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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho.

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Speaker 2: I'm Daniel Henderson, and we are.

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Speaker 1: Back with you, fine, fine folks to talk a little

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Speaker 1: bit about film.

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Speaker 2: What's up? Are a lot of bit? I got a

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Speaker 2: lot of bit to say this week.

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Speaker 1: God girl, I do too. I'm actually really rare to go.

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Speaker 1: And it's not because I drank this forty two ounce

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Speaker 1: double latte.

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Speaker 3: Okay, we are mind melding right now because I have

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Speaker 3: an extra arm.

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Speaker 2: Don't get donuts coffee right next to me.

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Speaker 1: I love it. Just sometimes it's like when it's so

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Speaker 1: big they put like the double band, the double hot band.

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Speaker 2: What is it called?

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Speaker 3: I like hot band. I think they call it a sleeve,

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Speaker 3: but I'm now calling it hot band.

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Speaker 2: Forever. They can give you one of those hot bands.

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Speaker 1: Yo, let me get to of them hot band. It's

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Speaker 1: sometimes the coffee is so big and hot that they

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Speaker 1: give me a double hot band. So now I know

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Speaker 1: it's a sleeve. Okay.

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Speaker 3: They look at you and they're like, she cannot be

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Speaker 3: trusted to not scald herself with one flimsy sleeve.

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Speaker 2: We need to give her too hot bands.

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Speaker 1: She doesn't look like she has the attention span or

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Speaker 1: the energy to sue anyone. But in the event that

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Speaker 1: it happens.

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Speaker 3: We'll give her to Dunkin Donuts does not care. They're like,

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Speaker 3: go ahead, burn yourself, we know you'll be back.

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Speaker 2: Do whatever you want.

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Speaker 1: Remember I told I revealed many episodes ago that I

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Speaker 1: used to work at Dunkin Donuts. I worked there. There's

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Speaker 1: my first job. Yeah, fifteen years old. And we actually

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Speaker 1: don't think we had hot bands back in the day.

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Speaker 1: There were no sleeves in the nineties.

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Speaker 2: There still aren't. I hate to break it to you,

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Speaker 2: there's still are no sleep dunk here.

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Speaker 3: There's not not a my duncan. I might occasionally give

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Speaker 3: you that little plug for the top.

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Speaker 1: Oh yeah, the little what is that little charm? I

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Speaker 1: call it like a little charm.

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Speaker 2: Thing hot hot bands and charms everybody. Millie is am lingo.

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Speaker 2: When you say charm, I'm like, is she saving them

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Speaker 2: and making a necklace? It's just like Pandora has finally

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Speaker 2: has some competition.

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Speaker 1: It's weird because I truly always forget what it is

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Speaker 1: when the cup comes out and it has that little

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Speaker 1: plug thing, because it looks like a little goblin or something.

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Speaker 1: It's like some kind of thing and I'm like, ooh,

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Speaker 1: they're putting a little a little charm on here, little flare,

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Speaker 1: and then I realize I pull it up. I'm like, oh,

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Speaker 1: it's so that the liquid doesn't come out of the hole.

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Speaker 2: You're like, cause I have a hot band and the

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Speaker 2: goblin claw.

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Speaker 3: Please let's keep this all together so I don't spill

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Speaker 3: any of this shit.

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Speaker 2: Give me one of those goblin claws.

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Speaker 1: So you're telling me that got goblins at Duncan. They

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Speaker 1: got goblin but no, no hot bands.

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Speaker 3: They did not give a fuck about how hot. They're like,

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Speaker 3: it's hot coffee. Like, get over it, it's Duncan. You

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Speaker 3: know what you're gonna get when you come in here.

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Speaker 2: Come on, people, America runs.

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Speaker 1: These people don't have time to get goblins and hot bands.

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Speaker 1: They're just they're literally running. They're running to us and

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Speaker 1: running from us afterwards.

