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Speaker 2: your give Us the B of the D T shirt today.

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Speaker 2: Hey everybody, welcome to another episode of I Saw What

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Speaker 2: You Did. My name is Millie de Cherico. I'm Danielle

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Speaker 2: Henderson and we're here talking about film with you once again.

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Speaker 2: How's it going, Danielle, It's going great. It's hot month,

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Speaker 2: and I'm hot.

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Speaker 1: I'm hot hot hot, like sweating hot, like smelling bad hot.

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Speaker 1: But I also realized today I was walking around and

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Speaker 1: I'm like, why do I who do I remind myself of?

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Speaker 1: And I'm kind of been dressing like Henry Rollins, like

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Speaker 1: on stage Henry Rollins, Like I'm just wearing a pair

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Speaker 1: of black sweat shorts and nothing else.

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Speaker 2: I put on a shirt for you guys.

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Speaker 1: But I've just been walking around in black sweat shorts, Like,

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Speaker 1: who do I remind myself of? Oh yeah, Henry Rollins,

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Speaker 1: which hit me as I watched my film because he's

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Speaker 1: in it.

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Speaker 2: I'm like, oh, yeah, that's who I'm cosplaying as in

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Speaker 2: my house, Like when he's in the Rollins band in

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Speaker 2: the Lyre video when he's just wearing those shorts with

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Speaker 2: no shirt on, no shoes, no socks. Is that what

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Speaker 2: you're talking about? Titties out one hundred percent? Can I

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Speaker 2: just say maybe as a preview to the you know,

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Speaker 2: something that will happen in the in the episode later.

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Speaker 2: This was truly the first time that I feel like

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Speaker 2: I saw Henry Rollins in clothes. Just say, it's real,

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Speaker 2: It's real. I was fucking shocked.

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Speaker 1: Yeah, he's almost like what a great way to go

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Speaker 1: in disguise is just to put on clothes?

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Speaker 2: Oh definitely. I was like, double breasted blazer. I this

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Speaker 2: is so weird. Why is he wearing clothes? How are

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Speaker 2: you this week?

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Speaker 1: Uh?

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Speaker 2: I'm good. Actually I'm coasting off of this email that

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Speaker 2: we got in our inbox recently. Like we say, we

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Speaker 2: love getting emails. If you want to write one you

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Speaker 2: can always do it at I saw what you did

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Speaker 2: pot at gmail dot com. If you write in, just

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Speaker 2: know that we might read them either on a main

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Speaker 2: feed or a bonus episode. And if you don't want

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Speaker 2: us to read it, you'll have to just tell us

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Speaker 2: not to read it. But just know that if you

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Speaker 2: email us, we're gonna probably read it, okay, if it's

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Speaker 2: funny and good and whatever. Also, if you put pronouns

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Speaker 2: in there, that would be very helpful. But so having

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Speaker 2: said that, this email was so wonderful that I was like,

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Speaker 2: in need to be on a main feed EPP, Like

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Speaker 2: I can't. We can't just leave it to a bonus

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Speaker 2: even though bonusers are on main feed now, so it

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Speaker 2: doesn't even really matter. But do you know what I mean?

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Speaker 2: Like I was like, I mean this needs.

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Speaker 1: To be kind of a preserved for posterity in a

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Speaker 1: main feed app.

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Speaker 2: Yes, And it just is like, you know, if you're

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Speaker 2: having a bad day, I feel like this is a

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Speaker 2: kind of email that you pull out and just remember

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Speaker 2: that life is nice and people are nice, if you

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Speaker 2: know what I mean. Yeah, So this is an email

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Speaker 2: from T she goes by, she her pronouns and here

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Speaker 2: it goes hi Danielle and Millie's a lineal fan here,

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Speaker 2: established nineteen ninety six from the Southeast, writing in to

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Speaker 2: say your podcast is like cracking open a never ending

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Speaker 2: geode of culture. Crystals, Millie, you fuck my shit up

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Speaker 2: on the rig. You are fucking hilarious. Maybe it's something

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Speaker 2: to do with sharing the timing of Southern humor, but

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Speaker 2: every episode you drop gems that I have to slam

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Speaker 2: the pause button on because I am sputtering and wheezing

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Speaker 2: like a buffoon. You convey complex intellectual arguments using the

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Speaker 2: same down home verbiage as a NASCAR fan. You are

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Speaker 2: a fucking trip and the only ares I would ever

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Speaker 2: stab myself in the leg for Danielle. I wish I

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Speaker 2: words better just so I could speak this truth over you.

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Speaker 2: You are a heart and soul person. Your realness and

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Speaker 2: rawness is my lifeblood. You reveal the vulnerability that lives

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Speaker 2: in anger. Somehow, you are one of nature's unknowable conflicts.

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Speaker 2: You should be studied. It would be an honor to

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Speaker 2: be violently chastised by you in the parking lot of

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Speaker 2: a home depot. I hope we never meet because I

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Speaker 2: have an extremely embarrassing crush on you. Also, many of

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Speaker 2: the things you have a state hatred of apply to

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Speaker 2: me directly. Your podcast is my refuge. Never doubt the

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Speaker 2: magical mad geniussness that both of you inexplicably possess. All

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Speaker 2: my love, Teah, come on, t I think you words

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Speaker 2: just fine and impeccably Actually, like, that is one of

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Speaker 2: the nicest and most thoughtful emails we've ever received. Thank you. Yeah, dude,

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Speaker 2: I this one is just so heartwarming. I mean, I

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Speaker 2: can't get over the fact that Tea has an extremely

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Speaker 2: embarrassing crush on you.

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Speaker 1: That is such a fun compliment. Everyone who's ever had

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Speaker 1: a crush on me is embarrassed. So join up a

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Speaker 1: fucking Q. Listen, get in line. I love an embarrassing crush.

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Speaker 1: Every crush I have is embarrassing. I'm like, oh why

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Speaker 1: do I feel this way?

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Speaker 2: I hate it. All crushes are embarrassing. We just all

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Speaker 2: have to, you know, move out of that space and

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Speaker 2: just be in the moment, be in the embarrassing moment

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Speaker 2: of liking somebody earnestly and not ironically. Right.

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Speaker 1: Yeah, I would rather that than the kind of ironic, detached,

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Speaker 1: bullshitty way people tend to talk about each other like,

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Speaker 1: I am very very grateful Tea, and thank you for

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Speaker 1: having a crush on me, and don't be embarrassed by

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Speaker 1: it at all, because I'm fucking cool.

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Speaker 2: Having been violently chastised by you, Danielle in the parking

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Speaker 2: lot of a home depot, I have to say it's great.

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Speaker 2: We did go to home depot together once. Remember when

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Speaker 2: we lived in LA and we had to drive what

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Speaker 2: was it a home depot that was like in, It's

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Speaker 2: not the one on Sunset, it's this other one out

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Speaker 2: of Yes, I think we did. You didn't actually violently

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Speaker 2: chastise me, but I feel like you were. You were

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Speaker 2: stressed out.

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Speaker 1: I am always stressed out at home depot. If somebody

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Speaker 1: once said me a message on Instagram that was like, hey,

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Speaker 1: I think I just saw you at a LOS and

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Speaker 1: I was like, I'm sorry.

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Speaker 2: Like they didn't talk to me or anything.

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Speaker 1: I was just like, I know I was in a

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Speaker 1: bad mood because I'm always in a bad mood if

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Speaker 1: I'm in a home improvement store.

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Speaker 2: That is actually probably true like ninety nine percent of

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Speaker 2: the time, because it's not the kind of place where

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Speaker 2: you would just go and browse, right, It's like eyes

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Speaker 2: on the prize type of place, and most people are

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Speaker 2: there because they have to improve something in their house,

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Speaker 2: which means that they're probably pissed off or stressed out

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Speaker 2: or something's happening. So yeah, you're probably right. Everybody in

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Speaker 2: a home depot there's no peace in there. Even if

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Speaker 2: you're just.

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Speaker 1: Buying batteries, you're fucking stressed because where are the batteries?

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Speaker 1: Where are they?

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Speaker 2: I'll tell you.

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Speaker 1: In most of these home improvement stores now, like now

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Speaker 1: that I go on a semi regular basis, they're usually

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Speaker 1: in the front, and then I have a big end

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Speaker 1: camp with all the batteries because people steal them, I

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Speaker 1: guess so. But yeah, you're always stressed in a home depot.

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Speaker 1: But I just I will violently chastise you. I will

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Speaker 1: lightly chastise you, Tea. I hope we get to meet

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Speaker 1: one day. Despite the fact that many of the things

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Speaker 1: that I have said I hate to apply directly to you,

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Speaker 1: I still think you are a magical and wonderful being.

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Speaker 1: And if you could write an email like this where

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Speaker 1: you clearly are so in tune with how great MILLI

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Speaker 1: is that I'm down. Let's meet, let's hang out.

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Speaker 2: I'm glad that I can convey come complex intellectual arguments

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Speaker 2: like a NASCAR fan. It actually is a very big

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Speaker 2: compliment for me. I think that's a huge compliment honestly, Like, truly,

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Speaker 2: did I tell you I'm going to ask you this question?

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Speaker 2: I'm I ready to the answer to it. Have you

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Speaker 2: ever been to a NASCAR race? No?

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Speaker 1: Okay, duh, I haven't seen Taladayga nights and I have

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Speaker 1: avoided that whole culture for most of my life so far.

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Speaker 2: So I have been to one, only a one at

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Speaker 2: the Atlanta Motor Speedway. Long story short. A friend of

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Speaker 2: mine is works for a NASCAR team marketing person and

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Speaker 2: she was like, do you want to come see and

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Speaker 2: ask her race? I was like, I mean, I don't

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Speaker 2: even know what happens there besides just people spinning around

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Speaker 2: a lot. But I'll go because I, like I said,

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Speaker 2: I'll do anything once. I love experiencesolutely right and there,

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Speaker 2: So did I tell this story on this No? I

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Speaker 2: haven't told the story. I don't think if you've heard

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Speaker 2: me tell this story, I apologize. But so I went

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Speaker 2: there and it was this kind of like all day

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Speaker 2: event type of thing, and it was like, you know, obviously,

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Speaker 2: like I would say, ninety percent mail and not a

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Speaker 2: lot of women at least in the pit area. Like

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Speaker 2: maybe the fans is one thing, but like the area

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Speaker 2: that I was in, which is down near where the

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Speaker 2: cars are or whatever, it was pretty much all men

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Speaker 2: and then like a couple of ladies, right. So part

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Speaker 2: of what I was down there for is I was

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Speaker 2: sitting with the team and they're like little bleach area,

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Speaker 2: so you got like right up close to see like

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Speaker 2: how they were like doing the taking the tires off

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Speaker 2: and all that shit real fast, and it was just

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Speaker 2: sort of like fascinating because I was they just do

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Speaker 2: it so fast that you're like, how how do you

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Speaker 2: do that? How does that tire or not like fall off?

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Speaker 2: I guess when the guy drives away like two hundred

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Speaker 2: miles an hour, But I guess they're professionals. But there

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Speaker 2: was this moment that is seared onto my brain even

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Speaker 2: to this day where so one of the cars that was,

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Speaker 2: you know, racing around, slammed into a wall and crashed.

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Speaker 2: Basically nobody was hurt, but the car was like pretty

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Speaker 2: much destroyed, right, which was weird as shit to see

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Speaker 2: to see a car like get destroyed and the guy

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Speaker 2: just pops out. It's like, what's up, Let's go go eat,

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Speaker 2: you know, like or whatever he does. I don't know

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Speaker 2: what he does when a car crashes. I guess he

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Speaker 2: just leaves my other car.

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Speaker 1: He gets into a Toyota christ and it's like now

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Speaker 1: it's a real race, right.

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Speaker 2: So basically they toe his team, his pit crew, towes

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Speaker 2: the car to their little area, because each one of

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Speaker 2: them has like a little area that has like a

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Speaker 2: trailer where they like go in and use the bathroom

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Speaker 2: and like change, and shit's kind of like a I

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Speaker 2: don't know, it looks like Lollapalooza or something. Everyone's just

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Speaker 2: kind of hanging out in front of trailers and shit.

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Speaker 2: Oh so I've seen Footloose the remake. Of course, of course.

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Speaker 3: This area, this truck area, the truck area, right, So

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Speaker 3: they tow this junked up car to their area, and

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Speaker 3: all of a sudden, you see all these men like

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Speaker 3: running running, and I'm talking about like not their team,

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Speaker 3: like just random men who I guess were fans that

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Speaker 3: somehow have like the fan experience to be down in

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Speaker 3: the pit or whatever.

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Speaker 2: And all of a sudden, there's just like this giant

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Speaker 2: circle that forms around this junked up car, and everyone

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Speaker 2: starts pulling their phone out, and the pit crew of this,

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Speaker 2: you know, they start taking apart this junked up car

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Speaker 2: because I guess they just remove all the parts from

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Speaker 2: the car. It's obviously not driveable, so I guess they're

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Speaker 2: just trying to disassemble it so they can like put

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Speaker 2: it on a truck to take it home or whatever.

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Speaker 2: And it was like watching it was like a group

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Speaker 2: of men with their phones out, hungrily watching other men

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Speaker 2: removing car parts. It was pornographic, is what I'm saying.

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Speaker 2: And it was so experience. I was like, are they

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Speaker 2: gonna like whip their dicks out and start like doing

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Speaker 2: the thing? Like it was like they were so excited

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Speaker 2: to watch like other men removing like junked up car parts,

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Speaker 2: like smashed fucking fenders and shit. And I just was like,

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Speaker 2: this is the most fascinating subculture I've ever experienced in

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Speaker 2: my entire life. I am getting a glimpse into what

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Speaker 2: it means to be a fucking man right now. And

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Speaker 2: it is weird as shit. It is weird.

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Speaker 1: TOASTERO gotcha all out here. Crazy Toast will fuck you

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Speaker 1: the fuck up.

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Speaker 2: Yeah, that is literally the only time I've ever been

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Speaker 2: in NASCAR, and that was just, like, like I said,

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Speaker 2: it was like such a weird experience to have that.

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Speaker 2: I'm like, do I want to go back to another NASCAR?

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Speaker 2: I could be fun. I guess people love it. People

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Speaker 2: fucking love it. It's a huge sport.

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Speaker 1: I and people are starting get in the Formula One

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Speaker 1: and they're always wanting to talk about the differences between

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Speaker 1: the two, and I'm like, the difference between the two

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Speaker 1: is money, Like one is like considered a low class

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Speaker 1: sport and the other one is considered a rich person sport.

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Speaker 2: But they're all just racing cars as far as I'm concerned.

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Speaker 1: I know there's differences on the track and all kinds

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Speaker 1: of shit, but I would go. I would actually go

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Speaker 1: to a NASCAR event. I just I have never had

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Speaker 1: the opportunity to go. And again, like, there's something about

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Speaker 1: the culture of NASCAR that has kept me at arm's length.

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Speaker 2: Intentionally.

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Speaker 1: I think they actively like weird black ladies stay over there,

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Speaker 1: but I have I think the only experience that I've

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Speaker 1: had that even comes close to that is I've gone

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Speaker 1: to a couple of rodeos, and yeah, rodeos are so

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Speaker 1: much fun. But they are so intense in that way

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Speaker 1: where like dudes will gather and you're like, what the

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Speaker 1: fuck's going on? Whenever I see a ring of men,

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Speaker 1: I'm like, something bad is happening.

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Speaker 2: Yes, yeah, something bad is happening.

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Speaker 1: And it's usually not, but it's like it's them just

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Speaker 1: gawking at something. But it's but that instinct is just

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Speaker 1: so instilled in me that it's hard to get away from, like, oh,

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Speaker 1: they're just like admiring this horse or what.

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Speaker 2: Yeah, well, and that's it. This is ultimately this argument

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Speaker 2: that I will have with any man who tries to, like,

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Speaker 2: I don't know, confront me for liking astrology or something like,

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Speaker 2: you know, some kind of like gendered like gotcha moment

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Speaker 2: where they're like, got all you women? All you do

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Speaker 2: is want to like hang out in Sephora and you know,

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Speaker 2: talk at nail Posha. I was like, bitch, I saw

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Speaker 2: you and a bunch of your friends filming a horse

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Speaker 2: standing just standing there.

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Speaker 1: Horse wasn't even doing anything, wasn't even doing anything cool,

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Speaker 1: wasn't pissing on anything.

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Speaker 2: Everyone's weird, everyone's embarrassing. Absolutely, as we've just pointed out

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Speaker 2: in reference to tease email to us.

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Speaker 1: Yes, and I just again, this is just such a

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Speaker 1: nice and it's nice because it also this email is

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Speaker 1: nice because it also conveys how you're interacting with the podcast,

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Speaker 1: which I always love to hear, but people you know,

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Speaker 1: laughing or you know, zeroing in on one or two things.

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Speaker 2: I just loved that.

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Speaker 1: I love hearing how you're interacting with it, and that

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Speaker 1: we connect with people is all we ever want to do.

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Speaker 1: So I just really really appreciated this email. It made

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Speaker 1: me so happy for days after I read it. We

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Speaker 1: should put it right in front of our our podcast

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Speaker 1: areas before we look up reviews to post for Wednesdays.

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Speaker 1: Just like, read this one first and go read the

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Speaker 1: reviews and be like it's okay, I've got I've got

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Speaker 1: this one.

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Speaker 2: We can sandwich it in between. Yeah, this this email

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Speaker 2: is like our Nicole Kidman. We come to this place

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Speaker 2: for magic speech before every every podcast we do.

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Speaker 1: I read somebody posted something on Instagram where they said

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Speaker 1: that and they're viewing of Barbie. Some guy got up

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Speaker 1: and put his hat over his heart, and as Nicole

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Speaker 1: Kidman was talking, he recited the whole speech with her,

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Speaker 1: and then the whole theater like erupted in in applause

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Speaker 1: like that is absolutely wonderful. That's how you do life.

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Speaker 1: Like the differences even this summer alone. I know they've

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Speaker 1: been divorced for a very long time, but you've got

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Speaker 1: Tom Cruise and Christopher Nolan out here battling for fucking

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Speaker 1: Imax theaters. Yeah, to kind of prove who's got the

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Speaker 1: bigger movie and who can get more asses and seats. Meanwhile,

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Speaker 1: the Cole kill kidman is like, let me just put

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Speaker 1: on my silver suit and sit down in a movie

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Speaker 1: back lit and just tell you how great it is.

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Speaker 2: That's how you win it life, That's how you win

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Speaker 2: your divorce. That's how you win.

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Speaker 1: She just has a piece and a calm about her.

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Speaker 1: That's just like, let me just act that's what I do, man,

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Speaker 1: And let me just act like I sit in theaters

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Speaker 1: with regular people. Let me act like I don't have

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Speaker 1: seventeen mansions, all of them with private theaters where I

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Speaker 1: can watch whatever I want, whenever I want, where I

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Speaker 1: can call someone directly and be like, I want to

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Speaker 1: watch all that jazz next to Bob Fossey's bones. Pretend

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Speaker 1: you can't do that prop Bob Fossey's bones up next

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Speaker 1: to me in a seat in my private theater because

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Speaker 1: we knowize how Nicole Kidman is rolling. But I love

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Speaker 1: that she can pretend to sit with the rest of

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Speaker 1: us in a silver suit and just get her asses

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Speaker 1: back to the movies.

