like,

1679
01:34:45,439 --> 01:34:47,080
Speaker 1: I'm annoyed by this, and.

1680
01:34:46,960 --> 01:34:50,240
Speaker 2: Then Greece to tell my don't tell my brother Brady

1681
01:34:50,240 --> 01:34:53,599
Speaker 2: O'Brien why Greece is like his favorite movie?

1682
01:34:54,280 --> 01:35:00,439
Speaker 1: He loves Greece. What why is that? Do you know

1683
01:35:01,080 --> 01:35:03,080
Speaker 1: he loves Greece. What I mean, I like Greece.

1684
01:35:03,240 --> 01:35:04,920
Speaker 2: It's a fun movie. It's a fun time.

1685
01:35:04,960 --> 01:35:07,080
Speaker 1: Well that's to be a fact that you'd bring up

1686
01:35:07,160 --> 01:35:13,320
Speaker 1: about him. He really really likes it. He just leves.

1687
01:35:13,360 --> 01:35:13,559
Speaker 1: You know.

1688
01:35:13,760 --> 01:35:16,400
Speaker 2: Some of those musical sequences are intoxicated. What can I

1689
01:35:16,439 --> 01:35:17,599
Speaker 2: say in the first one.

1690
01:35:19,439 --> 01:35:21,320
Speaker 1: Well, listen, I don't want to We don't need to

1691
01:35:21,320 --> 01:35:23,680
Speaker 1: get into it now. Sorry, Casey's brother. I don't mean

1692
01:35:23,720 --> 01:35:28,799
Speaker 1: to disparage your favorite film and IP of all time. Okay,

1693
01:35:28,840 --> 01:35:31,360
Speaker 1: so there was so many I swear to God, like,

1694
01:35:31,479 --> 01:35:33,840
Speaker 1: don't tell me about Breakfast at Tiffany's, don't tell me

1695
01:35:33,920 --> 01:35:39,160
Speaker 1: about Grease. I think. I think since we're talking about

1696
01:35:39,479 --> 01:35:45,360
Speaker 1: crime films, noirs ish you know, foreign noirs with Alendo,

1697
01:35:45,439 --> 01:35:50,400
Speaker 1: Lawn and Melville, you have to go classic American noir

1698
01:35:50,800 --> 01:35:54,920
Speaker 1: smoking and that is Robert Mitcham and Out of the

1699
01:35:54,920 --> 01:35:59,760
Speaker 1: Past from nineteen forty seven. The poster is like, all,

1700
01:35:59,800 --> 01:36:04,080
Speaker 1: you know, like he's just smoking. Look that fat cigarette

1701
01:36:04,080 --> 01:36:06,920
Speaker 1: hanging out of his mouth. I know he probably you

1702
01:36:06,960 --> 01:36:16,920
Speaker 1: think that's a camel wide. How gross is the cable?

1703
01:36:16,960 --> 01:36:27,080
Speaker 1: Whye dude? Why I knew one person.

1704
01:36:26,800 --> 01:36:28,000
Speaker 2: That smoked to him in high school?

1705
01:36:28,000 --> 01:36:32,320
Speaker 1: And I was like, damn, that's a fat cigarette. Why

1706
01:36:33,160 --> 01:36:33,920
Speaker 1: I always.

1707
01:36:33,640 --> 01:36:37,280
Speaker 2: Felt that about American spirits. I feel like American spirits

1708
01:36:37,280 --> 01:36:42,000
Speaker 2: became the hipster's cigarette of choice, but they were so

1709
01:36:42,439 --> 01:36:45,080
Speaker 2: big and fat that it was like, oh, I don't

1710
01:36:45,080 --> 01:36:46,280
Speaker 2: want to smoke anymore tonight.

1711
01:36:47,439 --> 01:36:49,679
Speaker 1: They take forever to smoke.

1712
01:36:50,200 --> 01:36:53,240
Speaker 2: They take forever. It's like a thick milkshake. That's why

1713
01:36:53,280 --> 01:36:56,040
Speaker 2: I was a parliament guy. I could just suck him down.

1714
01:36:56,240 --> 01:36:59,120
Speaker 1: That's why you were getting cardons of parliaments thrown at you.