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Speaker 3: So I think we've just cracked the code for what

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Speaker 3: might be wrong with America. I know a lot of

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Speaker 3: people do that thing where they're like, David Bowie died

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Speaker 3: and then the earth went to shit. I truly wonder

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Speaker 3: if somebody will go back in time to when Duncan

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Speaker 3: started using that phrase America runs on Duncan, And then

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Speaker 3: if we could also see a sharp decline in our

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Speaker 3: cultural values.

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Speaker 1: Well, remember they used to have the Mario and Luigi

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Speaker 1: looking dude. Who was the baker that was there Steves

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Speaker 1: for a long time. And then they're like, this guy's

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Speaker 1: life is too depressing. We don't want to focus on

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Speaker 1: We're going to do the opposite. We're gonna make it

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Speaker 1: like healthy, We're running.

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Speaker 2: I fucking love that dude.

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Speaker 3: They need to bring that dude back because I never

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Speaker 3: wanted to drink coffee. I didn't start drinking coffee till

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Speaker 3: I was thirty five.

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Speaker 2: What and I.

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Speaker 3: Truly yeah when I was in grad school. Yeah, never

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Speaker 3: drink coffee for two reasons. The coffee in my home

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Speaker 3: growing up was Folgers, which is just gut rot, those

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Speaker 3: instant crystal folders that my grandmother drinks to this day.

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Speaker 3: And I'm like, this is not where it's at. I

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Speaker 3: even knew that as a ten year old. And those

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Speaker 3: fucking commercials, I'm like, this man is so sad with

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Speaker 3: his life. He hates donuts, he hates coffee. Why would

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Speaker 3: anybody do this in themselves?

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Speaker 2: This man is depressing.

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Speaker 1: Oh my god, here's the thing. That guy and the

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Speaker 1: micromachines guy I thought were like the same dude for

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Speaker 1: like ten years.

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Speaker 2: Definitely cousins.

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Speaker 1: Yeah, And I'm like there was something about that in

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Speaker 1: our childhood, where like mustachioed middle aged men were in

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Speaker 1: charge of like all the things on TV.

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Speaker 3: Oh yeah, they throw a mustache on everybody. I'm surprised

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Speaker 3: they didn't throw a mustache on fucking b Arthur.

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Speaker 2: They're like, everyone gets a mustache. It's the eighties. Your

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Speaker 2: comforter has a mustache.

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Speaker 1: But that Dunken guy truly was depressing. Like it was

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Speaker 1: literally the whole commercial for anyone who is not like

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Speaker 1: one hundred and five years old and hasn't seen these commercials,

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Speaker 1: it was basically like a dude that the commercial was

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Speaker 1: a dude having to get up super early in the morning.

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Speaker 1: I guess his wife's in there and he's just like,

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Speaker 1: time to make the donuts.

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Speaker 2: And it's all he said.

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Speaker 3: He never said his name, he never said where he worked,

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Speaker 3: he never even said what kind of donuts. His whole

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Speaker 3: ethos was time to make the donuts. And he hated it.

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Speaker 1: Yeah, and you know, having made donuts in my life.

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Speaker 1: You do have to wake up early because usually those

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Speaker 1: places open early, so you got to go earlier. Hell yeah,

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Speaker 1: sometimes four in the morning if you're a baker, and

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Speaker 1: so a lot of people who are bakers will work

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Speaker 1: in the middle of the night. Or if you're this guy,

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Speaker 1: you wake up, I don't know, probably like five am,

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Speaker 1: and he's just like time to make the donuts, like

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Speaker 1: half asleep. He's not high on his own supply, he's

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Speaker 1: like not drinking coffee.

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Speaker 2: Yeah, And then he'd be pushing those trays in the oven.

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Speaker 3: And be like time to make the donut, and then

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Speaker 3: you'd be making the coffee, time to make the doughnuts.

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Speaker 2: And I'm like, damn son.