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Speaker 2: I love it. Yeah, she even pretended to buy a

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Speaker 2: coke I have it. I was like, Shay a trick

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Speaker 2: and that that's that coke is flat. Some some pa

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Speaker 2: would and try to get her this coke to be

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Speaker 2: like Nicole, you're gonna have to sit here with this

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Speaker 2: coke because you gotta actually make it look like you're

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Speaker 2: enjoying a movie in a movie theater. She's like, I don't.

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Speaker 2: I don't drink that that machine.

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Speaker 1: That coke tastes like seventeen different sodas, because that's how

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Speaker 1: they do soda now. They're like, do it yourself, and

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Speaker 1: you're like, I want a regular diet coke and it

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Speaker 1: comes out tasting like a fucking Fanta because that's how

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Speaker 1: they do now. Those pipes are all interconnected, or my favorite,

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Speaker 1: it just tastes like mildew because those.

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Speaker 2: No one is cleaning those machines in years. Yeah, oh

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Speaker 2: cokin isn't drinking your fucking mildew soda. I I'm gonna

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Speaker 2: say something controversial. I hate a freestyle machine. I really

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Speaker 2: hate them. No, I love a gun. I love a

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Speaker 2: soda gun like bar style. Yeah, Like, you gotta keep

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Speaker 2: it simple because this this experimental shit where you're like,

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Speaker 2: I want an orange, vanilla, Mountain dew, Fanta Coke zero

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Speaker 2: is gross. And I know for a fact that some

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Speaker 2: of these flavors haven't been touched in a while. And

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Speaker 2: so when you decide that you want to go down

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Speaker 2: that weird road, like that shit tastes weird as hell.

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Speaker 2: It's like disgusting, like sludgy orange crap because it's just

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Speaker 2: bags of syrup.

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Speaker 1: Just imagine the inside of those machines, just bags of

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Speaker 1: syrup stacked up like the fucking matrix at the end. Yeah,

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Speaker 1: like tubs of go. Those things ain't right.

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Speaker 2: I don't like. I don't like a freestyle soda.

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Speaker 1: I prefer a fountain soda behind a counter where people

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Speaker 1: actually are required to clean it on a regular basis.

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Speaker 2: I agree, I agree. I'm gonna listen. I'm saying that

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Speaker 2: in the house of Coca Cola right now in Atlanta, Georgia,

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Speaker 2: I'm sure there's I'm sure al Pacino, whoever the al

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Speaker 2: Pacino and friends of the Coca Cola company are standing

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Speaker 2: outside my house right now surveilling me. Being like, all right,

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Speaker 2: she said she did, like the freestyle machines, where's the

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Speaker 2: sniper on the roof. You're gonna outside of the house.

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Speaker 2: You better hit her, You better hit those feet, make her,

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Speaker 2: make her dance. The day.

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Speaker 1: You're gonna go, you're gonna open your door, there's gonna

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Speaker 1: be like a flyer attached to your door knob from

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Speaker 1: Coca Cola's Like, we heard what you said about the

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Speaker 1: freestyle machines ten minutes ago, and let us tell you

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Speaker 1: that you are now a marked woman. We also know

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Speaker 1: that you got pepsi in that fridge. We let that

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Speaker 1: one slide.

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Speaker 2: I mean I do have, I do. I don't even

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Speaker 2: know how you find pepsi in Atlanta. Oh but you

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Speaker 2: found hard. It's real hard, That's what it's gonna say.

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Speaker 1: Like you fucking made the effort to go out of

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Speaker 1: town to find this soda.

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Speaker 2: Yeah. I only drink the wild Cherry diet. That's all

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Speaker 2: I that's all. I drek. It is really hard to find.

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Speaker 2: So and when I have, if I have to go

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Speaker 2: somewhere to get it, Like if I have to go

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Speaker 2: like outside of the city to get it, you really

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Speaker 2: gotta sneak it. And I find that people sometimes hide it.

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Speaker 2: Sometimes people hide it because it's such a rare thing

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Speaker 2: to see here that they'll like push it in the

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Speaker 2: back of the shelf to be like uh huh, Like

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Speaker 2: I'm coming back to this. I know it's contraband, but

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Speaker 2: I want it, so I'm gonna hide it and come

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Speaker 2: back for it. And I'm like, I gotta go climb

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Speaker 2: into the bottom of the shelf and grab it. I'm

400
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Speaker 2: telling it. It's like this musty, some dusty old twelve pats. Oh,

401
00:21:25,040 --> 00:21:27,919
Speaker 2: dust it off a couple of yeah, oh sure have

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Speaker 2: sure have so Oh.

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Speaker 1: I love you taking the risk. I love where this

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Speaker 1: conversation has taking us.

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Speaker 2: T You're wonderful.

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Speaker 1: I also have to take this moment to ask if

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Speaker 1: you're watching this season of Righteous Gemstones, because the NASCAR

408
00:21:42,400 --> 00:21:45,800
Speaker 1: conversation just reminded me of the Shay Wigham character and

409
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Speaker 1: he is insane. I love him so much as an actor.

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Speaker 1: He is fucking wild.

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Speaker 2: I love, love love him. Could we get him on

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Speaker 2: this podcast? Do you think he would do a podcast.

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Speaker 1: I think he would do a podcast if you asked

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Speaker 1: him to do it in a treehouse. I feel like,

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Speaker 1: much like yourself, he's just in it for the experience.

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Speaker 2: He is one of our finest dirt bag Southern character actors,

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Speaker 2: like truly truly, truly truly. And when his fucking ass

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Speaker 2: showed up in The Gemstones with that like old Man

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Speaker 2: Winston cigarette smoking makeup, I screamed, I fucking screamed. I

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Speaker 2: did too. I just love him so much.

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Speaker 1: And even he's in Perry Mason and he does a

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Speaker 1: great job in that. He's truly a versatile and remarkable

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Speaker 1: actor in every sense of the word.

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Speaker 2: I prefer the dirtbag Southern characters same. I mean, yes, sir,

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Speaker 2: you have a range that is unbelievable. I watched The

426
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Speaker 2: Waco The Aftermath and saw you in it and was like, yes,

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00:22:52,840 --> 00:22:55,919
Speaker 2: you're incredible, but I gotta tell you in when you

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00:22:55,960 --> 00:22:59,359
Speaker 2: walk down simply you walking out in the Gemstones was

429
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Speaker 2: like dumb. Give he gets a pulitzer and a Peabody.

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Speaker 1: Emmy, He's gonna egot just for one scene where there's

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Speaker 1: no music. Oh shit, oh good, amazing? Well, I again,

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Speaker 1: thank you, t fantastic email. Thank you to everyone who

433
00:23:24,720 --> 00:23:28,520
Speaker 1: writes to us and says kind has kind words, but

434
00:23:28,560 --> 00:23:30,760
Speaker 1: this was really a special one, so thank you so much.

435
00:23:36,800 --> 00:23:39,600
Speaker 1: And now why don't we give you some movies and

436
00:23:39,640 --> 00:23:40,680
Speaker 1: get into our theme.

437
00:23:41,840 --> 00:23:47,840
Speaker 2: Yes, uh, we are on week four of hot movies,

438
00:23:48,920 --> 00:23:52,160
Speaker 2: and uh, this is a good one. So we got

439
00:23:52,240 --> 00:23:58,439
Speaker 2: we We've decided that we're going to other words for

440
00:23:58,800 --> 00:24:03,280
Speaker 2: hot also count in this month.

441
00:24:03,920 --> 00:24:09,680
Speaker 1: Anything heat related, Yes, anything temperature hot related counts.

442
00:24:10,080 --> 00:24:13,920
Speaker 2: I feel like we did basically a perfect job at

443
00:24:13,960 --> 00:24:19,120
Speaker 2: picking heat named films this week. We kind of did.

444
00:24:20,160 --> 00:24:22,120
Speaker 2: And they're weirdly they're very.

445
00:24:21,960 --> 00:24:26,560
Speaker 1: Weirdly paralleled or at least they fit together well. I

446
00:24:26,600 --> 00:24:29,920
Speaker 1: think this is not one of our weirder double features.

447
00:24:30,080 --> 00:24:33,920
Speaker 2: I'm going to take a stab at maybe linking them. Oh,

448
00:24:34,160 --> 00:24:44,760
Speaker 2: these are both stories of people trying to remove themselves

449
00:24:44,840 --> 00:24:48,360
Speaker 2: from or extricate themselves from, situations that they don't want

450
00:24:48,359 --> 00:24:53,600
Speaker 2: to be in. Yes, yeah, Brillian brilliant observation. Yes yes,

451
00:24:53,760 --> 00:25:01,240
Speaker 2: and also I guess the criminal justice system so ah.

452
00:25:01,280 --> 00:25:04,760
Speaker 1: But also that's also that's from different angles. But yeah,

453
00:25:04,800 --> 00:25:07,000
Speaker 1: I'm I'm psyched. I haven't seen your movie in a

454
00:25:07,000 --> 00:25:08,920
Speaker 1: long time. I haven't seen my movie in a long time.

455
00:25:09,119 --> 00:25:12,320
Speaker 1: Oh my god, I didn't even realize my movie's like

456
00:25:12,400 --> 00:25:13,639
Speaker 1: twenty eight years old.

457
00:25:13,680 --> 00:25:17,640
Speaker 2: Twenty seven years old, Okay. I was shocked by that too.

458
00:25:19,320 --> 00:25:23,040
Speaker 2: The I was shocked by the hair in this film,

459
00:25:23,119 --> 00:25:26,240
Speaker 2: I have to say, weird, which was the indicator of

460
00:25:26,320 --> 00:25:30,280
Speaker 2: time passage. I was like, what, these hairstyles are wild?

461
00:25:30,840 --> 00:25:35,800
Speaker 2: Like the male and female hairstyles both are wild. And

462
00:25:35,840 --> 00:25:38,360
Speaker 2: then I was like, what year was this movie made? Again,

463
00:25:38,400 --> 00:25:43,440
Speaker 2: I'm like, oh, ninety five five, the year I graduated

464
00:25:43,600 --> 00:25:47,199
Speaker 2: high school. See, And that was a lot like my

465
00:25:47,320 --> 00:25:52,919
Speaker 2: whole thing about the nineties now being like what thirty

466
00:25:53,000 --> 00:25:58,040
Speaker 2: years ago, it's scary as shit. Like I'm just like, okay,

467
00:25:58,200 --> 00:26:01,000
Speaker 2: Like the nineties felt like the most modern era in

468
00:26:01,040 --> 00:26:03,320
Speaker 2: the world to me as a kid, and now we're

469
00:26:03,359 --> 00:26:05,199
Speaker 2: like so far removed from that era that I'm like,

470
00:26:05,280 --> 00:26:08,600
Speaker 2: I can't figure out what's happening in my life.

471
00:26:08,640 --> 00:26:11,480
Speaker 1: Like It's put it this way, if Back to the

472
00:26:11,520 --> 00:26:15,240
Speaker 1: Future was made today, they would be in nineteen ninety three,

473
00:26:15,560 --> 00:26:17,360
Speaker 1: Marty would go back to nineteen ninety three.

474
00:26:18,240 --> 00:26:21,479
Speaker 2: Yeah, oh my god. Let that sit in your stomach

475
00:26:21,520 --> 00:26:27,160
Speaker 2: for a minute. Yes, let that rock you hard, dude.

476
00:26:27,240 --> 00:26:29,960
Speaker 2: I am so fucking excited to talk about your movie.

477
00:26:30,000 --> 00:26:32,120
Speaker 2: I know you're going first this week, so yeah, let's

478
00:26:32,240 --> 00:26:34,200
Speaker 2: do it. Let's do it.

479
00:26:34,240 --> 00:26:37,520
Speaker 1: My movie was released in nineteen ninety five. The screenplay

480
00:26:37,560 --> 00:26:40,080
Speaker 1: is by Michael Mann. It was directed by Michael Mann.

481
00:26:40,440 --> 00:26:41,960
Speaker 1: And my movie is Heat.

482
00:26:42,480 --> 00:26:44,679
Speaker 2: You want to be making moves on the street, have

483
00:26:44,760 --> 00:26:47,840
Speaker 2: no attachments, Allow nothing to be in your life that

484
00:26:47,920 --> 00:26:50,479
Speaker 2: you cannot walk out on in thirty seconds flat if

485
00:26:50,520 --> 00:26:52,000
Speaker 2: you spot the heat around the corner.

486
00:26:52,200 --> 00:26:57,080
Speaker 1: Yes, this film is a rollicking two hours and fifty

487
00:26:57,119 --> 00:27:00,720
Speaker 1: minutes long. I don't think they could made it shorter

488
00:27:00,800 --> 00:27:02,920
Speaker 1: if they tried. Michael Man worked on this movie for

489
00:27:02,960 --> 00:27:07,359
Speaker 1: like decades, truly, and was it was astonishing that it

490
00:27:07,400 --> 00:27:08,240
Speaker 1: came out at all.

491
00:27:08,480 --> 00:27:10,600
Speaker 2: So let the man have the three hours.

492
00:27:10,320 --> 00:27:14,320
Speaker 4: Like, give him, give him the three hours, give him

493
00:27:14,320 --> 00:27:16,840
Speaker 4: the B of the D give him those three hours,

494
00:27:17,359 --> 00:27:19,000
Speaker 4: and I'm gonna I'll give you the one sentence and

495
00:27:19,000 --> 00:27:20,520
Speaker 4: then we'll go into a little bit of background.

496
00:27:20,720 --> 00:27:23,679
Speaker 1: We did talk about Michael Mann when Millie covered Thief

497
00:27:23,800 --> 00:27:25,520
Speaker 1: the movie Thief, So go back and listen to that

498
00:27:25,560 --> 00:27:27,960
Speaker 1: episode if you want like an in depth Michael Mann,

499
00:27:28,200 --> 00:27:31,240
Speaker 1: look at Michael Michael Mann. But my one sentence is

500
00:27:32,040 --> 00:27:36,040
Speaker 1: startling wig choices bookend this tension fueled heist movie that

501
00:27:36,119 --> 00:27:39,560
Speaker 1: refuses to ignore the private lives of cops and robbers

502
00:27:39,560 --> 00:27:40,639
Speaker 1: in Los Angeles.

503
00:27:42,680 --> 00:27:46,720
Speaker 2: You fucking covered it. It's a cops of robbers movie.

504
00:27:46,760 --> 00:27:48,680
Speaker 2: I love it. I love it. Now.

505
00:27:48,840 --> 00:27:52,720
Speaker 1: The first thing you usually hear about Heat is the

506
00:27:52,920 --> 00:27:56,800
Speaker 1: truly stunning fact that this is the first film where

507
00:27:56,840 --> 00:28:01,480
Speaker 1: al Pacino and Robert de Niro were face to face acting. Yes,

508
00:28:01,520 --> 00:28:03,640
Speaker 1: they were in The Godfather together, but they film those

509
00:28:03,640 --> 00:28:07,440
Speaker 1: scenes separately. They never acted together. So this is weirdly

510
00:28:07,600 --> 00:28:09,920
Speaker 1: and wonderfully the first film where we have these two

511
00:28:10,000 --> 00:28:12,679
Speaker 1: powerhouse actors together on screen. That was the thing that

512
00:28:12,720 --> 00:28:15,480
Speaker 1: excited everyone when it came out. I remember people talking

513
00:28:15,480 --> 00:28:18,080
Speaker 1: about it like crazy. But what I really love about

514
00:28:18,080 --> 00:28:20,680
Speaker 1: this movie, because it's also the other thing you also hear,

515
00:28:20,920 --> 00:28:23,280
Speaker 1: or I've heard in my life from people, is how

516
00:28:23,880 --> 00:28:26,960
Speaker 1: this movie is kind of like a dude buffet, right,

517
00:28:27,000 --> 00:28:30,119
Speaker 1: Like it's a movie for dudes. But the more I

518
00:28:30,160 --> 00:28:32,040
Speaker 1: watch it, and the more often I see it, which

519
00:28:32,080 --> 00:28:33,560
Speaker 1: is k you, every a few years I'll watch it,

520
00:28:34,280 --> 00:28:37,600
Speaker 1: I really dig that this film is. Yes, it's a

521
00:28:37,640 --> 00:28:40,320
Speaker 1: heist film, but at its core, it's really about the

522
00:28:40,360 --> 00:28:45,160
Speaker 1: private lives of each character, and each character gets a

523
00:28:45,200 --> 00:28:49,480
Speaker 1: full backstory, which actually makes the heist and the action

524
00:28:49,960 --> 00:28:52,720
Speaker 1: more pointed, which kind of changed the game a bit,

525
00:28:52,800 --> 00:28:56,760
Speaker 1: Like you start to see more of these characters where

526
00:28:56,760 --> 00:28:59,760
Speaker 1: they're engaging in criminal behavior, but they also have a

527
00:28:59,760 --> 00:29:03,240
Speaker 1: lot of life infused in them. Yes, it happened a

528
00:29:03,280 --> 00:29:05,320
Speaker 1: little bit before Michael Mann, but I think he saw

529
00:29:05,360 --> 00:29:08,760
Speaker 1: it a lot more afterwards. And I'm thinking even on

530
00:29:08,800 --> 00:29:11,440
Speaker 1: TV like The Walter Whites and the like, we started

531
00:29:11,480 --> 00:29:15,600
Speaker 1: to kind of see this anti heroic shift that to

532
00:29:15,680 --> 00:29:17,680
Speaker 1: me happened after this film.

533
00:29:18,240 --> 00:29:22,320
Speaker 2: Yeah. Yeah, I totally agree with you, Like, I definitely

534
00:29:22,360 --> 00:29:24,720
Speaker 2: think that this set the table for that kind of stuff.

535
00:29:25,760 --> 00:29:27,800
Speaker 2: I actually think that's a really interesting thing to point

536
00:29:27,800 --> 00:29:31,080
Speaker 2: out too, because that is sort of what because I

537
00:29:31,080 --> 00:29:34,320
Speaker 2: feel like this movie does feel a lot like Thief

538
00:29:34,480 --> 00:29:39,760
Speaker 2: in a way, just meaning that they're both movies about

539
00:29:39,760 --> 00:29:46,480
Speaker 2: like methodical heists being planned by like professional criminals. Right.