1715
01:36:59,479 --> 01:37:04,799
Speaker 2: Thrown into the window in the of our apartment building.

1716
01:37:07,240 --> 01:37:10,760
Speaker 1: That's so funny. So that that's my recommendation. If you

1717
01:37:10,760 --> 01:37:13,880
Speaker 1: want to see some good smoking. Oh it's great. If

1718
01:37:13,920 --> 01:37:16,360
Speaker 1: you know, if you know for a fact that they're

1719
01:37:16,400 --> 01:37:19,280
Speaker 1: cabl wids, please email us at Dear Movies at exactly

1720
01:37:19,400 --> 01:37:20,320
Speaker 1: rightmedia dot com.

1721
01:37:20,520 --> 01:37:23,200
Speaker 2: We need to do one of those like enhanced enhanced

1722
01:37:23,200 --> 01:37:25,800
Speaker 2: to zoom in on the cigarette to see if we

1723
01:37:25,840 --> 01:37:27,840
Speaker 2: can see a little camel on there.

1724
01:37:28,840 --> 01:37:30,080
Speaker 1: All right, what's your recommendation?

1725
01:37:30,800 --> 01:37:32,760
Speaker 2: Okay, So you know, when we were trying to think

1726
01:37:32,760 --> 01:37:35,440
Speaker 2: of movies to talk about with like a celebration of cigarettes,

1727
01:37:35,479 --> 01:37:37,800
Speaker 2: this was one that came up. But I don't know,

1728
01:37:37,840 --> 01:37:40,800
Speaker 2: I was kind of against doing it's too obvious, but

1729
01:37:40,920 --> 01:37:43,040
Speaker 2: I do love this movie, so I'm gonna recommend it.

1730
01:37:43,360 --> 01:37:48,439
Speaker 2: Coffee and Cigarettes Jim Jarmusch's two thousand and three anthology film,

1731
01:37:48,479 --> 01:37:50,920
Speaker 2: which is just a bunch of conversations of people I

1732
01:37:50,920 --> 01:37:56,040
Speaker 2: didn't get, like diners, yeah, smoking cigarettes, And it's just

1733
01:37:56,120 --> 01:38:00,920
Speaker 2: such a great movie and a huge inst inspiration to me.

1734
01:38:01,160 --> 01:38:03,600
Speaker 2: I haven't talked about this much, but I filmed the

1735
01:38:03,680 --> 01:38:05,920
Speaker 2: feature film a few months ago and we are in

1736
01:38:06,000 --> 01:38:10,280
Speaker 2: post production right now, and the movie takes place entirely

1737
01:38:10,360 --> 01:38:14,320
Speaker 2: in various bathrooms, and it's just conversations and bathrooms, and

1738
01:38:14,360 --> 01:38:17,639
Speaker 2: so this is obviously a huge inspiration to me, sort

1739
01:38:17,680 --> 01:38:21,200
Speaker 2: of as a form factor.

1740
01:38:20,760 --> 01:38:24,639
Speaker 1: Of a movie, you know, Like just so, I love

1741
01:38:24,720 --> 01:38:25,080
Speaker 1: this movie.

1742
01:38:25,160 --> 01:38:27,200
Speaker 2: It's really interesting. I think about it all the time.

1743
01:38:27,520 --> 01:38:30,640
Speaker 2: There's a lot of great performances, you know, Steve Buscemi,

1744
01:38:31,160 --> 01:38:37,480
Speaker 2: Alfred Molina, Tom Waits, Iggy Pop, It's the white stripes.

1745
01:38:37,040 --> 01:38:37,479
Speaker 1: Are in it.

1746
01:38:38,280 --> 01:38:40,160
Speaker 2: I love this movie. I think it's great and it's

1747
01:38:40,160 --> 01:38:47,320
Speaker 2: really watchable, and I love Jim jarmush so much. And yeah,

1748
01:38:47,479 --> 01:38:49,160
Speaker 2: good choice, great movie, Thank you.

1749
01:38:49,080 --> 01:38:53,080
Speaker 1: Good choice, employee. You really did it. I'm employee. All right,

1750
01:38:53,479 --> 01:38:56,000
Speaker 1: well Millie, we did it.