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Speaker 1: But it's almost like he hated doing it, do you

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Speaker 1: know what I'm saying?

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Speaker 2: Like almost he totally hated today.

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Speaker 1: They'd be like, he loves it. He fucking loves his

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Speaker 1: paycheck to paycheck life where he has to wake up

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Speaker 1: super early and he's in his fifties.

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Speaker 3: This man loves not having health insurance. Above all, he

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Speaker 3: loves union busting. That's every commercial today is someone doing

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Speaker 3: a fucking swing dance around some minimum wage fucking job.

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Speaker 3: It's like it's so demoralizing because when you actually work

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Speaker 3: at those places, as we have done, you're like, there's

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Speaker 3: nothing about this that rings true, Like you want the

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Speaker 3: world to think we're so happy to give you your

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Speaker 3: fucking Venti mocha. Meanwhile, we're back here slinging twenty five

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Speaker 3: pound bags.

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Speaker 2: Of beans and listening to some bitch come in and

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Speaker 2: be like, my Lon's hay phone is not second enough,

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Speaker 2: and you're like.

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Speaker 3: Great, I've been up since for a fucking' clock in

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Speaker 3: the morning. I have to go to school after this.

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Speaker 3: I have no health insurance.

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Speaker 2: My sneakers are worn out.

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Speaker 3: If you work in those places, you had intimate experience

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Speaker 3: with wearing out your sneakers. You know when the last

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Speaker 3: time was that I wore out a pair of sneakers

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Speaker 3: When I worked in a fucking cafe, when I worked

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Speaker 3: in a fucking bakery.

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Speaker 1: Let me just tell you. I mean, I'm not gonna

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Speaker 1: go down this memory lane of working at a doughnut

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Speaker 1: place in my teen years, but I used to wear

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Speaker 1: vans to.

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Speaker 2: Work, no art support, no art support.

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Speaker 1: G I think about that now and I'm like, what

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Speaker 1: the fuck? Like I know this now because I started weightlifting.

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Speaker 1: But basically they tell you to wear vans to weightlift,

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Speaker 1: because it's as close to being barefoot on the floor

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Speaker 1: as you can get in a shoeep So basically no

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Speaker 1: art support, no, no, nothing. It doesn't protect your foot

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Speaker 1: at all. But I used to wear vans.

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Speaker 2: They're the Fred Flintstone of shoes exactly.

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Speaker 1: And whenever I would get out of work, I would

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Speaker 1: have hard, crusty dough and frosting on my vans, and

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Speaker 1: I used to have to take like those spackle things

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Speaker 1: like intimately, yes, yes, I'm sure you knew a homeowner,

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Speaker 1: but I used to go to the garage and take

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Speaker 1: one of those things and just like scrape hardened Boston

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Speaker 1: cream filling from my van so I could wear those

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Speaker 1: shoes to school because I wore them to school too,

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Speaker 1: which is gross.

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Speaker 3: But I'm just saying I wish we could bring back

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Speaker 3: a depressing commercial because you remember, even during like the

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Speaker 3: beginning of COVID, when they're like we're all in this together.

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Speaker 3: I wish we had more commercials that were like life

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Speaker 3: is fucking miserable. Give me one Oreo commercial, one Oreo

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Speaker 3: commercial that's like, you know what, your kids suck the

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Speaker 3: life out of you.

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Speaker 2: Your job is hateful your partner.

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Speaker 3: After spending two years in a house with your partner,

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Speaker 3: you might not want to be with them anymore.

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Speaker 2: That's why you're gonna eat this whole bag of oreos.

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Speaker 1: Then there was this other commercial too when we were

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Speaker 1: growing up. I don't remember if you knew this one.

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Speaker 1: It was for Western Union, where basically was that song

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Speaker 1: that somebody yeah, And it was like people like fucking

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Speaker 1: crashing their cars inside of like office buildings and like

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Speaker 1: like the shittiest things would happen to people, and they're

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Speaker 1: like Western Union like some The whole commercial was you

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Speaker 1: fucked up, somebody's got to send you money to get

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Speaker 1: out of that shit. I remember those commercials.