540
00:29:47,480 --> 00:29:50,200
Speaker 2: But I think in both movies, and I think maybe

541
00:29:50,240 --> 00:29:53,680
Speaker 2: in a lot of Michael Man's work, there's this idea

542
00:29:53,920 --> 00:29:59,720
Speaker 2: of it being about the crime, about the like ins

543
00:29:59,720 --> 00:30:03,360
Speaker 2: and out of that whole world, but also about people

544
00:30:03,360 --> 00:30:09,840
Speaker 2: who have like home lives and that push and pull

545
00:30:10,000 --> 00:30:14,280
Speaker 2: of well, I want to do this stuff because frankly,

546
00:30:14,360 --> 00:30:16,880
Speaker 2: I'm good at it and I love money, but I

547
00:30:16,960 --> 00:30:21,360
Speaker 2: also have this thing that's pulling at me, that's saying

548
00:30:21,400 --> 00:30:23,600
Speaker 2: like I should get out of the business, I should

549
00:30:24,560 --> 00:30:26,920
Speaker 2: get a wife and spend more time with my kids,

550
00:30:27,000 --> 00:30:31,360
Speaker 2: and that kind of thing, which I think, Yeah, I

551
00:30:31,440 --> 00:30:36,400
Speaker 2: think that that this movie perfected that notion and I

552
00:30:36,400 --> 00:30:39,480
Speaker 2: feel like that now is something that happens in pretty

553
00:30:39,560 --> 00:30:44,160
Speaker 2: much all crime things, you know, TV shows and movies,

554
00:30:44,240 --> 00:30:46,120
Speaker 2: is that it's not just about the like, hey, isn't

555
00:30:46,160 --> 00:30:47,960
Speaker 2: it cool that we're just blowing stuff up and shooting

556
00:30:48,000 --> 00:30:50,040
Speaker 2: each other in the street, and like cops and robbers,

557
00:30:50,040 --> 00:30:54,440
Speaker 2: it's more like there's more kind of interior lives being shown,

558
00:30:54,560 --> 00:30:57,040
Speaker 2: which is like, I appreciate, dud, who are these guys?

559
00:30:57,160 --> 00:30:59,000
Speaker 1: And I think it's the other thing that I also

560
00:30:59,080 --> 00:31:03,880
Speaker 1: appreciate about this movie is if you haven't seen it

561
00:31:03,920 --> 00:31:05,440
Speaker 1: in a while, or you haven't ever seen it, when

562
00:31:05,480 --> 00:31:08,560
Speaker 1: you're watching it again or for the first time, pay

563
00:31:08,600 --> 00:31:10,840
Speaker 1: attention to the women in this film, because again, this

564
00:31:10,920 --> 00:31:13,880
Speaker 1: is the type of film that's often billed as like

565
00:31:13,920 --> 00:31:16,800
Speaker 1: a dude film, But if you pay attention to the women.

566
00:31:17,240 --> 00:31:20,400
Speaker 1: I think you realize that they fuel this film. So

567
00:31:20,480 --> 00:31:23,680
Speaker 1: every decision that is made by de Niro and Paccino's

568
00:31:23,800 --> 00:31:27,080
Speaker 1: characters has a tinge of humanity to it because of

569
00:31:27,120 --> 00:31:30,760
Speaker 1: the women in their lives, and when they act selfishly

570
00:31:31,240 --> 00:31:35,800
Speaker 1: or forget their partners, that's when shit starts to fall apart. Yeah,

571
00:31:35,920 --> 00:31:39,680
Speaker 1: So I think that is incredibly important to point out

572
00:31:39,680 --> 00:31:42,320
Speaker 1: as well that Michael mann is he's a really full

573
00:31:42,400 --> 00:31:44,800
Speaker 1: storyteller in that way, like he gives there's not a

574
00:31:44,880 --> 00:31:47,920
Speaker 1: character on the screen.

575
00:31:47,560 --> 00:31:49,480
Speaker 2: That he's not thought about in full.

576
00:31:50,360 --> 00:31:53,520
Speaker 1: So even if they are not present in several scenes

577
00:31:53,600 --> 00:31:56,040
Speaker 1: or a lot of scenes, they're always part of the

578
00:31:56,040 --> 00:31:59,920
Speaker 1: fabric of what's fueling these characters. So I also think

579
00:32:00,760 --> 00:32:03,080
Speaker 1: the weird the weirdest thing in the world hit me

580
00:32:03,080 --> 00:32:04,800
Speaker 1: this time when I was watching it, which is that

581
00:32:04,880 --> 00:32:06,600
Speaker 1: Danny Trayho has really nice eyes.

582
00:32:07,480 --> 00:32:09,320
Speaker 2: Yes, I don't think enough.

583
00:32:09,160 --> 00:32:11,560
Speaker 1: People in the films that he's in are doing enough

584
00:32:11,560 --> 00:32:12,920
Speaker 1: close ups because I didn't know that.

585
00:32:14,480 --> 00:32:16,760
Speaker 2: There's some Danny Treyo close ups. He has great eyes.

586
00:32:17,480 --> 00:32:19,800
Speaker 2: And get his donuts and tacos if you live in

587
00:32:19,840 --> 00:32:21,520
Speaker 2: Los Angeles, because they're pretty good.

588
00:32:21,760 --> 00:32:25,000
Speaker 1: His donuts and tacos are great. His tacos one hundred

589
00:32:25,000 --> 00:32:28,920
Speaker 1: percent will give me the shits every time. I've ordered

590
00:32:29,280 --> 00:32:31,480
Speaker 1: several things from that menu, and every time I get

591
00:32:31,520 --> 00:32:32,200
Speaker 1: the fucking shits.

592
00:32:32,440 --> 00:32:35,240
Speaker 2: But they're delicious and they're worth it. Listen, good going

593
00:32:35,360 --> 00:32:38,840
Speaker 2: down after that, it's a it's a roll of the dice,

594
00:32:39,080 --> 00:32:41,960
Speaker 2: but it's worth least. Yeah, plan the time on the toilet,

595
00:32:41,960 --> 00:32:45,760
Speaker 2: but do the d because they're good. They're really good. Yeah.

596
00:32:45,920 --> 00:32:51,960
Speaker 2: That to me, this movie is so crazily packed with

597
00:32:52,520 --> 00:32:56,880
Speaker 2: famous people that you're like, oh, yeah, Danny Treyjo is

598
00:32:56,920 --> 00:33:01,440
Speaker 2: in that movie exactly, exactly, Oh yeah, Michael T. Williamson

599
00:33:01,560 --> 00:33:06,360
Speaker 2: is in it. Yeah, Oh but wait, fucking bud Court

600
00:33:06,480 --> 00:33:09,400
Speaker 2: isn't I was like, what I forgot fucking bud Court

601
00:33:09,520 --> 00:33:11,960
Speaker 2: to this movie? Geez it is?

602
00:33:12,000 --> 00:33:14,640
Speaker 1: It is such a stunning cast, and I mean again,

603
00:33:14,720 --> 00:33:18,880
Speaker 1: if you look through you'll be shocked. But it's Paccino

604
00:33:18,920 --> 00:33:23,120
Speaker 1: and de Niro, Val Kilmer, John Voight, Ashley Judd, Amy Brenneman,

605
00:33:23,240 --> 00:33:29,440
Speaker 1: Michael T Williamson, Ted Levine, Natalie Portman is in this movie.

606
00:33:29,560 --> 00:33:33,200
Speaker 2: Anka'saria, Danny Trejo, Henry Roland.

607
00:33:33,280 --> 00:33:35,680
Speaker 1: Like it just goes on and on and on tone

608
00:33:35,720 --> 00:33:37,120
Speaker 1: Loke is in this movie.

609
00:33:37,600 --> 00:33:40,640
Speaker 2: Yeah, Dennis Haysburg. Like, there's so many people. It's like

610
00:33:40,680 --> 00:33:43,840
Speaker 2: a little advent calendar or something. Yes, open a door

611
00:33:44,480 --> 00:33:47,120
Speaker 2: every day and there's like, oh, here's another famous person

612
00:33:47,120 --> 00:33:50,600
Speaker 2: popping out to give like twelve lines. You're like, wow,

613
00:33:50,600 --> 00:33:52,920
Speaker 2: a completely but get Jeremy Pivens show.

614
00:33:52,960 --> 00:33:55,880
Speaker 1: It's just so weird. It's weirdly packed, but it's a

615
00:33:55,880 --> 00:33:58,240
Speaker 1: great it's a great, great movie. I think that don't

616
00:33:58,280 --> 00:34:00,840
Speaker 1: let it. Don't shy away from this movie because of

617
00:34:00,880 --> 00:34:03,160
Speaker 1: the length of time that it takes to watch it

618
00:34:03,360 --> 00:34:06,000
Speaker 1: or what anyone has told you that they think the

619
00:34:06,000 --> 00:34:09,719
Speaker 1: movie is. I think that it's probably deeper than it's

620
00:34:09,719 --> 00:34:12,600
Speaker 1: given credit for. And just a brief summary of the film. So,

621
00:34:12,640 --> 00:34:15,880
Speaker 1: this movie is really about Neil McCauley, who is the

622
00:34:15,960 --> 00:34:19,279
Speaker 1: Robert de Niro character, and he's running this crew of

623
00:34:19,280 --> 00:34:24,080
Speaker 1: criminals that includes Val Kilmer, Danny trey ho times Tom Seizemore.

624
00:34:24,320 --> 00:34:26,480
Speaker 2: And they're very methodical, they're very organized.

625
00:34:27,040 --> 00:34:29,600
Speaker 1: You know. Their first robbery that we see on screen

626
00:34:29,719 --> 00:34:32,360
Speaker 1: is them hitting an armored car and they use like

627
00:34:32,400 --> 00:34:36,320
Speaker 1: an eighteen wheeler, hockey masks and an ambulance and somehow

628
00:34:36,360 --> 00:34:38,640
Speaker 1: that works it's like they picked like a mad lib style,

629
00:34:39,320 --> 00:34:41,759
Speaker 1: like what should we use to hit this truck? And

630
00:34:41,840 --> 00:34:44,600
Speaker 1: it works, and they blow the doors off with these

631
00:34:44,719 --> 00:34:47,480
Speaker 1: special made bombs and it's just wild, wild and then

632
00:34:47,480 --> 00:34:49,520
Speaker 1: they take Bearer bonds of all things, like they leave

633
00:34:49,520 --> 00:34:51,400
Speaker 1: all the cash, they take all the paper.

634
00:34:51,480 --> 00:34:52,480
Speaker 2: It's very strange.

635
00:34:52,640 --> 00:34:54,279
Speaker 1: But there's a new guy on the crew, this guy

636
00:34:54,320 --> 00:34:59,760
Speaker 1: Wayne Grew and he joined them that morning and everything's

637
00:34:59,760 --> 00:35:03,360
Speaker 1: going well until he kills one of the guards and

638
00:35:03,440 --> 00:35:05,200
Speaker 1: he's not supposed to kill the guard, so that kind

639
00:35:05,200 --> 00:35:08,040
Speaker 1: of kicks off the plot. And the first weird wig

640
00:35:08,080 --> 00:35:11,400
Speaker 1: we see in this movie is Val Kilmer as Chris So.

641
00:35:11,480 --> 00:35:15,359
Speaker 1: Val Kilmer plays this character named Chris Shahirless and it's

642
00:35:15,400 --> 00:35:17,880
Speaker 1: not like it's an awful wig, it just it doesn't

643
00:35:17,920 --> 00:35:18,359
Speaker 1: fit him.

644
00:35:18,360 --> 00:35:19,359
Speaker 2: It just doesn't suit him.

645
00:35:19,360 --> 00:35:24,520
Speaker 1: It's very Patrick Swaeze in Point Break, always in a ponytail,

646
00:35:24,600 --> 00:35:26,360
Speaker 1: and also the ponytail is always hanging out of the

647
00:35:26,400 --> 00:35:28,400
Speaker 1: back of his mask, and I'm like, that's a prime

648
00:35:28,480 --> 00:35:31,759
Speaker 1: marker for the cops to find out who you are,

649
00:35:31,800 --> 00:35:33,520
Speaker 1: Like look for ponytailed thieves.

650
00:35:34,239 --> 00:35:38,279
Speaker 2: Listen. There is a lot of weird shoulder length man

651
00:35:38,320 --> 00:35:41,759
Speaker 2: hair in this movie. That shouldn't be there. Oh.

652
00:35:41,840 --> 00:35:44,000
Speaker 1: The next one is the next one we see is

653
00:35:44,000 --> 00:35:48,680
Speaker 1: a media and it's John Voight, so John Boyd kind

654
00:35:48,719 --> 00:35:52,000
Speaker 1: of he's he's kind of McAuley's a arranger, like he

655
00:35:52,040 --> 00:35:54,960
Speaker 1: works with him to plan the jobs. And he's telling

656
00:35:55,000 --> 00:35:57,880
Speaker 1: Neil about this new score that he's got, and his

657
00:35:57,960 --> 00:36:00,719
Speaker 1: name is Nate, And all I'm focusing on is like Nate,

658
00:36:00,800 --> 00:36:05,359
Speaker 1: that hair is wild, that wig is wild. It makes

659
00:36:05,400 --> 00:36:09,320
Speaker 1: Sean Boyce look truly unhinged.

660
00:36:09,640 --> 00:36:14,480
Speaker 2: Oh, I could and will not get over it, like forever,

661
00:36:14,800 --> 00:36:18,520
Speaker 2: Like I'm just like that hair is so fucking weird.

662
00:36:19,200 --> 00:36:22,080
Speaker 2: Such a I always yeah, such And I was I

663
00:36:22,160 --> 00:36:24,640
Speaker 2: couldn't figure out if it was in like a half

664
00:36:24,719 --> 00:36:27,560
Speaker 2: pony you know, likes or I was like, maybe he

665
00:36:28,000 --> 00:36:30,399
Speaker 2: just slicked it back. I can't figure out if there's

666
00:36:30,440 --> 00:36:33,239
Speaker 2: like a tidy little rubber band back there, or if

667
00:36:33,280 --> 00:36:35,960
Speaker 2: it's just kind of wicked. Yes, I think it's slicked too,

668
00:36:36,160 --> 00:36:37,920
Speaker 2: which is weirdly not even nineties.

669
00:36:37,920 --> 00:36:40,200
Speaker 1: That's like an eighties hairdoo, which maybe And to me,

670
00:36:40,280 --> 00:36:42,239
Speaker 1: I was again looking at this with a closer through

671
00:36:42,280 --> 00:36:44,319
Speaker 1: a closer limbs, I was like, maybe they're trying to

672
00:36:44,520 --> 00:36:47,799
Speaker 1: telegraph that this character is out of touch by this

673
00:36:47,840 --> 00:36:51,840
Speaker 1: wig being so out of touch with these like slick

674
00:36:51,920 --> 00:36:54,560
Speaker 1: back eighties moosed wings going on.

675
00:36:55,800 --> 00:36:57,840
Speaker 2: It is wild Wi wild.

676
00:36:58,080 --> 00:37:00,800
Speaker 1: So we're feel we're thrown in the movie with a

677
00:37:00,840 --> 00:37:03,640
Speaker 1: little bit of plot about who this gang of thieves

678
00:37:03,840 --> 00:37:06,879
Speaker 1: actually is, But then we also get to meet al

679
00:37:06,920 --> 00:37:11,279
Speaker 1: Pacino as Lieutenant Vincent Hannah. The primary thing you need

680
00:37:11,320 --> 00:37:14,400
Speaker 1: to know about how al Pacino in this film is

681
00:37:14,400 --> 00:37:21,680
Speaker 1: that he is fucking insane. He started chewing up scenes

682
00:37:21,719 --> 00:37:23,920
Speaker 1: and scent of a woman and then just never stopped

683
00:37:24,320 --> 00:37:25,560
Speaker 1: and just never stopped shouting.

684
00:37:26,280 --> 00:37:30,640
Speaker 2: I So I read like after I after I watched

685
00:37:30,640 --> 00:37:32,439
Speaker 2: the movie again this week, I was like, I hate

686
00:37:32,440 --> 00:37:36,040
Speaker 2: to read everything again, and I read something where he

687
00:37:36,120 --> 00:37:39,480
Speaker 2: said that he for this role that he imagined that

688
00:37:39,600 --> 00:37:43,200
Speaker 2: his character was on cocaine the entire time. Good Lord,

689
00:37:43,200 --> 00:37:46,239
Speaker 2: and I was playing so much? Or is that just you?

690
00:37:47,040 --> 00:37:49,719
Speaker 2: And is that how you act now? Is that just

691
00:37:49,800 --> 00:37:53,400
Speaker 2: how you act? How you are now? I was like, Oh,

692
00:37:53,600 --> 00:37:55,799
Speaker 2: is that really what you were thinking when you were

693
00:37:55,840 --> 00:37:57,920
Speaker 2: doing your thing that you've done in like every movie

694
00:37:57,960 --> 00:38:02,200
Speaker 2: since the seventies? Is that the method you came up with?

695
00:38:02,480 --> 00:38:05,520
Speaker 2: This act like you're on cocaine?

696
00:38:06,280 --> 00:38:09,400
Speaker 1: I also, for some reason, I think it's really funny

697
00:38:09,440 --> 00:38:10,640
Speaker 1: to call him al Pachichi.

698
00:38:10,960 --> 00:38:14,600
Speaker 2: I feel like film birs love that al Pachichi's in

699
00:38:14,640 --> 00:38:15,400
Speaker 2: this movie.

700
00:38:16,120 --> 00:38:18,920
Speaker 1: Screaming, because every time he would scream, I'm like, how

701
00:38:18,920 --> 00:38:20,359
Speaker 1: can I humanize this man?

702
00:38:20,760 --> 00:38:22,880
Speaker 2: So in my head I just started calling him al Pachichi.

703
00:38:24,280 --> 00:38:27,319
Speaker 2: Let's get those film bros, let's just call Let's just

704
00:38:27,360 --> 00:38:28,640
Speaker 2: call him that forever now.

705
00:38:29,520 --> 00:38:33,480
Speaker 1: Whenever anyone starts waxing on about for like three hours

706
00:38:33,520 --> 00:38:36,080
Speaker 1: about anything, I'm like, oh, you mean al Pachichi.

707
00:38:38,640 --> 00:38:46,120
Speaker 2: Ch I've seen some of chech movies. Yeah, what's your

708
00:38:46,120 --> 00:38:52,280
Speaker 2: favorite Albachichi movie? I stare out with you love that shit?

709
00:38:56,640 --> 00:38:58,920
Speaker 2: So Pcichi is fucking crazy in this movie.

710
00:38:59,239 --> 00:39:01,919
Speaker 1: He scream everything he's There's one scene where he's talking

711
00:39:01,960 --> 00:39:04,120
Speaker 1: to an informant and out of nowhere he goes.

712
00:39:04,160 --> 00:39:06,320
Speaker 2: Give me all you got. It's like this is.

713
00:39:06,200 --> 00:39:10,160
Speaker 1: Also like the birth of the modern day al Pacino

714
00:39:10,840 --> 00:39:13,480
Speaker 1: stereotypical comedy routine.

715
00:39:13,520 --> 00:39:14,160
Speaker 2: It comes from.

716
00:39:14,040 --> 00:39:16,560
Speaker 1: Shit like this where he's just screaming. There's another scene

717
00:39:16,560 --> 00:39:19,200
Speaker 1: where he's in the squad room and he goes.

718
00:39:19,520 --> 00:39:22,640
Speaker 2: Because she has a great ass. I know you've seen

719
00:39:22,640 --> 00:39:24,560
Speaker 2: that that has been gift to High Heaven.

720
00:39:25,000 --> 00:39:26,719
Speaker 1: But he is just that is who he is in

721
00:39:26,760 --> 00:39:29,560
Speaker 1: this film, Like he's a cop and he's methodical and organized,

722
00:39:29,600 --> 00:39:32,800
Speaker 1: and he's very much a parallel for this Neil McCauley character.