1751
01:38:56,240 --> 01:38:58,800
Speaker 2: We did it again, Yes we did. How do you

1752
01:38:58,800 --> 01:38:59,719
Speaker 2: feel the end of our show?

1753
01:39:00,120 --> 01:39:04,000
Speaker 1: I feel you, coffin good? Ye next day?

1754
01:39:05,560 --> 01:39:08,799
Speaker 2: Rough, Oh, I feel good. I'm a little light headed.

1755
01:39:11,479 --> 01:39:13,000
Speaker 2: That was always a thing too, if you're like out

1756
01:39:13,040 --> 01:39:15,040
Speaker 2: drinking and it's like I'm gonna have a cigarette and

1757
01:39:15,080 --> 01:39:17,760
Speaker 2: you're like that one cigarette put me over. Listen now

1758
01:39:17,840 --> 01:39:19,680
Speaker 2: I'm throwing up in a dumps.

1759
01:39:21,080 --> 01:39:24,120
Speaker 1: Instantly regrettable, Like you're just like Jesus, that was such

1760
01:39:24,120 --> 01:39:29,600
Speaker 1: a bad choice. I'm wasted. Well, listen next week's episode.

1761
01:39:29,720 --> 01:39:33,320
Speaker 1: I don't. We just haven't been dancing around uh noir.

1762
01:39:33,720 --> 01:39:36,120
Speaker 1: But we're gonna do flirting with it. We're flirting with it.

1763
01:39:36,200 --> 01:39:39,320
Speaker 1: We're doing a little little song and dance with them.

1764
01:39:39,479 --> 01:39:44,200
Speaker 1: The next week's episode is gonna be about film noir,

1765
01:39:44,680 --> 01:39:48,639
Speaker 1: but specifically an era of film noir, which is kind

1766
01:39:48,640 --> 01:39:50,559
Speaker 1: of it's kind of like almost like a micro genre,

1767
01:39:50,600 --> 01:39:53,479
Speaker 1: but it's it's Cold War film noir. And these are

1768
01:39:53,520 --> 01:39:56,839
Speaker 1: movies that were essentially made in Hollywood that were roughly

1769
01:39:57,080 --> 01:40:00,000
Speaker 1: about communism and the Cold War. But there's this movie

1770
01:40:00,240 --> 01:40:03,720
Speaker 1: called kiss Me Deadly from nineteen fifty five that is

1771
01:40:04,439 --> 01:40:08,120
Speaker 1: on criterring collection if you want to watch it starring

1772
01:40:08,160 --> 01:40:10,360
Speaker 1: an actor named Ralph Meeker, who I feel like is

1773
01:40:10,439 --> 01:40:15,320
Speaker 1: so weird, Like it's weird that Ralph Meeker was famous.

1774
01:40:15,840 --> 01:40:20,080
Speaker 1: Like he's so normal looking to me. And we can

1775
01:40:20,120 --> 01:40:23,679
Speaker 1: talk about that because actually there is a connection between

1776
01:40:23,800 --> 01:40:26,040
Speaker 1: Ralph Meeker and Once upon a Time in Hollywood. So

1777
01:40:26,080 --> 01:40:27,439
Speaker 1: we'll talk about it next week.

1778
01:40:27,479 --> 01:40:29,919
Speaker 2: But he does look like you're dentist.

1779
01:40:30,160 --> 01:40:33,240
Speaker 1: Yeah, he just looks like a real normal dude. But

1780
01:40:33,320 --> 01:40:34,439
Speaker 1: he was in a lot of like.

1781
01:40:34,439 --> 01:40:35,600
Speaker 2: Born in Minneapolis.

1782
01:40:35,880 --> 01:40:43,920
Speaker 1: There we go. It's one of you. But kiss Me

1783
01:40:44,040 --> 01:40:47,439
Speaker 1: Deadly is a very interesting movie. If you've not seen it,

1784
01:40:47,439 --> 01:40:51,720
Speaker 1: it's kind of bizarre, and I think that's kind of

1785
01:40:51,840 --> 01:40:54,800
Speaker 1: like the best thing about it. So let's all watch

1786
01:40:54,840 --> 01:40:57,040
Speaker 1: it and talk about it next week. Fabulous.