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Speaker 3: It would be like a washing machine overflowing with bubbles,

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Speaker 3: like shaking itself loose off the ground. I would look

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Speaker 3: at those look at those commercials, be like, who's sending

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Speaker 3: you money for this? First of all, this is a

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Speaker 3: you problem, and now you're making it someone else.

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Speaker 2: Is the problem.

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Speaker 1: They would never do that shit today today would be

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Speaker 1: like the Western Union commercial would be like somebody like

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Speaker 1: when you're just wanting to say hello, and it would

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Speaker 1: be like a grandma going to becking the gas station

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Speaker 1: to send a Western Union intel just for fun, just

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Speaker 1: for fun. They would ever have like a person crashing

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Speaker 1: a car into a building and somebody being like, like

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Speaker 1: this motel that you drove into is collapsing, and now

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Speaker 1: you need some fucking person in her family to send

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Speaker 1: KSh It's so depressing.

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Speaker 3: Now it's gonna be like a white girl at Coachella

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Speaker 3: getting a Western Union Venmo style texts so she can

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Speaker 3: buy more ecstasy.

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Speaker 1: When you're in the desert doing pills, when you need.

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Speaker 3: VIP access to stand next to Paris Hilton for ten

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Speaker 3: seconds while a Kanye West hologram is going buck on stage.

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Speaker 2: Western Union.

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Speaker 1: Okay, here's the deal. I'm trying to recap the highlights

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Speaker 1: of the last like ten minutes of this conversation, and

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Speaker 1: it was that you weren't a coffee drinker till you're

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Speaker 1: thirty five. We're jacked up on giant lattes with no

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Speaker 1: hot bands, and now I'm trying to think of what, oh,

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Speaker 1: but and.

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Speaker 3: All, oh, don't forget we have reevaluated the state of

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Speaker 3: commercials and decided they should be way more depressing. Stop

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Speaker 3: trying to sell us on this jump jive and whale

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Speaker 3: version of life.

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Speaker 1: Let's bring depressing eighties commercials back with middle aged people

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Speaker 1: who do not want to go to work and do

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Speaker 1: not want to send money to people who have crashed

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Speaker 1: their cars, and let's get rid of all the other crap. Like, listen,

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Speaker 1: super Bowl was a few weeks ago. I don't know

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Speaker 1: if you watched all those commercials. Hell now, there was

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Speaker 1: literally a famous person in every commercial. At this point,

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Speaker 1: only commercials exist only for famous people to not appear

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Speaker 1: in Marvel movies. I think that's what the messaging is.

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Speaker 2: Jesus Christ, I could not have watched the super Bowl less.

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Speaker 3: And here's where I get really like weirdly political. Is

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Speaker 3: I'll hear people online all year long being like, yeah,

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Speaker 3: fuck the police and fuck this and do that and

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Speaker 3: be more active and be a better person and be

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Speaker 3: socially responsible.

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Speaker 2: And then they watched the super Bowl. Yeah, and I'm like,

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Speaker 2: what are you doing? Why? Why are those two things

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Speaker 2: still completely incongruous to you?

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Speaker 3: That you're supporting a whole organization that is against everything.

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Speaker 2: You stand for?

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Speaker 3: Very true, Like, I'm sure it was cool to see

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Speaker 3: doctor Dre and Snoop and Eminem and all those people

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Speaker 3: up on stage, but I would rather pay to see

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Speaker 3: their concert than watch the fucking super Bowl.