723
00:39:33,200 --> 00:39:38,080
Speaker 1: But but Cheech is always shouting and he's also again

724
00:39:38,200 --> 00:39:40,279
Speaker 1: very methodically, very organized. So he's starting to build a

725
00:39:40,320 --> 00:39:42,560
Speaker 1: case because he's called into this armored car bombing. He's

726
00:39:42,560 --> 00:39:45,279
Speaker 1: starting to build a case and he's smart because he's

727
00:39:45,280 --> 00:39:48,200
Speaker 1: building the case off of the bomb that they use

728
00:39:48,320 --> 00:39:51,000
Speaker 1: to blow the doors off, so it's a very specialized bomb,

729
00:39:51,520 --> 00:39:54,480
Speaker 1: and he's starting to kind of start the puzzle piece,

730
00:39:54,880 --> 00:39:56,440
Speaker 1: start piecing the puzzle together there.

731
00:39:57,120 --> 00:39:59,760
Speaker 2: But you also learn that he's on his third marriage.

732
00:39:59,760 --> 00:40:05,480
Speaker 1: He's to the actress Diane Venora who plays Justine, and

733
00:40:06,040 --> 00:40:10,280
Speaker 1: it's not going great because he's in typical fashion, married

734
00:40:10,280 --> 00:40:15,160
Speaker 1: to the job. But he does care about his wife,

735
00:40:15,200 --> 00:40:18,760
Speaker 1: and he weirdly cares a lot about his stepdaughter, Lauren,

736
00:40:18,800 --> 00:40:21,759
Speaker 1: who's played by Natalie Portman, who we only really see

737
00:40:21,800 --> 00:40:24,360
Speaker 1: in three scenes, but one of them is really crucial

738
00:40:24,440 --> 00:40:25,879
Speaker 1: to the plot and I'm not going to ruin it,

739
00:40:26,480 --> 00:40:29,760
Speaker 1: but he's he starts to show like a he starts

740
00:40:29,760 --> 00:40:31,719
Speaker 1: to slip a little when he's kind of he's very

741
00:40:31,800 --> 00:40:34,520
Speaker 1: stoic and putting on his outfit and getting ready to

742
00:40:34,560 --> 00:40:36,400
Speaker 1: go out and be a cop for the day. But

743
00:40:36,480 --> 00:40:39,879
Speaker 1: he's really concerned that Lauren's dad hasn't picked her up yet,

744
00:40:39,880 --> 00:40:42,400
Speaker 1: like they're divorced and he's supposed to pick her up

745
00:40:42,400 --> 00:40:44,440
Speaker 1: for school and he's like, he's in half an hour late,

746
00:40:44,480 --> 00:40:46,759
Speaker 1: and he's like, well, he's gonna be here. Like it's

747
00:40:46,800 --> 00:40:49,879
Speaker 1: just strange little moments like that that, again, I think,

748
00:40:50,000 --> 00:40:54,920
Speaker 1: humanize the character and kind of toned down Pacichi in

749
00:40:54,960 --> 00:40:56,719
Speaker 1: the movie.

750
00:40:57,560 --> 00:41:04,279
Speaker 2: Sorry gonna laugh. I'm holding in a laugh so hard

751
00:41:04,320 --> 00:41:08,279
Speaker 2: that I feel like I'm gonna cry. So hold it in,

752
00:41:08,360 --> 00:41:16,120
Speaker 2: let it out. I will get through this episode. I

753
00:41:16,160 --> 00:41:20,360
Speaker 2: will get through it. That's our mantra. We can do it.

754
00:41:20,400 --> 00:41:21,680
Speaker 2: We can do it. We can do it.

755
00:41:22,640 --> 00:41:24,279
Speaker 1: But the other thing, so this is kind of like

756
00:41:24,320 --> 00:41:27,120
Speaker 1: the plot of the film as it kicks off again.

757
00:41:27,239 --> 00:41:30,040
Speaker 1: Like Millie said, it's so layered, there's so much going on.

758
00:41:30,760 --> 00:41:33,239
Speaker 1: But the thing that is ever present for me in

759
00:41:33,320 --> 00:41:39,000
Speaker 1: this film is how expertly Man is building tension. So

760
00:41:39,040 --> 00:41:41,560
Speaker 1: he builds tension in these incredible ways. So yes, he

761
00:41:41,600 --> 00:41:45,279
Speaker 1: does it. Through camera angles and actual shots. But I

762
00:41:45,360 --> 00:41:48,799
Speaker 1: also in this viewing realized he's just waiting, Like he

763
00:41:48,840 --> 00:41:51,520
Speaker 1: doesn't rush through any scenes, so he's kind of just

764
00:41:51,640 --> 00:41:54,560
Speaker 1: always waiting to get the right reaction and waiting for

765
00:41:54,600 --> 00:41:57,600
Speaker 1: the right moment to kind of spring into actions. So

766
00:41:58,400 --> 00:42:00,719
Speaker 1: one example of this is when you know they're done

767
00:42:00,719 --> 00:42:03,680
Speaker 1: with the job and McCauley is talking to Wayne grow

768
00:42:03,920 --> 00:42:06,280
Speaker 1: and they're at this diner with the other two guys,

769
00:42:06,320 --> 00:42:10,000
Speaker 1: and you can tell they're all just fucking furious that

770
00:42:10,080 --> 00:42:12,640
Speaker 1: he fucked up so badly, that Waynegrow fucked up so badly,

771
00:42:13,239 --> 00:42:18,800
Speaker 1: and McCauley starts talking very calmly, and then he grabs

772
00:42:18,840 --> 00:42:22,239
Speaker 1: Waynegrow's head and just slams it on the coundar on

773
00:42:22,280 --> 00:42:26,560
Speaker 1: the table, just slams it down like twice, and then

774
00:42:26,600 --> 00:42:28,960
Speaker 1: he kind of goes back to talking in his little demeanor.

775
00:42:29,320 --> 00:42:31,880
Speaker 1: And I think that again, the tension there is so

776
00:42:31,960 --> 00:42:34,680
Speaker 1: great for the viewer, but it's also a great tension

777
00:42:34,680 --> 00:42:37,120
Speaker 1: for the character because you're looking at, you know, what

778
00:42:37,200 --> 00:42:40,640
Speaker 1: the character thinks versus what he's able to express, So

779
00:42:40,640 --> 00:42:44,080
Speaker 1: you're seeing him kind of express these little moments of anger.

780
00:42:44,120 --> 00:42:46,280
Speaker 1: But he doesn't let himself live in it, and because

781
00:42:46,280 --> 00:42:48,680
Speaker 1: he can't. If he lived in that anger, they would

782
00:42:48,719 --> 00:42:51,279
Speaker 1: never get as be as successful as they are with

783
00:42:51,320 --> 00:42:52,080
Speaker 1: all of these jobs.

784
00:42:52,520 --> 00:42:54,600
Speaker 2: So it's just a fascinating look at that character.

785
00:42:55,040 --> 00:42:57,440
Speaker 1: And this is a character that also says a couple

786
00:42:57,440 --> 00:42:58,920
Speaker 1: of times in the movie is kind of like his

787
00:42:59,320 --> 00:43:02,920
Speaker 1: mantra that once he was once told, don't let yourself

788
00:43:02,960 --> 00:43:05,279
Speaker 1: get attached to anything you are not willing to walk

789
00:43:05,320 --> 00:43:07,919
Speaker 1: out on in thirty seconds flat if you feel heat

790
00:43:07,960 --> 00:43:11,359
Speaker 1: around the corner. So you can see as we kind

791
00:43:11,360 --> 00:43:13,319
Speaker 1: of go back to their houses and kind of go

792
00:43:13,400 --> 00:43:15,560
Speaker 1: back to seeing what their lives are like, you can

793
00:43:15,560 --> 00:43:19,600
Speaker 1: see how this plays out for Macaulay specifically. So the

794
00:43:19,640 --> 00:43:22,880
Speaker 1: fascinating thing to me about the inner lives of these

795
00:43:23,560 --> 00:43:26,560
Speaker 1: thieves is that they all have like nice houses and families.

796
00:43:27,120 --> 00:43:30,600
Speaker 1: The Chris the val Kilmer character is married to Ashley Judd,

797
00:43:31,160 --> 00:43:34,480
Speaker 1: who plays Charlene, and they have a toddler and a

798
00:43:34,719 --> 00:43:38,480
Speaker 1: very nice home in a pool in Los Angeles, which is,

799
00:43:38,560 --> 00:43:43,360
Speaker 1: you know, hard to come by. But he's also incredibly volatile,

800
00:43:43,440 --> 00:43:46,640
Speaker 1: and you learn that he has a gambling addiction. And again,

801
00:43:46,680 --> 00:43:50,560
Speaker 1: if you focus on her, you realize that what this

802
00:43:50,680 --> 00:43:52,640
Speaker 1: scene is telling you is that she's not willing to

803
00:43:52,680 --> 00:43:54,680
Speaker 1: put up with this. She might have signed on to

804
00:43:55,880 --> 00:43:58,520
Speaker 1: being with him in the lifestyle that he's chosen and

805
00:43:58,560 --> 00:44:00,560
Speaker 1: the way he's chosen to make money, she's not on

806
00:44:00,600 --> 00:44:03,000
Speaker 1: board with the gambling addictions. So she's parsed that out

807
00:44:03,719 --> 00:44:05,759
Speaker 1: and she's kind of telling him that, you know, this

808
00:44:05,840 --> 00:44:08,920
Speaker 1: is what's gonna break us, and it sends him over

809
00:44:08,920 --> 00:44:10,919
Speaker 1: the edge and he starts smashing shit in his own house.

810
00:44:10,960 --> 00:44:13,400
Speaker 1: But I think that the fact that her autonomy is

811
00:44:13,440 --> 00:44:16,120
Speaker 1: on full display, even though she's not heavily featured in

812
00:44:16,160 --> 00:44:19,319
Speaker 1: every scene, it's a really smart directorial move and a

813
00:44:19,320 --> 00:44:21,279
Speaker 1: really smart move for a writer to make.

814
00:44:21,760 --> 00:44:21,960
Speaker 4: Right.

815
00:44:22,000 --> 00:44:22,480
Speaker 2: And then you.

816
00:44:22,480 --> 00:44:25,440
Speaker 1: Also get to see Neil's house a little bit. He

817
00:44:25,480 --> 00:44:29,120
Speaker 1: meets the character Edie and a diner. This is Amy Brenneman,

818
00:44:29,680 --> 00:44:32,760
Speaker 1: and she's a graphic designer, but she's also a bookstore clerk,

819
00:44:32,760 --> 00:44:34,440
Speaker 1: which is why she starts talking to him because she

820
00:44:34,480 --> 00:44:37,160
Speaker 1: constantly sees him like in there buying books about metals.

821
00:44:37,600 --> 00:44:39,680
Speaker 1: She's like, what do you do for a living, And

822
00:44:39,680 --> 00:44:45,480
Speaker 1: he's like, I sell metal. Now was the best he

823
00:44:45,520 --> 00:44:46,920
Speaker 1: can come up with on short notice.

824
00:44:47,040 --> 00:44:47,840
Speaker 2: I sell metal.

825
00:44:48,160 --> 00:44:50,360
Speaker 1: But you know, you get her backstory where she's at

826
00:44:50,400 --> 00:44:54,319
Speaker 1: her family's is Appalachian and he's from the Bay Area

827
00:44:54,360 --> 00:44:56,000
Speaker 1: and he wants to go to Fiji one day, and like,

828
00:44:56,040 --> 00:44:58,719
Speaker 1: you kind of get this backstory for both of them

829
00:44:58,719 --> 00:45:00,799
Speaker 1: as they're chatting each other up, and then they go

830
00:45:00,880 --> 00:45:04,120
Speaker 1: back to his house and you realize he has no furniture, Like,

831
00:45:04,200 --> 00:45:07,080
Speaker 1: this guy lives this ethos of be ready to go

832
00:45:07,120 --> 00:45:09,600
Speaker 1: in thirty seconds to the fullest, to the point where

833
00:45:09,640 --> 00:45:11,520
Speaker 1: he will not even be comfortable in his own home

834
00:45:12,360 --> 00:45:14,400
Speaker 1: because he has to be ready to leave everything. So

835
00:45:14,480 --> 00:45:17,000
Speaker 1: he is this is also a rare thing for him

836
00:45:17,000 --> 00:45:19,319
Speaker 1: to bring a woman into his life because he has

837
00:45:20,200 --> 00:45:24,439
Speaker 1: detached so much from the world that he hasn't had,

838
00:45:25,960 --> 00:45:27,520
Speaker 1: you know, a wife, of family, He hasn't not any

839
00:45:27,520 --> 00:45:31,680
Speaker 1: of the modern cultural trappings. So throughout the movie, we

840
00:45:31,800 --> 00:45:33,879
Speaker 1: kind through Edie, we kind of get to see if

841
00:45:33,920 --> 00:45:36,839
Speaker 1: his theory of detachment is going to play out now

842
00:45:36,840 --> 00:45:39,600
Speaker 1: that Edie's on the scene. And you know, once they bone,

843
00:45:39,600 --> 00:45:40,760
Speaker 1: because of course they bone.

844
00:45:41,160 --> 00:45:47,360
Speaker 2: H I So I really thought about this this couple

845
00:45:47,600 --> 00:45:51,480
Speaker 2: this time seeing this film again because there's a part

846
00:45:51,520 --> 00:45:54,960
Speaker 2: of me that's like, do I really believe that this

847
00:45:56,239 --> 00:46:01,160
Speaker 2: Parson's educated graphic designer from Appalachia is gonna just literally

848
00:46:01,200 --> 00:46:03,279
Speaker 2: run off with this guy. She just meant, I know,

849
00:46:03,440 --> 00:46:05,400
Speaker 2: I mean, and I know that they boned, but I'm

850
00:46:05,440 --> 00:46:10,200
Speaker 2: also saying that, like they don't know each other right exactly.

851
00:46:11,120 --> 00:46:17,520
Speaker 2: But I did think at the same time that as

852
00:46:17,680 --> 00:46:20,600
Speaker 2: as I've experienced maybe in my life and probably many

853
00:46:20,640 --> 00:46:28,120
Speaker 2: of you two, his intensity towards her is attractive, right,

854
00:46:28,719 --> 00:46:32,920
Speaker 2: but that intensity comes from his desperation to be normal,

855
00:46:33,040 --> 00:46:36,759
Speaker 2: Like he feels the push of all right, I have

856
00:46:36,840 --> 00:46:41,120
Speaker 2: no fucking furniture in this house, like all my all

857
00:46:41,160 --> 00:46:44,359
Speaker 2: the guys in my crew have wives. They got up,

858
00:46:44,440 --> 00:46:46,800
Speaker 2: you know, maybe an excess strategy for life after the

859
00:46:47,080 --> 00:46:51,960
Speaker 2: after the game. I don't I need something stable. I

860
00:46:52,040 --> 00:46:54,520
Speaker 2: need a wife, I need something.

861
00:46:55,160 --> 00:46:55,360
Speaker 1: You know.

862
00:46:55,480 --> 00:46:58,440
Speaker 2: And he needs a reason to get out of the game. Yea, truly,

863
00:46:59,480 --> 00:47:02,200
Speaker 2: I mean they actually there's a scene where they I

864
00:47:02,200 --> 00:47:04,560
Speaker 2: guess they're all at dinner or something, and they talk

865
00:47:04,600 --> 00:47:07,880
Speaker 2: about him being alone. Like there's more there's references to

866
00:47:08,000 --> 00:47:10,840
Speaker 2: him being by himself, like not with a wife or

867
00:47:10,880 --> 00:47:14,400
Speaker 2: with kids exactly, And I think that's on purpose to

868
00:47:14,640 --> 00:47:17,920
Speaker 2: show to make this make this whole scenario be like, well,

869
00:47:18,280 --> 00:47:22,400
Speaker 2: this is like his ticket out this woman. Maybe at

870
00:47:22,400 --> 00:47:25,560
Speaker 2: a certain point she's like, well, shit, he must really

871
00:47:25,640 --> 00:47:29,200
Speaker 2: like he really wants to run away with me, you know. Yeah.

872
00:47:29,480 --> 00:47:31,760
Speaker 1: She's kind of in the fantasy version of it, which

873
00:47:31,800 --> 00:47:34,960
Speaker 1: is the intensity of this relationship is based on the

874
00:47:35,000 --> 00:47:38,120
Speaker 1: fact that we just click and we're so great together,

875
00:47:38,200 --> 00:47:41,240
Speaker 1: and he's in the realistic version in his own life

876
00:47:41,280 --> 00:47:43,239
Speaker 1: of I need something to hang on to, like I'm

877
00:47:43,239 --> 00:47:46,560
Speaker 1: hanging on for dear life. And I think that scene

878
00:47:46,560 --> 00:47:49,560
Speaker 1: where they talk about him not being partnered or not

879
00:47:49,600 --> 00:47:52,319
Speaker 1: having family is really interesting when you look back at

880
00:47:52,320 --> 00:47:56,719
Speaker 1: the scene where he confronts Charlene, because he kind of

881
00:47:56,760 --> 00:47:59,759
Speaker 1: goes and finds out that both Charlene and Crisp and

882
00:47:59,840 --> 00:48:02,840
Speaker 1: she eating on each other. But he chooses to confront

883
00:48:02,920 --> 00:48:07,719
Speaker 1: her and kind of flat out says, give him a

884
00:48:07,800 --> 00:48:09,440
Speaker 1: chance to make this work. He needs he needs one

885
00:48:09,440 --> 00:48:12,200
Speaker 1: more chance, because Chris has already told him like the

886
00:48:12,239 --> 00:48:16,640
Speaker 1: sun rises and sets for.

887
00:48:15,080 --> 00:48:17,040
Speaker 2: With her, like she's my whole life.

888
00:48:17,600 --> 00:48:20,960
Speaker 1: So once he knows that, he's like, oh, you got

889
00:48:20,960 --> 00:48:22,799
Speaker 1: to make this work, like, don't give up on this guy.

890
00:48:23,120 --> 00:48:26,080
Speaker 1: So there's a weird poll in him where he wants

891
00:48:26,320 --> 00:48:29,360
Speaker 1: he he kind of appreciates love, and he appreciates relationships,

892
00:48:29,360 --> 00:48:32,799
Speaker 1: and he appreciates the relationships in his life of the

893
00:48:32,840 --> 00:48:34,840
Speaker 1: people that are in his life, but he just not

894
00:48:34,960 --> 00:48:38,239
Speaker 1: able to access that himself until Edie comes around. So right,

895
00:48:38,760 --> 00:48:41,200
Speaker 1: I think that's pretty pretty cool again, something that in

896
00:48:41,239 --> 00:48:44,040
Speaker 1: another movie would not even be touched or addressed.