1787
01:40:57,080 --> 01:40:59,120
Speaker 2: I can't wait. I've never seen it. Now I'm excited.

1788
01:41:00,000 --> 01:41:02,920
Speaker 2: Flous Well, that's our show. If you would like us

1789
01:41:02,960 --> 01:41:05,880
Speaker 2: to answer any questions you have, any film advice you

1790
01:41:05,920 --> 01:41:10,840
Speaker 2: can give you, please write to us. If you need

1791
01:41:10,880 --> 01:41:14,800
Speaker 2: a specific recommendation, need help navigating a director's filmography, or

1792
01:41:14,840 --> 01:41:18,519
Speaker 2: need a film gripe resolve, Please write in Deer Movies

1793
01:41:18,520 --> 01:41:22,640
Speaker 2: at exactlyrightmedia dot com, or you can leave us a

1794
01:41:22,720 --> 01:41:27,400
Speaker 2: voicemail and record it on your phone, keep it under

1795
01:41:27,400 --> 01:41:29,280
Speaker 2: sixty seconds and please record in a quiet place and

1796
01:41:29,280 --> 01:41:31,599
Speaker 2: you can send that to Deer Movies at exactly rightmedia

1797
01:41:31,640 --> 01:41:32,240
Speaker 2: dot com.

1798
01:41:32,240 --> 01:41:36,160
Speaker 1: Please also follow us on social media. We are at

1799
01:41:36,160 --> 01:41:39,120
Speaker 1: Deer Movies I Love You on Instagram and Facebook, and

1800
01:41:39,560 --> 01:41:43,360
Speaker 1: we're all in letterbox as ourselves, so we're at Casey

1801
01:41:43,439 --> 01:41:46,000
Speaker 1: le O'Brien and at mdecerco. That's right.

1802
01:41:46,080 --> 01:41:47,760
Speaker 2: And you can listen to Deer Movies I Love You

1803
01:41:47,800 --> 01:41:51,160
Speaker 2: on the iHeartRadio app, Apple Podcasts or wherever you get

1804
01:41:51,160 --> 01:41:54,920
Speaker 2: your podcasts, And hey, why don't you rate and review

1805
01:41:54,960 --> 01:41:59,960
Speaker 2: our show preferably positively? But it really helps to get

1806
01:42:00,120 --> 01:42:03,040
Speaker 2: our podcast out there if you rate and review the show.

1807
01:42:03,680 --> 01:42:04,880
Speaker 2: So do that if you can.

1808
01:42:05,040 --> 01:42:09,080
Speaker 1: All right, Casey, way to go. Fun episode, Thanks everybody

1809
01:42:09,320 --> 01:42:12,280
Speaker 1: for listening, and we'll see you next week. All right,

1810
01:42:12,640 --> 01:42:18,000
Speaker 1: bye bye. This has been an Exactly Right production hosted

1811
01:42:18,000 --> 01:42:21,479
Speaker 1: by me Milli to Cherico and produced by my co host,

1812
01:42:21,560 --> 01:42:22,480
Speaker 1: Casey O'Brien.

1813
01:42:22,640 --> 01:42:26,439
Speaker 2: This episode was mixed by Tom Bryfocal. Our associate producer

1814
01:42:26,479 --> 01:42:29,840
Speaker 2: is Christina Chamberlain, our guest booker is Patrick Cottner and

1815
01:42:29,920 --> 01:42:31,799
Speaker 2: Our artwork is by Vanessa Lilac.

1816
01:42:31,960 --> 01:42:34,840
Speaker 1: Our incredible theme music is by the best band in

1817
01:42:34,880 --> 01:42:36,760
Speaker 1: the entire world, The Softies.

1818
01:42:37,040 --> 01:42:40,920
Speaker 2: Thank you to our executive producers Karen Kilgareff, Georgia hart Stark,

1819
01:42:41,120 --> 01:42:43,960
Speaker 2: Daniel Kramer and Millie. To Jericho, we love you.

1820
01:42:44,040 --> 01:42:46,280
Speaker 1: Goodbye, be