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Speaker 1: Yeah, well I don't have I have zero skin in

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Speaker 1: the game because I'm not a football person, so yeah, either,

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Speaker 1: I'm just all I do is eat snacks with whoever

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Speaker 1: else is watching it, right, But now it's like an

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Speaker 1: event in and of itself, And that's something that I

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Speaker 1: knew they were a big deal when we were kids, certainly,

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Speaker 1: but like now it's like a really big deal, like

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Speaker 1: where people are really really excited to see the commercials

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Speaker 1: in a way that I just didn't think was possible

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Speaker 1: in late stage capitalism. However, the commercials now are no

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Speaker 1: there's no normal people in a commercial for the Super Bowl.

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Speaker 1: It's like literally fully famous people. And so now I'm like,

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Speaker 1: we're never gonna get a depressing eighties style commercial again,

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Speaker 1: because they won't even let normal people be in fucking commercials.

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Speaker 3: And they definitely won't let celebrities just be depressed. Oh

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Speaker 3: my god, trying to sell you something.

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Speaker 2: Hell no.

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Speaker 1: Can you imagine if John Cena was a fucking donut

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Speaker 1: guy that was like in a thirty two year marriage

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Speaker 1: with the same woman. They were living in like an

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Speaker 1: apartment building in Jersey, and he made donuts for a living,

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Speaker 1: and he had to get up and literally just like

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Speaker 1: put a shirt on and just be like time to

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Speaker 1: make donuts. Can you imagine if they they would never

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Speaker 1: let him do that.

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Speaker 3: No one on the team that he has hired would

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Speaker 3: never let him do that.

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Speaker 2: But how great would it be?

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Speaker 3: I want to see Cardi b just like laying down

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Speaker 3: on a couch on her side, shoveling Doritos into her

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Speaker 3: face and just being like nah, y'all and.

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Speaker 2: That's the whole commercial. Dorito's get some like just meet

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Speaker 2: just meet us where we live a little bit.

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Speaker 1: Yeah. I probably would do that, but it would be

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Speaker 1: very glamorous. Yeah, she wouldn't have like squeezed off a

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Speaker 1: few zits and now she's got like marks that are

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Speaker 1: gonna last for a week and a half.

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Speaker 3: She wouldn't be pulling any of those Doritos like off

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Speaker 3: of her chest to eat like the crumbs or even

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Speaker 3: like you know, I'll look, I'll take it a step

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Speaker 3: further and show you just how disgusting I am off

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Speaker 3: the couch when you miss your mouth sometimes and they

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Speaker 3: just drop to the couch and you're like, I'm still

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Speaker 3: eating it, and.

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Speaker 1: She's doing it with her dog sitting behind her and

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Speaker 1: she farts and then the dog gives her a little

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Speaker 1: kick to be like, come on.

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Speaker 3: You definitely need a judgmental pet behind any celebrity that

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Speaker 3: we have doing this coversion.

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Speaker 1: Just smashed in between the butt and the back of the.

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Speaker 3: Couch and there's like a nest around the bottom of

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Speaker 3: the couch, which just like magazines.

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Speaker 2: Books remotes, cause you know you haven't left that couch

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Speaker 2: for three days.

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Speaker 3: Give me a nest and some Dorito crumbs and like

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Speaker 3: no makeup and ZiT cream and a judgmental pit.

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Speaker 2: That's what I want out of commercials nowaday.

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Speaker 1: They need to get like less blank in they're making

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Speaker 1: these fucking realistic, depressing celebrity commercials because it's like, come on,

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Speaker 1: look where we came from. The fucking Dunkin Donuts dude,

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Speaker 1: in terms of like he was famous, like he was

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Speaker 1: a famous clinically depressed person and we were like, oh

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Speaker 1: my god, I cannot wait to go eat donuts and

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Speaker 1: drink a shit ton of coffee.

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Speaker 3: You know, they made so much money. They made so

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Speaker 3: much money with that. Come on, guys, even if you're

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Speaker 3: just looking at it from a capitalistic point of view,

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Speaker 3: we all ran out because we related to that motherfucking dude, or.

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Speaker 2: Like me, you're like, I don't want that life. I

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Speaker 2: already got.