897
00:48:44,440 --> 00:48:49,280
Speaker 2: And he's probably thinking too, I mean shit, these families

898
00:48:49,320 --> 00:48:52,800
Speaker 2: are like guiding principles for these guys sometimes, and like totally,

899
00:48:52,800 --> 00:48:54,160
Speaker 2: he's not going to be able to do his job

900
00:48:54,200 --> 00:48:57,359
Speaker 2: well if he doesn't have the thing at the end

901
00:48:57,360 --> 00:48:59,200
Speaker 2: of the day that he can come home to. Yeah,

902
00:48:59,200 --> 00:49:01,840
Speaker 2: so give him another shot. You know.

903
00:49:02,440 --> 00:49:05,520
Speaker 1: If there's three things we know about Chris is that wig,

904
00:49:06,040 --> 00:49:09,000
Speaker 1: he can make a great fake ID, and he loves

905
00:49:09,000 --> 00:49:11,480
Speaker 1: his family, So don't take any of that away from him.

906
00:49:13,640 --> 00:49:14,319
Speaker 2: Absolutely.

907
00:49:15,200 --> 00:49:17,239
Speaker 1: So as the movie goes on, Neil kind of gets

908
00:49:17,280 --> 00:49:20,160
Speaker 1: the skinny on this new score and when the John

909
00:49:20,239 --> 00:49:22,319
Speaker 1: Boyd character Nate is explaining it to him, there's like

910
00:49:22,600 --> 00:49:24,120
Speaker 1: so much math and he's like.

911
00:49:24,040 --> 00:49:26,319
Speaker 2: Oh, you gotta cut three alarms, and but it's worth

912
00:49:26,320 --> 00:49:27,680
Speaker 2: twelve point two million dollars.

913
00:49:27,719 --> 00:49:29,600
Speaker 1: And I have to admit, like in most heist movies,

914
00:49:29,640 --> 00:49:31,200
Speaker 1: this is where I start to tune out where they

915
00:49:31,200 --> 00:49:34,520
Speaker 1: start describing the plan. I'm like Jesus Christ, So like,

916
00:49:35,000 --> 00:49:36,120
Speaker 1: you do the math and you cut this and you

917
00:49:36,200 --> 00:49:38,680
Speaker 1: do that, and I'm like, oh, can we just just

918
00:49:38,719 --> 00:49:40,239
Speaker 1: tell me you got to rob this bank for twelve

919
00:49:40,280 --> 00:49:43,640
Speaker 1: million dollars that I'm there, But they it's very convoluted

920
00:49:44,239 --> 00:49:46,839
Speaker 1: and there's a dot matrix print out involved, and like

921
00:49:46,960 --> 00:49:50,680
Speaker 1: just all kinds of shit. So Nate calls the guy

922
00:49:50,680 --> 00:49:54,160
Speaker 1: that they just robbed of these bearer bonds, van Zant, right,

923
00:49:54,200 --> 00:49:58,000
Speaker 1: and van Zant is played by William Fichner, who you

924
00:49:58,000 --> 00:50:00,000
Speaker 1: will absolutely recognize when you see him.

925
00:50:00,080 --> 00:50:03,200
Speaker 2: He was born to play the prick. He just has that.

926
00:50:03,400 --> 00:50:05,880
Speaker 1: I'm sure he's a lovely and beautiful man. He was

927
00:50:06,320 --> 00:50:09,080
Speaker 1: born to play a prick. He has that face, everything

928
00:50:09,120 --> 00:50:12,000
Speaker 1: about his attitude. Every time we've seen him in a film,

929
00:50:12,040 --> 00:50:12,879
Speaker 1: he's been this guy.

930
00:50:13,120 --> 00:50:18,040
Speaker 2: He kind of he's like, imagine Steve Nash from the

931
00:50:18,360 --> 00:50:21,960
Speaker 2: from the Sons, the basketball player from the Sons, as

932
00:50:22,000 --> 00:50:29,400
Speaker 2: like an evil corporate prick. What a reference. That's who.

933
00:50:29,920 --> 00:50:32,080
Speaker 2: That's who this actor is. For me.

934
00:50:33,480 --> 00:50:42,719
Speaker 1: Oh good, So evil Steve Nash is like, look, I'm

935
00:50:42,760 --> 00:50:44,920
Speaker 1: not okay, okay, fine, you're gonna try to sell my

936
00:50:44,960 --> 00:50:48,120
Speaker 1: own bearer bonds back to me at a discount rate. Okay, gotcha,

937
00:50:48,200 --> 00:50:51,799
Speaker 1: because I guess again in the math of it, his

938
00:50:51,880 --> 00:50:54,040
Speaker 1: insurance will cover one hundred percent and then he also

939
00:50:54,120 --> 00:50:55,799
Speaker 1: gets the bonds back, So they're trying to make it

940
00:50:55,840 --> 00:50:58,560
Speaker 1: like a good thing for him. Yeah, But he turns

941
00:50:58,600 --> 00:51:01,240
Speaker 1: to Henry rollins Is number two and is like, actually,

942
00:51:01,239 --> 00:51:03,040
Speaker 1: I'm just gonna kill these fucking guys because they stole

943
00:51:03,080 --> 00:51:05,200
Speaker 1: from me and I don't want anyone getting the message

944
00:51:05,200 --> 00:51:07,800
Speaker 1: that they can seal from me. So van Zan's plan

945
00:51:08,239 --> 00:51:12,279
Speaker 1: is to kill all of McAuley's crew and set it

946
00:51:12,400 --> 00:51:14,319
Speaker 1: up so that there's a drop with these bearer bonds.

947
00:51:14,360 --> 00:51:19,400
Speaker 2: Then he's going to kill everybody that goes horribly wrong. Yeah,

948
00:51:19,680 --> 00:51:20,319
Speaker 2: horribly wrong.

949
00:51:20,880 --> 00:51:24,280
Speaker 1: In a scene which can only be described as Robert

950
00:51:24,280 --> 00:51:26,839
Speaker 1: de Niro is wrecking shop in an old nineteen eighty

951
00:51:26,880 --> 00:51:31,400
Speaker 1: station wagon. He's in the station wagon from National Lampoon's vacation,

952
00:51:31,600 --> 00:51:36,000
Speaker 1: just killing dudes left and right. So what's also happening

953
00:51:36,040 --> 00:51:38,520
Speaker 1: at the same time is possibly one of my favorite

954
00:51:38,560 --> 00:51:41,319
Speaker 1: details of this film. So we're we come into this

955
00:51:41,400 --> 00:51:46,080
Speaker 1: restaurant that Bud Court is running Harold from Harold and

956
00:51:46,120 --> 00:51:48,520
Speaker 1: Maud for those of you who don't know. And he's

957
00:51:48,600 --> 00:51:51,400
Speaker 1: running this restaurant and Dennis Haysbert comes in for a

958
00:51:51,520 --> 00:51:55,160
Speaker 1: job and we learn that he's on parole and his

959
00:51:55,800 --> 00:51:56,960
Speaker 1: girlfriend has dropped him off.

960
00:51:57,000 --> 00:51:58,640
Speaker 2: His wife, well, let's just say his partner.

961
00:51:58,719 --> 00:52:01,920
Speaker 1: His partner has dropped him off Lilian and is like

962
00:52:02,000 --> 00:52:04,480
Speaker 1: kind of pumping him up. And he goes in and

963
00:52:04,520 --> 00:52:07,919
Speaker 1: he's on parole, and Butcore is so dismissive, right, He's

964
00:52:07,960 --> 00:52:10,200
Speaker 1: just like, Yep, here's the deal. Hire guys like you

965
00:52:10,239 --> 00:52:10,760
Speaker 1: all the time.

966
00:52:11,400 --> 00:52:12,239
Speaker 2: Do you want the job or not?

967
00:52:12,520 --> 00:52:16,319
Speaker 1: And this character is where the movie really starts to

968
00:52:16,360 --> 00:52:19,160
Speaker 1: sing for me, because in any other film, you would

969
00:52:19,160 --> 00:52:22,080
Speaker 1: not even know this guy's name. And this is again,

970
00:52:22,120 --> 00:52:24,880
Speaker 1: this is Dennis Haysbert playing a character named Donald Breeden.

971
00:52:25,320 --> 00:52:26,319
Speaker 2: You wouldn't even know his name.

972
00:52:27,160 --> 00:52:29,920
Speaker 1: And eventually he does reconnect with Neil and becomes a

973
00:52:30,000 --> 00:52:33,600
Speaker 1: driver in this major heist. But in this film you

974
00:52:33,640 --> 00:52:36,319
Speaker 1: get a full scope of his emotional life, starting with

975
00:52:36,400 --> 00:52:39,239
Speaker 1: how frustrated he is that his new boss won't even

976
00:52:39,280 --> 00:52:43,160
Speaker 1: look at him, let alone acknowledge his humanity, and how

977
00:52:43,160 --> 00:52:46,960
Speaker 1: disappointed he is in himself, and how low he is

978
00:52:47,000 --> 00:52:49,680
Speaker 1: about where he is in life. And there's a scene

979
00:52:49,760 --> 00:52:53,160
Speaker 1: later in the film with Lilyan that cinches it where

980
00:52:53,160 --> 00:52:56,040
Speaker 1: she meets him at a bar and they're talking and

981
00:52:56,120 --> 00:52:59,600
Speaker 1: she tells him that she's proud of him, and he

982
00:52:59,680 --> 00:53:03,640
Speaker 1: gets very teary eyed and he asks asks her why,

983
00:53:03,719 --> 00:53:06,840
Speaker 1: like why would you be proud of me? And again,

984
00:53:07,400 --> 00:53:08,880
Speaker 1: this is a scene that would never make it in

985
00:53:08,920 --> 00:53:12,760
Speaker 1: another film of this caliber or of this subject matter.

986
00:53:13,480 --> 00:53:17,160
Speaker 1: But seeing how he feels about himself, seeing how the

987
00:53:17,200 --> 00:53:19,640
Speaker 1: people in his life feel about him, seeing a character

988
00:53:19,640 --> 00:53:23,360
Speaker 1: who's been imprisoned, who gets out of jail and isn't

989
00:53:23,480 --> 00:53:26,160
Speaker 1: vilified by everyone he knows. I mean, these are things

990
00:53:26,160 --> 00:53:29,680
Speaker 1: that make this movie very different for me. That you know,

991
00:53:29,719 --> 00:53:32,279
Speaker 1: you can pay attention to these small parts that give

992
00:53:32,320 --> 00:53:35,400
Speaker 1: you such are more beautiful look at the larger picture.

993
00:53:36,080 --> 00:53:41,279
Speaker 1: So that's again to me beautiful. So we've got all

994
00:53:41,320 --> 00:53:44,400
Speaker 1: this stuff going on. Al Pacino is in a club

995
00:53:44,800 --> 00:53:46,600
Speaker 1: where House of Pain is playing, and that's where he

996
00:53:46,640 --> 00:53:49,120
Speaker 1: talks to Tone Loake and he gets kind of turned

997
00:53:49,160 --> 00:53:52,719
Speaker 1: on to this gang because the only interesting bit of

998
00:53:52,760 --> 00:53:55,640
Speaker 1: information that Tone Loake gives him is that one of

999
00:53:55,640 --> 00:53:57,719
Speaker 1: the guys in the group calls people slick, which is

1000
00:53:57,760 --> 00:53:59,920
Speaker 1: a detail he has heard before, so that.

1001
00:54:00,480 --> 00:54:04,560
Speaker 2: Puts him onto Tom size more so.

1002
00:54:04,640 --> 00:54:08,120
Speaker 1: Now Tom Sizemore's character is being trailed, which means the

1003
00:54:08,160 --> 00:54:11,399
Speaker 1: whole crew is being tailed. And there's this really cool

1004
00:54:11,400 --> 00:54:13,640
Speaker 1: parallels scene, that scene that Millie you were talking about

1005
00:54:13,640 --> 00:54:16,960
Speaker 1: where they're all out at dinner, so you see Paccino's

1006
00:54:17,040 --> 00:54:19,120
Speaker 1: kind of out with his crew. De Niro's kind of

1007
00:54:19,120 --> 00:54:21,160
Speaker 1: out with his crew. And that's where you know, you

1008
00:54:21,200 --> 00:54:24,360
Speaker 1: start to realize for me anyway as a viewer, like, oh,

1009
00:54:24,400 --> 00:54:26,560
Speaker 1: there's a lot of parallels between these two characters.

1010
00:54:26,600 --> 00:54:28,200
Speaker 2: They're just living in different worlds.

1011
00:54:28,719 --> 00:54:32,600
Speaker 1: So meanwhile, Wango, that first dude who fucked up and

1012
00:54:32,600 --> 00:54:35,600
Speaker 1: shot the guard, is revealed to be a serial killer

1013
00:54:35,600 --> 00:54:37,960
Speaker 1: because he kills a sex worker and then casually goes

1014
00:54:37,960 --> 00:54:40,120
Speaker 1: to a bar to look for work. And the reason

1015
00:54:40,120 --> 00:54:42,560
Speaker 1: you know he's a serial killer is when they find her,

1016
00:54:43,320 --> 00:54:48,080
Speaker 1: one of the police officers says to the detective Lieutenant Hannah,

1017
00:54:48,160 --> 00:54:51,280
Speaker 1: the al Pacino character, Oh, it's just like the other ones.

1018
00:54:51,640 --> 00:54:55,480
Speaker 1: So he has been doing this consistently. He's an absolute

1019
00:54:55,800 --> 00:54:59,520
Speaker 1: serial killer. But even he gets the benefit of the

1020
00:54:59,560 --> 00:55:02,479
Speaker 1: Michael and lends and a kind of look at who

1021
00:55:02,560 --> 00:55:07,920
Speaker 1: is this guy at his core right. So what's interesting

1022
00:55:07,920 --> 00:55:10,720
Speaker 1: to me also about this scene is there's a point

1023
00:55:10,760 --> 00:55:15,160
Speaker 1: where the mother of the murdered girl is kind of

1024
00:55:15,200 --> 00:55:17,880
Speaker 1: waiting behind the police tape and she dips under and

1025
00:55:17,880 --> 00:55:20,480
Speaker 1: starts running towards the body and al Pacino's character catches

1026
00:55:20,520 --> 00:55:24,120
Speaker 1: her and just hugs her. And it's a weirdly compassionate

1027
00:55:24,200 --> 00:55:27,759
Speaker 1: moment because he's just holding this mom after her daughter

1028
00:55:27,840 --> 00:55:30,799
Speaker 1: is being killed. But he's like, he's in charge, and

1029
00:55:30,840 --> 00:55:32,600
Speaker 1: he's this kind of big dude, and he lives for

1030
00:55:32,640 --> 00:55:34,040
Speaker 1: the case and he lives in the moment, but he

1031
00:55:34,080 --> 00:55:36,799
Speaker 1: also can step out. He can step out of it.

1032
00:55:36,800 --> 00:55:38,520
Speaker 1: He has the ability to step out of it enough

1033
00:55:38,520 --> 00:55:39,520
Speaker 1: to realize when he should be.

1034
00:55:39,520 --> 00:55:40,160
Speaker 2: A human being.

1035
00:55:40,840 --> 00:55:43,840
Speaker 1: So it's just again small but interesting scene for me.

1036
00:55:44,600 --> 00:55:46,680
Speaker 1: And you know, we kind of move through the film,

1037
00:55:46,719 --> 00:55:49,880
Speaker 1: and during the heist, Robert Jenira hears someone in the

1038
00:55:49,960 --> 00:55:53,160
Speaker 1: van because Pacino's men are all watching them, and he

1039
00:55:53,239 --> 00:55:56,279
Speaker 1: hears someone like knock something over in their van, so

1040
00:55:56,360 --> 00:55:58,919
Speaker 1: he knows they're being followed, and they just cut right

1041
00:55:58,920 --> 00:56:02,120
Speaker 1: then and there, and then what happens is this really

1042
00:56:02,160 --> 00:56:05,200
Speaker 1: interesting development of like this cat and mouse game. So

1043
00:56:05,239 --> 00:56:07,399
Speaker 1: in the next scene, you know, he kind of sets

1044
00:56:07,440 --> 00:56:10,680
Speaker 1: it up so that they can watch the cops and

1045
00:56:10,719 --> 00:56:14,800
Speaker 1: reveal who's really working on the case, and tennant Hannah

1046
00:56:14,840 --> 00:56:17,120
Speaker 1: catches onto it because everyone's like, what were they looking

1047
00:56:17,120 --> 00:56:19,279
Speaker 1: at in this parking lot? And he finally says, you

1048
00:56:19,320 --> 00:56:23,839
Speaker 1: know what they see us. We just got made such

1049
00:56:23,840 --> 00:56:25,400
Speaker 1: a powerful scene, such.

1050
00:56:25,160 --> 00:56:28,360
Speaker 2: A powerful seed. And then there's it's such a fucking

1051
00:56:28,440 --> 00:56:32,520
Speaker 2: gotcha moment where I'm just like, oh man, and these

1052
00:56:32,560 --> 00:56:33,880
Speaker 2: guys are real smart.

1053
00:56:34,560 --> 00:56:37,280
Speaker 1: All the slow realization of it is the best part,

1054
00:56:37,960 --> 00:56:41,680
Speaker 1: so that you know, we've got the crew of criminals.

1055
00:56:41,880 --> 00:56:43,480
Speaker 1: They have a choice to make. Should they take the

1056
00:56:43,520 --> 00:56:46,439
Speaker 1: bank or should they just leave and disband right now?

1057
00:56:46,480 --> 00:56:48,759
Speaker 1: And everyone kind of says like, fuck it, let's take

1058
00:56:48,760 --> 00:56:51,799
Speaker 1: the bank. So we're again we're going to continue this

1059
00:56:51,840 --> 00:56:54,040
Speaker 1: cat and mouse theme throughout the film. There are a

1060
00:56:54,080 --> 00:56:59,200
Speaker 1: couple of more incredibly iconic scenes, the first one being

1061
00:56:59,239 --> 00:57:05,760
Speaker 1: the diner scene between Lieutenant Hannah and Neil McCauley, because again,

1062
00:57:05,880 --> 00:57:08,280
Speaker 1: not only do we have Paccino and de Niro acting

1063
00:57:08,280 --> 00:57:11,200
Speaker 1: together face to face, but the way that the scene

1064
00:57:11,239 --> 00:57:14,239
Speaker 1: rolls out is just Hannah's kind of like, let's just

1065
00:57:14,280 --> 00:57:15,319
Speaker 1: have a cup of coffee, and talk.

1066
00:57:15,360 --> 00:57:20,560
Speaker 2: We're just two professionals talking. And even in this scene.

1067
00:57:20,400 --> 00:57:22,920
Speaker 1: Where you've got these two guys who are completely at odds.

1068
00:57:23,080 --> 00:57:25,880
Speaker 1: One is hunting the other. He doesn't have enough to

1069
00:57:26,000 --> 00:57:28,600
Speaker 1: arrest him yet, but he knows he's doing some fuck shit.

1070
00:57:29,600 --> 00:57:33,000
Speaker 1: And you've got this guy who knows he's being watched

1071
00:57:33,000 --> 00:57:34,480
Speaker 1: and is trying to pull off a job under the

1072
00:57:34,480 --> 00:57:38,040
Speaker 1: eyes of, you know, heavy surveillance by the police. But

1073
00:57:38,120 --> 00:57:41,280
Speaker 1: the thing they talk about is their lives and their hearts,

1074
00:57:41,640 --> 00:57:44,880
Speaker 1: and their families and the people in their life and

1075
00:57:44,920 --> 00:57:48,680
Speaker 1: their emotions. So I know everyone looks at this scene,

1076
00:57:48,880 --> 00:57:50,360
Speaker 1: or a lot of most people look at the scene

1077
00:57:50,400 --> 00:57:54,680
Speaker 1: as something that's just cements the brilliance of these two actors,

1078
00:57:54,720 --> 00:57:57,480
Speaker 1: which I agree with. It's wonderful to watch them together

1079
00:57:57,720 --> 00:58:00,040
Speaker 1: and it you know, Pachichi finally calms down when he

1080
00:58:00,080 --> 00:58:02,400
Speaker 1: across from DeNiro, because you know, Denier wouldn't take that shit.

1081
00:58:02,760 --> 00:58:04,080
Speaker 2: She's got a great ass.

1082
00:58:04,160 --> 00:58:08,480
Speaker 1: You'd be like, hell, can you bring it down a notch?

1083
00:58:08,680 --> 00:58:12,320
Speaker 2: Can you bring it down? Bring it down?

1084
00:58:13,280 --> 00:58:16,720
Speaker 1: So they're just having this lovely, calm conversation. And again,

1085
00:58:16,760 --> 00:58:18,920
Speaker 1: it's great to see these two actors at work. But

1086
00:58:19,040 --> 00:58:21,640
Speaker 1: I'm loving the subject matter. I love seeing a little

1087
00:58:21,680 --> 00:58:25,400
Speaker 1: peak at these men who are firmly middle aged and

1088
00:58:25,600 --> 00:58:29,680
Speaker 1: very tired and very kind of at the end of

1089
00:58:29,720 --> 00:58:33,840
Speaker 1: their emotional rope because of their jobs talking about it.

1090
00:58:35,040 --> 00:58:39,680
Speaker 2: Yeah, and also too that there's like rules to this shit,

1091
00:58:39,960 --> 00:58:41,440
Speaker 2: do you know what I mean? Like that's kind of

1092
00:58:41,480 --> 00:58:44,440
Speaker 2: like what I find is really fascinating, which is like, Okay,

1093
00:58:44,480 --> 00:58:50,920
Speaker 2: think about this like nineties LAPD story, right, the idea

1094
00:58:51,080 --> 00:58:57,960
Speaker 2: that on both sides there are rules to this game,

1095
00:58:58,480 --> 00:59:02,920
Speaker 2: which is that you know, for criminals that you know

1096
00:59:02,960 --> 00:59:05,640
Speaker 2: there are certain things you don't do, and for the

1097
00:59:05,680 --> 00:59:11,560
Speaker 2: police there's certain like they can't. In another world, Pacino

1098
00:59:11,600 --> 00:59:13,680
Speaker 2: would be like this corrupt cop that would just try

1099
00:59:13,720 --> 00:59:18,600
Speaker 2: to take these guys out immediately and wouldn't care about protocol, right,

1100
00:59:19,360 --> 00:59:21,320
Speaker 2: especially given the history of the LAPD if you know

1101
00:59:21,360 --> 00:59:23,480
Speaker 2: what I mean. But I'm just saying that in this movie,

1102
00:59:23,640 --> 00:59:27,440
Speaker 2: he understands that there's like a set like there are

1103
00:59:27,520 --> 00:59:32,520
Speaker 2: just rules and there's a protocol, and that there is

1104
00:59:32,600 --> 00:59:36,560
Speaker 2: like game recognizes game type of stuff going on totally,

1105
00:59:36,600 --> 00:59:39,200
Speaker 2: which is very entertaining for.

1106
00:59:39,240 --> 00:59:42,200
Speaker 1: Me, absolutely, And they're able to see the parallels in

1107
00:59:42,240 --> 00:59:44,680
Speaker 1: their own lives, which is how they're able to sit

1108
00:59:44,720 --> 00:59:47,840
Speaker 1: down and have that conversation, right, you know, game recognized

1109
00:59:47,880 --> 00:59:48,560
Speaker 1: game for sure.

1110
00:59:49,200 --> 00:59:53,000
Speaker 2: Yeah, it is a very interesting scene. I love it. Yeah, yeah,

1111
00:59:53,040 --> 00:59:55,120
Speaker 2: because it's like, you know, like he should have just

1112
00:59:55,200 --> 00:59:57,040
Speaker 2: taken the guy out when he first had the chance,

1113
00:59:57,080 --> 01:00:00,120
Speaker 2: but he's actually sitting there with him, you know. Oh

1114
01:00:00,200 --> 01:00:02,960
Speaker 2: and it's wild and I love it.

1115
01:00:02,680 --> 01:00:03,040
Speaker 4: I love it.

1116
01:00:03,280 --> 01:00:05,960
Speaker 1: He's a cop with a conscience where he actively stops

1117
01:00:05,960 --> 01:00:09,640
Speaker 1: them from arresting Macaulay at one point because he just

1118
01:00:09,680 --> 01:00:10,520
Speaker 1: walked out of a building.

1119
01:00:10,520 --> 01:00:12,880
Speaker 2: He doesn't have anything. We can't arrest him. He doesn't

1120
01:00:12,960 --> 01:00:14,080
Speaker 2: he's not holding anything.

1121
01:00:14,720 --> 01:00:16,520
Speaker 1: So to see a cop with a conscience even as

1122
01:00:16,600 --> 01:00:19,880
Speaker 1: like wild because there's a weird respect level that they

1123
01:00:19,880 --> 01:00:20,600
Speaker 1: have for each other.

1124
01:00:20,960 --> 01:00:22,800
Speaker 2: Yeah, and it's like a very it's like a chess game,

1125
01:00:22,880 --> 01:00:25,880
Speaker 2: you know, it's not you can't just like put it

1126
01:00:25,920 --> 01:00:26,480
Speaker 2: all out there.

1127
01:00:26,840 --> 01:00:30,120
Speaker 1: So and the next scene that I really think a

1128
01:00:30,120 --> 01:00:32,560
Speaker 1: lot of people focus on and necessarily so is there

1129
01:00:32,600 --> 01:00:37,240
Speaker 1: is an absolutely epic shootout that happens towards the end

1130
01:00:37,280 --> 01:00:38,120
Speaker 1: of the film.

1131
01:00:38,320 --> 01:00:39,520
Speaker 2: It is epic. It is long.

1132
01:00:39,680 --> 01:00:41,919
Speaker 1: Tom Seismore grabs a child at one point to use

1133
01:00:41,960 --> 01:00:43,040
Speaker 1: as like a hostage.

1134
01:00:43,040 --> 01:00:43,880
Speaker 2: It's wild.

1135
01:00:43,960 --> 01:00:47,800
Speaker 1: It's just wild and most movies would end at that shootout,

1136
01:00:47,960 --> 01:00:50,040
Speaker 1: but not this one. There's another thirty forty minutes to

1137
01:00:50,080 --> 01:00:52,520
Speaker 1: go after that shootout, and you might be thinking, like,

1138
01:00:53,640 --> 01:00:57,200
Speaker 1: what could they possibly be discussing in the next forty minutes.

1139
01:00:57,880 --> 01:01:02,320
Speaker 2: I know, I like, this goes on forever. It's very

1140
01:01:02,400 --> 01:01:05,040
Speaker 2: it's remarkable, it goes on for such a long time.

1141
01:01:05,360 --> 01:01:08,480
Speaker 2: I was like sitting there this time watching it going.

1142
01:01:08,560 --> 01:01:13,720
Speaker 2: I bet you's some film bro Nerd knows the exact

1143
01:01:13,800 --> 01:01:16,800
Speaker 2: number of shots fired in this entire scene, Like somebody

1144
01:01:16,920 --> 01:01:21,520
Speaker 2: somebody sat there on like you know, slow mo and

1145
01:01:21,600 --> 01:01:24,120
Speaker 2: counted all of the shots. And there's like it's hanging

1146
01:01:24,160 --> 01:01:25,320
Speaker 2: out on Reddit or something.

1147
01:01:25,440 --> 01:01:28,080
Speaker 1: Absolutely it some dark corner of the Internet that will

1148
01:01:28,120 --> 01:01:29,200
Speaker 1: never reach.

1149
01:01:31,560 --> 01:01:34,880
Speaker 2: Or did you know that they shot, you know, fifty seven,

1150
01:01:35,400 --> 01:01:38,720
Speaker 2: one hundred and four bullets in this uh sequence?

1151
01:01:39,280 --> 01:01:40,840
Speaker 1: And then but Cheech comes around the corner with a

1152
01:01:40,840 --> 01:01:47,760
Speaker 1: cute little haircut.

1153
01:01:44,680 --> 01:01:50,480
Speaker 2: And wild eyes. That's my new, my.

1154
01:01:50,520 --> 01:01:55,280
Speaker 1: New counter to any time anyone says anything just wildly

1155
01:01:56,080 --> 01:01:58,120
Speaker 1: specifically nerdy, like.

1156
01:01:58,080 --> 01:02:03,840
Speaker 2: Oh, Denise, Denis's, Dinini's and pachitch. I think I said

1157
01:02:03,840 --> 01:02:05,680
Speaker 2: fifty seven hundred and four. I probably need to say

1158
01:02:05,720 --> 01:02:10,120
Speaker 2: five thousand, seven hundred and four times, No, it would

1159
01:02:10,120 --> 01:02:13,840
Speaker 2: be fifty seven hundred and four. That's how they say it.

1160
01:02:13,880 --> 01:02:16,160
Speaker 2: I saw like Usher right now, fifty seven hundred and four.

1161
01:02:18,840 --> 01:02:22,560
Speaker 1: But it is such an incredibly long shootout, and it's

1162
01:02:22,560 --> 01:02:25,560
Speaker 1: a great shootout. It's just the action of the film

1163
01:02:25,680 --> 01:02:29,360
Speaker 1: is spot on every time. But again, you think it

1164
01:02:29,360 --> 01:02:33,200
Speaker 1: would end with this scene, and in another movie it would,

1165
01:02:33,240 --> 01:02:35,960
Speaker 1: but we get a movie that carries us back to

1166
01:02:36,040 --> 01:02:39,680
Speaker 1: the inner lives and the private experiences of these players,

1167
01:02:40,280 --> 01:02:43,560
Speaker 1: which ultimately brings the movie to a couple of different

1168
01:02:43,680 --> 01:02:47,560
Speaker 1: shocking points before the ending. So I'm not going to

1169
01:02:47,640 --> 01:02:49,320
Speaker 1: ruin any of that for you, but I think.

1170
01:02:49,160 --> 01:02:49,760
Speaker 2: That this is.

1171
01:02:51,320 --> 01:02:53,520
Speaker 1: It's a movie you've heard about a lot because it

1172
01:02:53,680 --> 01:02:56,320
Speaker 1: is truly astounding in scope.

1173
01:02:56,680 --> 01:02:57,680
Speaker 2: But it's also a.

1174
01:02:57,600 --> 01:03:01,120
Speaker 1: Movie that the more that I watch, the more that

1175
01:03:01,160 --> 01:03:06,040
Speaker 1: I'm able to tap into the depth of the characters

1176
01:03:06,040 --> 01:03:08,840
Speaker 1: and the depth of the story. So it's fantastic. It's

1177
01:03:08,880 --> 01:03:12,080
Speaker 1: a wonderful, wonderful movie. Everyone should see it and fits

1178
01:03:12,080 --> 01:03:13,760
Speaker 1: into our hot month perfectly.

1179
01:03:15,040 --> 01:03:18,560
Speaker 2: And I also want to say thank you for picking

1180
01:03:18,640 --> 01:03:24,160
Speaker 2: this movie number one, because I agree it's so entertaining.

1181
01:03:25,120 --> 01:03:28,000
Speaker 2: It doesn't feel like, if you think about a three

1182
01:03:28,040 --> 01:03:30,760
Speaker 2: hour movie, you're like, oh my god, I don't feel

1183
01:03:30,800 --> 01:03:34,840
Speaker 2: that three hours no pretty much ever, But also thank

1184
01:03:34,880 --> 01:03:37,920
Speaker 2: you for pointing out that this has this reputation for

1185
01:03:37,960 --> 01:03:44,000
Speaker 2: being a dude movie, because I I now want a

1186
01:03:44,040 --> 01:03:48,680
Speaker 2: podcast where just women talk about heat from nineteen ninety five.

1187
01:03:48,920 --> 01:03:53,600
Speaker 2: Like absolutely, I am so fascinated by the concept of

1188
01:03:53,640 --> 01:03:58,960
Speaker 2: that of seeing a movie like this through the eyes

1189
01:03:59,000 --> 01:04:04,400
Speaker 2: of people other than who is stereotypically into it. Absolutely,

1190
01:04:05,200 --> 01:04:10,880
Speaker 2: because as we've just proven, I want to talk about

1191
01:04:10,880 --> 01:04:12,919
Speaker 2: heat all day and night.

1192
01:04:13,120 --> 01:04:15,760
Speaker 1: Yeah, there's no rules. The rules of our game is

1193
01:04:15,760 --> 01:04:17,240
Speaker 1: that there's no rules. If I were sitting in a

1194
01:04:17,240 --> 01:04:20,520
Speaker 1: diner across from a bunch of other dudect movie podcasters,

1195
01:04:21,160 --> 01:04:23,960
Speaker 1: I would slam their heads on the table. There's no rules,

1196
01:04:25,960 --> 01:04:29,040
Speaker 1: No civilization needs to take place here. We could do

1197
01:04:29,080 --> 01:04:31,320
Speaker 1: whatever the fuck we want. And I think I've been

1198
01:04:31,400 --> 01:04:34,160
Speaker 1: largely influenced. It's been a weird week, but like I

1199
01:04:34,200 --> 01:04:38,160
Speaker 1: did finally see the Barbie movie, and so there's parts

1200
01:04:38,160 --> 01:04:39,760
Speaker 1: of it that I don't want to get into it

1201
01:04:39,840 --> 01:04:42,760
Speaker 1: right now, but there's things to love about it, and

1202
01:04:43,840 --> 01:04:46,160
Speaker 1: I've just been really on one since I saw it.

1203
01:04:47,280 --> 01:04:50,080
Speaker 2: Listen We're gonna have to take this offline because I

1204
01:04:50,120 --> 01:04:52,919
Speaker 2: could literally talk about the Barbie movie all day and night.

1205
01:04:53,280 --> 01:04:55,760
Speaker 2: I talked about it in therapy. That's how much I

1206
01:04:55,880 --> 01:04:58,960
Speaker 2: talk this movie. I was talking about it in therapy

1207
01:04:59,000 --> 01:05:03,280
Speaker 2: this week. Yeah, I I totally. I I was talking

1208
01:05:03,280 --> 01:05:06,439
Speaker 2: about it so much the day after I saw it

1209
01:05:06,560 --> 01:05:09,680
Speaker 2: with people that are in my life that I felt

1210
01:05:09,760 --> 01:05:13,240
Speaker 2: like I was alienating everyone because a lot of people

1211
01:05:13,280 --> 01:05:15,320
Speaker 2: I know hadn't seen it yet, and I was just like,

1212
01:05:15,760 --> 01:05:18,720
Speaker 2: I can't wait to, you know, like tell you about this, this, this, this,

1213
01:05:18,800 --> 01:05:21,520
Speaker 2: And they were just like, why am I friends with you?

1214
01:05:21,720 --> 01:05:26,720
Speaker 2: I hate I hate this. Well, I'll talk about it

1215
01:05:26,720 --> 01:05:29,160
Speaker 2: all day. I don't know, if get my therapy dollars on it,

1216
01:05:29,640 --> 01:05:32,280
Speaker 2: maybe we'll do a bonus about it or something. It just.

1217
01:05:34,560 --> 01:05:36,960
Speaker 1: Maybe here here my thoughts, person, then we can decidef

1218
01:05:36,960 --> 01:05:38,040
Speaker 1: we're gonna do a bonus about it.

1219
01:05:38,120 --> 01:05:42,040
Speaker 2: Okay, here are my thoughts too. I don't know we're

1220
01:05:42,680 --> 01:05:44,680
Speaker 2: dangling that out there, but right.

1221
01:05:44,680 --> 01:05:46,640
Speaker 1: Now we're in the middle of a full episode, So

1222
01:05:46,680 --> 01:05:47,360
Speaker 1: let's finish it.

1223
01:05:47,480 --> 01:05:51,600
Speaker 2: We got your movie, we do so. Continuing on the

1224
01:05:51,600 --> 01:05:56,880
Speaker 2: heat train, my movie is one from nineteen seventy four.

1225
01:05:56,960 --> 01:06:01,120
Speaker 2: It was written and directed by Jonathan Demi and it's

1226
01:06:01,160 --> 01:06:04,040
Speaker 2: called Caged Heat in a House of Desperate Women here

1227
01:06:05,680 --> 01:06:09,880
Speaker 2: and a long blown way from Home. So, as everyone

1228
01:06:09,920 --> 01:06:13,320
Speaker 2: probably knows by this point, feel it feels like Jonathan

1229
01:06:13,320 --> 01:06:16,800
Speaker 2: Debbie has some kind of godlike status on this podcast.

1230
01:06:16,960 --> 01:06:19,680
Speaker 2: I would say we've done his movies before we did

1231
01:06:19,680 --> 01:06:22,400
Speaker 2: the DVD commentary track for Mary to the Mob, so

1232
01:06:22,920 --> 01:06:26,760
Speaker 2: we've definitely dipped our toes into the Demi verse. But

1233
01:06:26,800 --> 01:06:31,640
Speaker 2: I I just want to say, every time I think

1234
01:06:31,680 --> 01:06:34,120
Speaker 2: about him or we talk about him, it just reminds

1235
01:06:34,200 --> 01:06:39,480
Speaker 2: me of just how much I adore him. Yeah, like

1236
01:06:39,600 --> 01:06:44,520
Speaker 2: he's pretty crucial. I I agree. I love his background,

1237
01:06:44,600 --> 01:06:46,840
Speaker 2: I love his style and his taste. It's just like

1238
01:06:48,840 --> 01:06:54,160
Speaker 2: I love that, while you can't really set your watch

1239
01:06:54,320 --> 01:06:58,120
Speaker 2: to his filmography in a way in that he just

1240
01:06:58,160 --> 01:07:01,280
Speaker 2: did a lot of different types of mood movies, he

1241
01:07:01,520 --> 01:07:07,120
Speaker 2: always made them human and he always gave them his

1242
01:07:07,200 --> 01:07:11,120
Speaker 2: own flavor, his own stamp. Right. And I started thinking

1243
01:07:11,160 --> 01:07:15,320
Speaker 2: about this because you know, as a as a film person, right,

1244
01:07:15,440 --> 01:07:21,120
Speaker 2: there are directors that you love and they're for me.

1245
01:07:21,440 --> 01:07:23,760
Speaker 2: You know, there's directors that I love because they have

1246
01:07:23,880 --> 01:07:30,160
Speaker 2: this maybe unique visual style or this like really special

1247
01:07:30,200 --> 01:07:35,280
Speaker 2: way of storytelling that's really compelling and interesting. And sometimes

1248
01:07:35,280 --> 01:07:36,800
Speaker 2: it's both right, oh yeah.