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Speaker 3: Number of this going on in my own life as

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Speaker 3: someone who was clinically depressed for most of her tines,

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Speaker 3: all of her twenties, and a healthy part of her thirties.

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Speaker 2: But that's all I want.

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Speaker 3: All I want is if I have to look at commercials,

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Speaker 3: I want to watch a commercial and have the.

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Speaker 2: End result be me saying that was it, that was it.

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Speaker 1: Yeah. I need it as close to boring and my

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Speaker 1: life as possible, and then I might buy some product, Okay,

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Speaker 1: but in the meantime, we've got our coffees. I have

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Speaker 1: no idea what this episode is going to be like

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Speaker 1: today because we are completely caffeinated to the point of

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Speaker 1: no return. I was excited before, like I was excited

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Speaker 1: on the hours come into the podcast, and then when

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Speaker 1: I just like got juiced. Yeah, and now I'm a

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Speaker 1: rocket ship into space.

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Speaker 3: So and you guys can't see this, but the whole

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Speaker 3: time Millie's been talking, she's been like pumping a ten

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Speaker 3: pound weight, like a cattlebell weight above her head, like

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Speaker 3: she's pumped on caffee.

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Speaker 1: This is a huge lift right here. We're blasting the

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Speaker 1: fucking delts and tries today, all right, So I don't

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Speaker 1: know how this is going to transition it all to

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Speaker 1: our theme, but we got to talk about it.

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Speaker 2: It's not, but we're gonna make you.

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Speaker 1: So we were doing two weeks of women filmmakers in

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Speaker 1: celebration of Women's History Month. That's right, And so this

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Speaker 1: is our second episode. Last week we did a couple

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Speaker 1: of really great movies. We did Cleo from five to

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Speaker 1: seven with Agnes Varna Gas, were watching Alison Anders and

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Speaker 1: now we got two more. Two more we do fucking

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Speaker 1: hugely influential filmmakers. Why don't you tell them the real

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Speaker 1: theme for this week?

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Speaker 3: So the theme is actually it's women, and there are

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Speaker 3: a couple of reasons for that. And before you start

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Speaker 3: even on the why only two weeks? Because we feature

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Speaker 3: movies by and about and four women all year law? Duh,

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Speaker 3: we really do.

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Speaker 2: But we wanted to mark the occasion.

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Speaker 3: And part of the reason we chose this theme is

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Speaker 3: because we realized we both had chosen movies with girl

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Speaker 3: in the title. And it's one of my personal pet

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Speaker 3: peeves when somebody calls me girl because I'm not, and I.

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Speaker 2: Haven't been for over thirty years.

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Speaker 3: Yeah, And it's one of those things where it's like

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Speaker 3: it's not the compliment you think it is, so just

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Speaker 3: in thinking about, you know, who gets to identify as

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Speaker 3: a girl, and like how that can be kind of

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Speaker 3: a language that's used to diminish women more than it

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Speaker 3: is to raise women up.

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Speaker 2: I just kind of threw this out at Millions. She

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Speaker 2: was on board.

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Speaker 1: Definitely, because I think with both of these films it's

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Speaker 1: kind of that thing of like the character and question

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Speaker 1: is technically maybe a girl in some aspects, like age wise,

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Speaker 1: but it's moved beyond that simple concept, I guess is

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Speaker 1: the best way to put it, because it's complicated and

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Speaker 1: young women a lot of times have to be older

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Speaker 1: for whatever reason, and a lot of times are actually

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Speaker 1: in your case alone, like truly alone and sort of

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Speaker 1: like taking care of themselves and like living their own life,

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Speaker 1: which you know is a very adult thing. And so

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Speaker 1: it's that concept of sort of like, yes, we're girls,

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Speaker 1: but we also have to be women too, and a

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Speaker 1: lot of is.

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Speaker 3: Right we put we pushed them into that position. I

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Speaker 3: think that is a beautiful way to take this theme away.