1249
01:07:36,600 --> 01:07:39,919
Speaker 1: Like one car Y or Celine Siama and like all yeah,

1250
01:07:40,040 --> 01:07:43,040
Speaker 1: like just some of people who have a distinctiveness to them.

1251
01:07:42,960 --> 01:07:46,240
Speaker 2: Right, But at the same time, some of those folks

1252
01:07:46,640 --> 01:07:49,480
Speaker 2: can also feel kind of far away in terms of

1253
01:07:50,600 --> 01:07:54,560
Speaker 2: their references, are really distant from my experiences, and I

1254
01:07:54,600 --> 01:07:57,560
Speaker 2: find that fascinating. I really really appreciate that. Right. But

1255
01:07:57,600 --> 01:08:02,240
Speaker 2: then there's directors who just seem like cool people, like

1256
01:08:02,280 --> 01:08:05,400
Speaker 2: you would be friends with them, and it's like their

1257
01:08:05,560 --> 01:08:09,040
Speaker 2: entire world of their movies and all the references that

1258
01:08:09,080 --> 01:08:11,840
Speaker 2: they make are they feel like inside jokes or something

1259
01:08:12,080 --> 01:08:15,160
Speaker 2: for you. And that's how I feel about Jonathan Demi.

1260
01:08:15,200 --> 01:08:18,600
Speaker 2: It's how I feel also about John Hughes, but I

1261
01:08:18,760 --> 01:08:20,760
Speaker 2: and I feel that about Jonathan Demi. It's just this

1262
01:08:20,960 --> 01:08:25,200
Speaker 2: like feeling of, oh, I'd be friends with this person

1263
01:08:25,240 --> 01:08:28,960
Speaker 2: if we exist in the same timeline type of thing, right, Right. So,

1264
01:08:29,600 --> 01:08:35,080
Speaker 2: having said that, a little bit of background, Caged Heat

1265
01:08:35,560 --> 01:08:44,160
Speaker 2: was Demi's directorial debut, and he was working for Roger Corman,

1266
01:08:44,400 --> 01:08:46,880
Speaker 2: who I've talked about before on some episodes. He was

1267
01:08:47,760 --> 01:08:53,479
Speaker 2: essentially the biggest and most famous maker of low budget

1268
01:08:53,479 --> 01:08:57,480
Speaker 2: films in Hollywood for decades, still alive as of this recording.

1269
01:08:58,560 --> 01:09:05,000
Speaker 2: So Corman started out making films for American International Pictures AIP.

1270
01:09:05,880 --> 01:09:09,200
Speaker 2: They were independent production company that made a lot of

1271
01:09:09,240 --> 01:09:12,760
Speaker 2: the drive in films in the fifties through like the

1272
01:09:12,840 --> 01:09:17,280
Speaker 2: nineteen seventies, right, And then in the early seventies, Roger

1273
01:09:17,320 --> 01:09:21,479
Speaker 2: Corman started his own company called New World Pictures, which

1274
01:09:21,880 --> 01:09:25,320
Speaker 2: was essentially keeping the tradition of making these like low

1275
01:09:25,360 --> 01:09:30,599
Speaker 2: budget be exploitation films going. And the way that he

1276
01:09:30,640 --> 01:09:35,920
Speaker 2: did this is that he most famously hired a bunch

1277
01:09:35,960 --> 01:09:40,599
Speaker 2: of these sort of new young directors on the scene

1278
01:09:40,640 --> 01:09:43,080
Speaker 2: who just like wanted to take a shot at making

1279
01:09:43,120 --> 01:09:47,880
Speaker 2: a movie. And even prior to him creating New World,

1280
01:09:48,880 --> 01:09:51,599
Speaker 2: there was a lot of these people kind of cycling

1281
01:09:51,640 --> 01:09:57,200
Speaker 2: through the Corman universe, right, people like Jack Nicholson, Peter Bogdanovich,

1282
01:09:57,360 --> 01:10:01,519
Speaker 2: Monti Hellman, Jack Hill, Stephanie Rothman, Robert town the writer,

1283
01:10:01,960 --> 01:10:05,559
Speaker 2: and so on. Right. But then when New World came along,

1284
01:10:05,880 --> 01:10:08,040
Speaker 2: Roger Corman's like, I need people to make movies for me.

1285
01:10:08,120 --> 01:10:11,960
Speaker 2: So he was giving careers to people like James Cameron,

1286
01:10:12,080 --> 01:10:16,920
Speaker 2: Ron Howard Martin Scorsese, frances Ford Coppola, Curtis Hansen, Paul Bartel,

1287
01:10:17,080 --> 01:10:22,479
Speaker 2: Joe Dante, John Sales, everybody. Right. So, Jonathan Demi was

1288
01:10:22,520 --> 01:10:25,320
Speaker 2: really early in his own career, and he had done

1289
01:10:26,040 --> 01:10:28,960
Speaker 2: some film and music writing, you know, because he likes movies,

1290
01:10:29,000 --> 01:10:31,920
Speaker 2: he likes music, and he was, you know, writing movie

1291
01:10:31,960 --> 01:10:36,559
Speaker 2: reviews for his like university paper and stuff. And he

1292
01:10:37,120 --> 01:10:42,320
Speaker 2: had recently taken a job doing film press and publicity

1293
01:10:42,520 --> 01:10:45,639
Speaker 2: for this movie production company. And that's how he actually

1294
01:10:45,680 --> 01:10:48,560
Speaker 2: met Roger Corman, was doing some publicity for one of

1295
01:10:48,640 --> 01:10:54,439
Speaker 2: Corman's films in Ireland, I think, and from everything that

1296
01:10:54,479 --> 01:10:58,920
Speaker 2: I've read about Roger Corman, it seems like even if

1297
01:10:58,960 --> 01:11:02,000
Speaker 2: you had the slightest bit of interest or experience in

1298
01:11:02,040 --> 01:11:05,120
Speaker 2: movie making, he would just offer you some money to

1299
01:11:05,160 --> 01:11:07,200
Speaker 2: make a movie and you were just off and running.

1300
01:11:07,280 --> 01:11:11,040
Speaker 2: There wasn't really kind of no huge vetting process there.

1301
01:11:12,720 --> 01:11:16,320
Speaker 2: So essentially Demi was like, I'm gonna take a stab

1302
01:11:16,360 --> 01:11:18,840
Speaker 2: at writing some movies for Roger Corman. He did a

1303
01:11:18,840 --> 01:11:21,439
Speaker 2: few exploitation movies in the early days of New World,

1304
01:11:21,439 --> 01:11:23,280
Speaker 2: so he was doing he did like Angels as hard

1305
01:11:23,280 --> 01:11:26,479
Speaker 2: as they come, the hot Box, Black Mama White Mama,

1306
01:11:26,520 --> 01:11:28,920
Speaker 2: which I've always wanted to get on this podcast. Maybe

1307
01:11:28,960 --> 01:11:31,439
Speaker 2: we'll do that. But then he eventually directed his own,

1308
01:11:31,880 --> 01:11:34,560
Speaker 2: which was Caged Heat, so he wrote and directed. That

1309
01:11:34,720 --> 01:11:38,400
Speaker 2: was the first one that he directed. So I'll do

1310
01:11:38,439 --> 01:11:41,640
Speaker 2: a one sensusy oposies of Caged Heat. A group of

1311
01:11:41,680 --> 01:11:45,120
Speaker 2: women living inside of a prison plan a daring escape

1312
01:11:45,160 --> 01:11:49,080
Speaker 2: after discovering they're being drugged and experimented on by the

1313
01:11:49,160 --> 01:11:55,400
Speaker 2: sadistic medical staff and jail superintendent. So that's the setup. Now,

1314
01:11:56,439 --> 01:12:03,679
Speaker 2: I'll say up top, this is definitely someone's first movie. Okay,

1315
01:12:03,760 --> 01:12:07,040
Speaker 2: it's a little rough around the edges, and it definitely

1316
01:12:07,120 --> 01:12:11,439
Speaker 2: has some kind of Roger Corman checklist things about it,

1317
01:12:11,640 --> 01:12:14,360
Speaker 2: the most obvious being that it is a women in

1318
01:12:14,400 --> 01:12:18,479
Speaker 2: prison movie, which I don't expect all of you to

1319
01:12:18,520 --> 01:12:21,360
Speaker 2: be well versed in the women in prison subgenre, but

1320
01:12:22,080 --> 01:12:25,360
Speaker 2: it's It was a very popular subgenre in this era

1321
01:12:25,439 --> 01:12:29,559
Speaker 2: in the seventies, even though I will say there's actually

1322
01:12:29,560 --> 01:12:32,519
Speaker 2: a long tradition of women in prison movies and even

1323
01:12:32,560 --> 01:12:34,880
Speaker 2: in the early days of Hollywood, so they were making

1324
01:12:35,760 --> 01:12:39,599
Speaker 2: women's jail films for a while before Cage t and

1325
01:12:40,880 --> 01:12:47,000
Speaker 2: Jonathan Demi sort of famously said about working for Roger Corman.

1326
01:12:48,960 --> 01:12:51,680
Speaker 2: He said that Roger kind of taught him two things

1327
01:12:51,680 --> 01:12:54,960
Speaker 2: about making a movie. Number one, give the people someone

1328
01:12:55,040 --> 01:12:57,439
Speaker 2: to root for, and number two, give the people some

1329
01:12:57,600 --> 01:13:00,519
Speaker 2: to look at. And I think we know what we're

1330
01:13:00,520 --> 01:13:04,760
Speaker 2: looking at here with Caged Heat, right good. I think

1331
01:13:04,800 --> 01:13:09,160
Speaker 2: it's Tittyes, I think it's t N, A and B,

1332
01:13:10,320 --> 01:13:17,160
Speaker 2: which stands for BEV. I guess TNA and beef. We're good.

1333
01:13:18,080 --> 01:13:22,960
Speaker 2: But I will say from my experience, I have seen

1334
01:13:23,000 --> 01:13:25,360
Speaker 2: a lot of women in prison movies in my time,

1335
01:13:26,160 --> 01:13:31,040
Speaker 2: and they can be really fucking sleazy, right, Like I've

1336
01:13:31,040 --> 01:13:33,800
Speaker 2: seen ones that are shot in the Philippines that are

1337
01:13:34,000 --> 01:13:38,200
Speaker 2: literally just two hours of naked women with giant boobs

1338
01:13:38,280 --> 01:13:43,639
Speaker 2: being degraded by mail guards. Like they could be really sleezy.

1339
01:13:44,520 --> 01:13:48,840
Speaker 2: So I feel like Caged Heat has a lot more

1340
01:13:48,840 --> 01:13:54,560
Speaker 2: to say than that, I think, which is refreshing considering

1341
01:13:54,800 --> 01:13:57,599
Speaker 2: that you know it's an exploitation movie that's being made

1342
01:13:57,640 --> 01:14:01,280
Speaker 2: for Roger Corman, right, And then you start thinking about

1343
01:14:01,320 --> 01:14:06,120
Speaker 2: Jonathan Demi's subsequent career, and you know that he made

1344
01:14:06,120 --> 01:14:10,800
Speaker 2: a lot of movies that centered strong women and female experiences.

1345
01:14:11,560 --> 01:14:14,240
Speaker 2: So it's this thing where I'm like, yes, there are

1346
01:14:14,240 --> 01:14:17,160
Speaker 2: boobs and shower scenes and things like that in Cage Heat,

1347
01:14:17,200 --> 01:14:20,360
Speaker 2: but it also doesn't feel very over the top in

1348
01:14:20,439 --> 01:14:24,000
Speaker 2: the ways that I've seen in this genre. And also

1349
01:14:24,280 --> 01:14:28,040
Speaker 2: there's a lot of things in Cage Heat that make

1350
01:14:28,120 --> 01:14:31,920
Speaker 2: it sort of more of an elevated message than some

1351
01:14:32,000 --> 01:14:35,720
Speaker 2: of these films. Yeah, which we'll talk about for sure. Yeah,

1352
01:14:35,720 --> 01:14:37,520
Speaker 2: the women kind of take power.

1353
01:14:39,160 --> 01:14:41,920
Speaker 1: Pretty early on, or you know, and they kind of

1354
01:14:41,920 --> 01:14:44,360
Speaker 1: display their own power pretty early on, which is something

1355
01:14:44,360 --> 01:14:46,439
Speaker 1: that you don't often seen and see in these kind

1356
01:14:46,439 --> 01:14:47,799
Speaker 1: of prison exploitation films.

1357
01:14:48,760 --> 01:14:52,120
Speaker 2: Yeah, and there's also kind of like just a couple

1358
01:14:52,120 --> 01:14:57,559
Speaker 2: of really interesting moments in the film that are sort

1359
01:14:57,560 --> 01:15:01,200
Speaker 2: of what I think are Jonathan Demi trying to sneak

1360
01:15:01,240 --> 01:15:07,600
Speaker 2: in messages about feminism into a exploitation movie, which I

1361
01:15:07,600 --> 01:15:11,640
Speaker 2: think is actually kind of awesome, but just in like

1362
01:15:11,720 --> 01:15:14,519
Speaker 2: kind of quick setup, right. So you the movie begins

1363
01:15:14,520 --> 01:15:16,680
Speaker 2: with this woman named Jacqueline, and she's being sent to

1364
01:15:16,720 --> 01:15:20,240
Speaker 2: jail after a botched robbery attempt. She's working with these

1365
01:15:20,240 --> 01:15:25,400
Speaker 2: two guys they get caught Robin Place. Jacqueline is played

1366
01:15:25,400 --> 01:15:30,000
Speaker 2: by the actress Eric Gavin, who is best known for

1367
01:15:30,400 --> 01:15:35,160
Speaker 2: her movies with russ Meyer, including the fucking barn Murner

1368
01:15:35,600 --> 01:15:40,200
Speaker 2: Beyond the Valley of the Dolls. We will try to

1369
01:15:40,240 --> 01:15:42,360
Speaker 2: sneak this on the podcast at some point because it

1370
01:15:42,400 --> 01:15:46,519
Speaker 2: is beats permitted, the wildest movie I think I've ever seen.

1371
01:15:48,240 --> 01:15:50,719
Speaker 2: But she but she's in She was actually in two

1372
01:15:50,760 --> 01:15:55,440
Speaker 2: I think two Rosmeyer movies, maybe three. But so Jacqueline

1373
01:15:55,920 --> 01:15:59,160
Speaker 2: gets to jail, she quickly meets the other residents, who

1374
01:15:59,200 --> 01:16:02,599
Speaker 2: include these named Belle and Pandora, who are played by ROBERTA.

1375
01:16:02,640 --> 01:16:05,400
Speaker 2: Collins and Ella Red. They're the kind of first people

1376
01:16:05,400 --> 01:16:08,200
Speaker 2: in the jail that are nice to her and engaging

1377
01:16:08,200 --> 01:16:11,760
Speaker 2: with her. But soon after she is introduced to Maggie,

1378
01:16:12,400 --> 01:16:14,840
Speaker 2: who is the toughest lady in the block, and she's

1379
01:16:14,880 --> 01:16:17,960
Speaker 2: played by Jannita Brown who was in a lot of

1380
01:16:17,960 --> 01:16:21,920
Speaker 2: great black action movies in the nineteen seventies. And so

1381
01:16:22,000 --> 01:16:25,400
Speaker 2: it kind of sets up that this jail is rough.

1382
01:16:25,439 --> 01:16:29,439
Speaker 2: I mean, everyone's just trying to survive. Adding to this

1383
01:16:30,400 --> 01:16:33,920
Speaker 2: is this fact that eventually gets rolled out, which is

1384
01:16:33,920 --> 01:16:38,680
Speaker 2: that they're also essentially test subjects for this kind of

1385
01:16:39,360 --> 01:16:43,280
Speaker 2: experimental mental health rehabilitation program that's being led by the

1386
01:16:43,320 --> 01:16:48,080
Speaker 2: superintendent of the prison who was this stern woman in

1387
01:16:48,120 --> 01:16:51,960
Speaker 2: a wheelchair and glasses. Her name is McQueen and she

1388
01:16:52,040 --> 01:16:55,519
Speaker 2: is played by the horror movie legend herself, Barbara Steele.

1389
01:16:56,320 --> 01:17:00,280
Speaker 2: I think we all have seen a gothic horror movie

1390
01:17:00,320 --> 01:17:05,360
Speaker 2: from England in the seventies. That's Barber Steele. Like, if

1391
01:17:05,360 --> 01:17:07,000
Speaker 2: you've seen her in a lot of things. She's in

1392
01:17:07,080 --> 01:17:10,200
Speaker 2: Been and Mario Boba movies. I mean, she's an icon

1393
01:17:10,280 --> 01:17:14,360
Speaker 2: of horror. Right. So this is the setup. Right, So

1394
01:17:14,400 --> 01:17:20,879
Speaker 2: you've got McQueen kind of leading the charge in this prison.

1395
01:17:21,400 --> 01:17:25,600
Speaker 2: And this is where I think Jonathan Demi comes out,

1396
01:17:25,800 --> 01:17:30,479
Speaker 2: is that in the first kind of notion of who

1397
01:17:30,560 --> 01:17:35,400
Speaker 2: McQueen is, you're like, oh, here's a woman who is

1398
01:17:35,439 --> 01:17:38,479
Speaker 2: the head of a prison, which, you know, I think

1399
01:17:38,600 --> 01:17:41,000
Speaker 2: kind of bucks against the trend of these women in

1400
01:17:41,120 --> 01:17:43,280
Speaker 2: prison movies, which is that most of the time these

1401
01:17:43,760 --> 01:17:47,439
Speaker 2: jails are entirely stabbed by men. Right, So there's a

1402
01:17:47,439 --> 01:17:53,639
Speaker 2: woman in charge. There's also this really interesting dream sequence section.

1403
01:17:53,960 --> 01:17:56,519
Speaker 2: There's a lot of this movie is actually really interesting

1404
01:17:56,560 --> 01:17:59,280
Speaker 2: because there's a lot of this kind of there's a

1405
01:17:59,280 --> 01:18:06,040
Speaker 2: lot of moments of like slapstick almost humor alongside these

1406
01:18:06,160 --> 01:18:10,720
Speaker 2: kind of dreamy sequences that some of the characters have,

1407
01:18:11,479 --> 01:18:16,080
Speaker 2: and I think it's an interesting technique to kind of

1408
01:18:16,160 --> 01:18:20,760
Speaker 2: pepper this stuff in with this like essentially jail film, right.

1409
01:18:20,840 --> 01:18:22,920
Speaker 1: Yeah, it's like a little bit of levity that is

1410
01:18:23,640 --> 01:18:25,920
Speaker 1: very well timed and often needed.

1411
01:18:26,760 --> 01:18:29,360
Speaker 2: Like the woman who's crawling through the.

1412
01:18:30,360 --> 01:18:33,559
Speaker 1: Vents kind of always comes at a well timed place

1413
01:18:33,600 --> 01:18:37,080
Speaker 1: where she's counting and crawling and trying to time it out,

1414
01:18:38,040 --> 01:18:40,639
Speaker 1: but it's always right when some tension needs to be broken.

1415
01:18:41,640 --> 01:18:47,240
Speaker 2: Yeah, it's very interesting. And so there's there's a part

1416
01:18:47,479 --> 01:18:50,200
Speaker 2: towards the beginning of the film where there's this maybe

1417
01:18:50,240 --> 01:18:54,800
Speaker 2: a talent show in the jail and McQueen comes in

1418
01:18:54,840 --> 01:18:58,200
Speaker 2: and she's kind of watching it and she's disapproving of course.

1419
01:18:58,280 --> 01:19:02,679
Speaker 2: But then it cuts to a scene later where McQueen

1420
01:19:02,760 --> 01:19:05,200
Speaker 2: is like taking a nap or something in her office

1421
01:19:05,320 --> 01:19:10,280
Speaker 2: and she has a dream where she's on stage at

1422
01:19:10,320 --> 01:19:13,360
Speaker 2: this talent show or whatever, and she makes the speech

1423
01:19:13,640 --> 01:19:16,840
Speaker 2: to the women in the jail and she basically points

1424
01:19:16,880 --> 01:19:19,479
Speaker 2: out to them that they're in the jail because of

1425
01:19:19,560 --> 01:19:24,760
Speaker 2: men and that they need to wake up to that reality. Basically. Yep,

1426
01:19:25,400 --> 01:19:28,479
Speaker 2: it's kind of an amazing moment in a way because

1427
01:19:28,760 --> 01:19:33,519
Speaker 2: You're like, oh, right, So here are these women who

1428
01:19:33,520 --> 01:19:37,760
Speaker 2: are now incarcerated because they were either accessories to male crimes,

1429
01:19:38,240 --> 01:19:41,959
Speaker 2: or they were fighting each other for the attention of men.

1430
01:19:42,200 --> 01:19:44,040
Speaker 1: Or they were fighting because of something a man was

1431
01:19:44,080 --> 01:19:46,120
Speaker 1: doing to them or to someone they loved.

1432
01:19:46,920 --> 01:19:51,280
Speaker 2: Right, So it's this I mean to me, I'm going,

1433
01:19:51,520 --> 01:19:54,880
Speaker 2: why is this in a women in prison movie? It's

1434
01:19:55,000 --> 01:19:55,840
Speaker 2: kind of amazing.

1435
01:19:56,360 --> 01:20:00,280
Speaker 1: Yeah, it's a great point, and it's you know, and

1436
01:20:00,320 --> 01:20:02,160
Speaker 1: came out in nineteen seventy four. It's like, you know,

1437
01:20:02,240 --> 01:20:05,559
Speaker 1: the second wave feminism was in full display, and yeah,

1438
01:20:05,640 --> 01:20:09,840
Speaker 1: it was really a very pointed message that I think, again,

1439
01:20:09,920 --> 01:20:13,360
Speaker 1: none of these other movies express. And that's I agree

1440
01:20:13,360 --> 01:20:14,519
Speaker 1: with you that that's all Demi.

1441
01:20:15,240 --> 01:20:18,040
Speaker 2: Yeah, yeah, because as the film goes on, just like

1442
01:20:18,080 --> 01:20:21,680
Speaker 2: you said, you realize that is the situation. Like that,

1443
01:20:21,800 --> 01:20:25,920
Speaker 2: there's a character who talks about how she's in the

1444
01:20:26,000 --> 01:20:29,559
Speaker 2: jail because she killed a man for raping her friend basically.

1445
01:20:30,240 --> 01:20:35,160
Speaker 2: And I mean, as much as we don't want to

1446
01:20:35,160 --> 01:20:37,800
Speaker 2: give a ton of credit to straight guys all the

1447
01:20:37,880 --> 01:20:41,760
Speaker 2: time on this podcast, I just have to say, I

1448
01:20:41,760 --> 01:20:46,160
Speaker 2: think that's a Jonathan Demi thing, and I think it's wonderful. Yeah,

1449
01:20:46,240 --> 01:20:51,280
Speaker 2: I agree, right, So maybe to that point. The only

1450
01:20:51,400 --> 01:20:55,600
Speaker 2: man in the management staff of this jail is this

1451
01:20:55,800 --> 01:21:00,000
Speaker 2: doctor named Randolph, and he is not only drugging these

1452
01:21:00,080 --> 01:21:05,280
Speaker 2: women and forcing them to have electroshock therapy, but he's

1453
01:21:05,320 --> 01:21:09,240
Speaker 2: actually assaulting and molesting them and stripping them naked taking

1454
01:21:09,280 --> 01:21:13,639
Speaker 2: pictures of them. He's an evil piece of shit, right,

1455
01:21:14,600 --> 01:21:18,439
Speaker 2: So this is all happening, and eventually all the women

1456
01:21:18,680 --> 01:21:23,080
Speaker 2: are just like that's it. Like Jacqueline and Maggie specifically,

1457
01:21:23,640 --> 01:21:27,559
Speaker 2: they make a daring escape from the prison. They end

1458
01:21:27,640 --> 01:21:30,600
Speaker 2: up meeting up with Maggie's friend on the outside, a

1459
01:21:30,640 --> 01:21:39,639
Speaker 2: woman simply named Crazy. And what I think is really

1460
01:21:39,680 --> 01:21:43,880
Speaker 2: interesting is that they just make the decision to go

1461
01:21:43,960 --> 01:21:46,519
Speaker 2: back and get everybody else in the jail, So even

1462
01:21:46,520 --> 01:21:50,080
Speaker 2: though they're sprung, they still feel like they need to

1463
01:21:50,080 --> 01:21:52,640
Speaker 2: go get everybody else because that's how horrible this place is,

1464
01:21:54,120 --> 01:21:59,400
Speaker 2: which I think is actually great too. And again, probably

1465
01:21:59,560 --> 01:22:04,120
Speaker 2: a Demi stamp, I would say, right, So, I don't know.

1466
01:22:04,720 --> 01:22:06,800
Speaker 2: To me, I could go on and on and on

1467
01:22:06,880 --> 01:22:11,160
Speaker 2: about how I feel like this is a movie that

1468
01:22:11,400 --> 01:22:14,840
Speaker 2: is really like kind of above and beyond this other

1469
01:22:16,439 --> 01:22:19,080
Speaker 2: stuff that happens in this genre. I mean, like I

1470
01:22:19,120 --> 01:22:21,599
Speaker 2: said it is a first movie for him. It's rougher

1471
01:22:21,640 --> 01:22:24,559
Speaker 2: on the edges. There's some really interesting editing choices. I

1472
01:22:24,600 --> 01:22:26,880
Speaker 2: will say that I think it's awesome that John Cale

1473
01:22:26,960 --> 01:22:30,360
Speaker 2: from The Velvet Underground does the music. Yes, I didn't

1474
01:22:30,360 --> 01:22:33,240
Speaker 2: know that until I watched it this time. Yeah, And

1475
01:22:33,280 --> 01:22:35,479
Speaker 2: I think that that's also a Demi thing. I think

1476
01:22:35,520 --> 01:22:38,080
Speaker 2: he obviously music is a huge part of his life

1477
01:22:38,080 --> 01:22:42,200
Speaker 2: and it would be for a lot of his subsequent films.

1478
01:22:42,640 --> 01:22:49,519
Speaker 2: There's also like really great old ladies of this movie.

1479
01:22:50,360 --> 01:22:56,639
Speaker 2: There's this part where Maggie and Crazy and Jacqueline are

1480
01:22:56,680 --> 01:23:00,920
Speaker 2: like holding up a jail vehicle that's out I guess

1481
01:23:01,000 --> 01:23:06,439
Speaker 2: transporting things. And there's this woman named Bernice in a

1482
01:23:06,520 --> 01:23:10,880
Speaker 2: film that is amazing and they have this hilarious interaction.

1483
01:23:11,320 --> 01:23:14,519
Speaker 2: But the one thing that I will say, there are

1484
01:23:15,680 --> 01:23:19,000
Speaker 2: really funny moments of the film, like as much as

1485
01:23:19,040 --> 01:23:21,760
Speaker 2: there are like kind of weird asides dream sequences of

1486
01:23:21,760 --> 01:23:26,519
Speaker 2: this kind of stuff. My favorite is it happens in

1487
01:23:26,680 --> 01:23:29,479
Speaker 2: sort of the final shootout of the film towards the end,

1488
01:23:30,560 --> 01:23:33,800
Speaker 2: where one of the guards get shot by one of

1489
01:23:33,840 --> 01:23:37,479
Speaker 2: the women and he gets shot in the ass and

1490
01:23:37,520 --> 01:23:40,920
Speaker 2: he farts a couple times as he's going down. I

1491
01:23:41,040 --> 01:23:44,680
Speaker 2: fucking love Demi for that. Like I'm like, I had

1492
01:23:44,680 --> 01:23:49,080
Speaker 2: to reinte it like five times because I was like,

1493
01:23:49,160 --> 01:23:51,320
Speaker 2: are there really fart noises coming from this guy whos

1494
01:23:51,360 --> 01:23:53,040
Speaker 2: got shot in the ass? Yes?

1495
01:23:53,320 --> 01:23:55,840
Speaker 1: God, those did not get edited out. They might have

1496
01:23:55,880 --> 01:23:58,000
Speaker 1: gotten edited in whenever it's happening.

1497
01:23:58,080 --> 01:24:06,040
Speaker 2: I love it that youthful, youthful fart humor. Listen. I

1498
01:24:06,080 --> 01:24:13,439
Speaker 2: was like commentary on women's liberation and fart jokes. Get

1499
01:24:13,479 --> 01:24:18,280
Speaker 2: you a man who can do both for real? I

1500
01:24:18,320 --> 01:24:23,479
Speaker 2: don't know, so I I all around. I will say

1501
01:24:24,200 --> 01:24:31,000
Speaker 2: Caged Heat for me a real unexpected exploitation movie. It

1502
01:24:31,160 --> 01:24:35,760
Speaker 2: has some thought put into it. Jonathan Demi is my king,

1503
01:24:36,640 --> 01:24:39,960
Speaker 2: and what else can I say? And it's I love it.

1504
01:24:40,000 --> 01:24:42,719
Speaker 1: I think it's such an interesting first film too, because

1505
01:24:42,720 --> 01:24:45,599
Speaker 1: of the history of him working with Roger Corman, of course,

1506
01:24:45,600 --> 01:24:48,760
Speaker 1: but also that within that he's kind of restricted within

1507
01:24:48,800 --> 01:24:51,680
Speaker 1: that genre to do something like this. I don't think,

1508
01:24:51,720 --> 01:24:53,600
Speaker 1: you know, he could not have done Silence of the

1509
01:24:53,640 --> 01:24:57,120
Speaker 1: Lambs with Roger Corman, you know, so he was kind

1510
01:24:57,120 --> 01:25:01,840
Speaker 1: of influenced by and restricted by this genre filmmaker that

1511
01:25:01,880 --> 01:25:02,599
Speaker 1: he's working with.

1512
01:25:02,720 --> 01:25:05,360
Speaker 2: But he did something so wonderful.

1513
01:25:04,840 --> 01:25:07,080
Speaker 1: With it, and I think that's where you start to

1514
01:25:07,080 --> 01:25:09,960
Speaker 1: see the growth and how he's starting to become who

1515
01:25:10,320 --> 01:25:12,599
Speaker 1: he eventually became as a director.

1516
01:25:13,560 --> 01:25:19,240
Speaker 2: Yeah, and there, from what I've read, Roger Korman was

1517
01:25:19,360 --> 01:25:24,240
Speaker 2: not opposed to putting messages in these films. But Roger

1518
01:25:24,360 --> 01:25:26,360
Speaker 2: was like, yeah, but you're gonna put boobs in it too.

1519
01:25:27,640 --> 01:25:30,120
Speaker 2: So it's like that thing where you're like, Okay, well,

1520
01:25:30,600 --> 01:25:33,320
Speaker 2: here's your platform. The only thing I say is to

1521
01:25:33,520 --> 01:25:35,720
Speaker 2: keep it under budget and put some mobies in it.

1522
01:25:35,800 --> 01:25:40,439
Speaker 2: But then if you want to make a polemic about

1523
01:25:42,040 --> 01:25:44,000
Speaker 2: marketplace feminism, that go ahead.

1524
01:25:44,520 --> 01:25:47,200
Speaker 1: Roger Corman is like the guy in the city standing

1525
01:25:47,320 --> 01:25:50,720
Speaker 1: on the street is going show me them titties as

1526
01:25:50,760 --> 01:25:53,000
Speaker 1: like his producer input.

1527
01:25:54,760 --> 01:25:56,880
Speaker 2: And the funniest part about it too is I've actually

1528
01:25:56,880 --> 01:26:01,800
Speaker 2: met Roger Corman a few times, I think now with

1529
01:26:01,880 --> 01:26:05,720
Speaker 2: my prior job, and he is such a gentle grandpa.

1530
01:26:06,040 --> 01:26:10,240
Speaker 2: Like the two times that I met him, he felt

1531
01:26:10,240 --> 01:26:14,759
Speaker 2: like he's like a white haired, bespeckled gentle grandpa type.

1532
01:26:15,479 --> 01:26:18,479
Speaker 1: And I'm like, that's really sweet, but just just never

1533
01:26:18,520 --> 01:26:20,080
Speaker 1: forget grandpa's be horny too.

1534
01:26:20,760 --> 01:26:23,120
Speaker 2: Oh I know, Oh, I know, I was like this

1535
01:26:23,240 --> 01:26:28,160
Speaker 2: grandpa is hot to trot. These pressed slacks do not

1536
01:26:28,240 --> 01:26:32,280
Speaker 2: fool me, sir now. But it's always that thing where

1537
01:26:32,280 --> 01:26:34,400
Speaker 2: you're like, Okay, this guy's a real hornball.

1538
01:26:34,600 --> 01:26:37,960
Speaker 1: Not everyone can be out here like Mark Rebier singing

1539
01:26:37,960 --> 01:26:41,519
Speaker 1: about fucking. Some of them got to tone it down

1540
01:26:41,560 --> 01:26:43,600
Speaker 1: a little bit and be like, show me the today's

1541
01:26:43,760 --> 01:26:47,519
Speaker 1: from the street corner so their great grandkids can still

1542
01:26:47,560 --> 01:26:50,560
Speaker 1: go to college.

1543
01:26:53,160 --> 01:26:56,840
Speaker 2: Oh boy, I love doing this podcast with you. I

1544
01:26:56,880 --> 01:27:01,479
Speaker 2: always say it, I love it. This was so fun.

1545
01:27:01,680 --> 01:27:04,120
Speaker 1: I'm absolutely thrilled that we got to cover both of

1546
01:27:04,120 --> 01:27:04,719
Speaker 1: these films.

1547
01:27:04,880 --> 01:27:07,519
Speaker 2: You did great yet Yeah me too? Me too good.

1548
01:27:07,600 --> 01:27:09,920
Speaker 2: A good week of hot movies and I think we've

1549
01:27:09,920 --> 01:27:14,120
Speaker 2: got one more next week. But before we reveal the films,

1550
01:27:15,160 --> 01:27:18,160
Speaker 2: I want to remind everybody if you'd like to email us.

1551
01:27:18,200 --> 01:27:20,440
Speaker 2: We're at a sawg Did pod at gmail dot com.

1552
01:27:21,760 --> 01:27:25,439
Speaker 2: Like we said in the intro, we love emails from y'all.

1553
01:27:25,520 --> 01:27:28,679
Speaker 2: Keep them on the short side. If you don't want

1554
01:27:28,720 --> 01:27:32,840
Speaker 2: them to be read, say it in the email and

1555
01:27:32,960 --> 01:27:35,800
Speaker 2: give some pronouns. We would just appreciate it. We we

1556
01:27:35,880 --> 01:27:36,720
Speaker 2: love reading.

1557
01:27:36,479 --> 01:27:39,000
Speaker 1: Things so and you can also find us on our

1558
01:27:39,000 --> 01:27:42,439
Speaker 1: social media at I saw pod on Instagram and Twitter

1559
01:27:42,840 --> 01:27:44,280
Speaker 1: or now X it's X.

1560
01:27:44,360 --> 01:27:52,000
Speaker 2: Now, oh God, have made me I just growned. That

1561
01:27:52,120 --> 01:27:58,479
Speaker 2: was a real grown Oh God X, like like a

1562
01:27:58,600 --> 01:28:06,040
Speaker 2: Vin Diesel movie. X. Jeez, Louise, Okay, we're on X.

1563
01:28:10,120 --> 01:28:13,240
Speaker 2: We also have merch. I will say, I feel like

1564
01:28:13,320 --> 01:28:15,479
Speaker 2: we might be coming out with some new stuff soon.

1565
01:28:15,640 --> 01:28:21,000
Speaker 2: Oh yeah, who knows. If we haven't already, who knows.

1566
01:28:21,080 --> 01:28:24,760
Speaker 2: But you can find it at the I Saw what

1567
01:28:24,800 --> 01:28:26,400
Speaker 2: You did section of the exactly right shot.

1568
01:28:26,920 --> 01:28:30,719
Speaker 1: And our bonus episodes. We have a new bonus episode

1569
01:28:30,760 --> 01:28:32,920
Speaker 1: every third Thursday of the month, and our old bonus

1570
01:28:33,000 --> 01:28:36,080
Speaker 1: episodes are just populating your feed constantly.

1571
01:28:36,920 --> 01:28:42,479
Speaker 2: Yes, yes, yes, oh, Danielle Weeks movies just the titles

1572
01:28:42,479 --> 01:28:44,920
Speaker 2: make me laugh. You gotta tell them. The titles for

1573
01:28:44,960 --> 01:28:49,320
Speaker 2: next week. The movies for next week are Hard Boiled

1574
01:28:49,720 --> 01:28:55,719
Speaker 2: from nineteen ninety three and Half Baked from nineteen ninety eight.

1575
01:28:56,080 --> 01:28:58,000
Speaker 2: It's a hot month. We're going out with a bang.

1576
01:29:01,040 --> 01:29:04,320
Speaker 2: Oh god, we are so stupid. Oh my god, I

1577
01:29:04,400 --> 01:29:08,400
Speaker 2: love it. Listen on that note, Danielle, always a fucking

1578
01:29:08,400 --> 01:29:11,200
Speaker 2: pleasure of doing this podcast with you. It's just a blast.

1579
01:29:11,280 --> 01:29:21,360
Speaker 2: The grated Seal sud This has been an Exactly Right.

1580
01:29:21,400 --> 01:29:25,040
Speaker 1: Production produced by Casey O'Brien, mixed by Edson Choi. Our

1581
01:29:25,080 --> 01:29:28,320
Speaker 1: theme song is by Tom bry Fogel, artwork by Garrett Ross.

1582
01:29:28,600 --> 01:29:31,559
Speaker 1: Our executive producers are Georgia hart Start, Karen kile Gareff,

1583
01:29:31,560 --> 01:29:34,280
Speaker 1: and Daniel Kramer. You can follow us on Instagram and

1584
01:29:34,360 --> 01:29:37,240
Speaker 1: Twitter at I Saw pod, and you can email us

1585
01:29:37,240 --> 01:29:39,360
Speaker 1: at I Saw What You Did Pod at gmail