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Speaker 3: From my personal pet peeve and into a nicer space

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Speaker 3: that means more.

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Speaker 1: And the funny thing is is that I think I

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Speaker 1: call you girl at the beginning of the episode, and

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Speaker 1: I did not mean that in that way. If you

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Speaker 1: know what I'm saying. I did not mean to debase

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Speaker 1: you in any way. I was saying it as a friend.

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00:19:23,160 --> 00:19:23,919
Speaker 2: No, you didn't.

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Speaker 3: I'm just saying that I like that this has several

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Speaker 3: different layers. I like that this is the theme that

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Speaker 3: you can approach in several different ways.

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Speaker 1: Yeah, I'm really excited to talk about your movie. First

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Speaker 1: watch for me, wil Hellya, Hellia. I don't know what

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Speaker 1: happened to me in the two thousands. I missed literally

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Speaker 1: every movie that was made after two thousand.

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Speaker 2: I'm gonna say part of it probably has to do

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Speaker 2: with your job.

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Speaker 3: I'm just throwing that out there as a possibility that

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Speaker 3: you work for a literal.

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Speaker 2: Classic movie channel.

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Speaker 1: If okay, I swear to god, if we go back

418
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Speaker 1: to all the episodes where you pay to movie from

419
00:20:00,920 --> 00:20:03,000
Speaker 1: the two thousands or later, it's a first time watch

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Speaker 1: for me, I swears always. And like I said, I

421
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Speaker 1: don't know why, because these are perfectly fine movies. They

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Speaker 1: are great movies, and I just missed them.

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Speaker 3: I think you were inadvertently even though we hadn't even

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Speaker 3: discussed the concept of this pod yet.

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Speaker 2: This pod was years later down the road.

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Speaker 3: I think you were inadvertently setting yourself up for us

427
00:20:25,040 --> 00:20:26,879
Speaker 3: so that I could introduce you to movies. You were like,

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Speaker 3: you know what, one day, I'm gonna have a friend

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Speaker 3: who is going to show me all of these movies

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Speaker 3: and make me talk about them.

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Speaker 1: Yes, And I appreciate that because here's the thing, Like

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Speaker 1: I got the old shit covered, you know me. So

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00:20:40,040 --> 00:20:43,360
Speaker 1: it's like we worked well in that way completely. If

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Speaker 1: you haven't seen a movie from like the forties or fifties,

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Speaker 1: I'll help you. If I haven't seen something from the

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Speaker 1: two thousands or later, typically stressful, as is your brand

437
00:20:56,240 --> 00:21:01,120
Speaker 1: in these movies. Always introduced me to stressful films from

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Speaker 1: the two thousands or later. But you got me. So

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Speaker 1: I love that. I love that we can help each

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Speaker 1: other out.

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Speaker 2: Wonderful.

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Speaker 3: Well, I'm pumped, Yes, and I feel like we should

443
00:21:10,840 --> 00:21:13,720
Speaker 3: just get into yeah, cause you're going first. And my

444
00:21:13,840 --> 00:21:18,399
Speaker 3: pick for our theme of Actually It's Woman was a

445
00:21:18,440 --> 00:21:21,760
Speaker 3: film that was released in twenty fourteen. It was written

446
00:21:21,960 --> 00:21:26,399
Speaker 3: and directed by Anna Lily Ahmirpur and it's called A

447
00:21:26,440 --> 00:21:44,080
Speaker 3: Girl Walks Home Alone at Night. This movie is so

448
00:21:44,280 --> 00:21:47,760
Speaker 3: crucial for everyone to watch. I love this movie so

449
00:21:48,520 --> 00:21:51,760
Speaker 3: much for several different reasons. And before I get into

450
00:21:51,800 --> 00:21:54,199
Speaker 3: like my one sentence synopsis where we start talking about it,

451
00:21:54,200 --> 00:21:56,159
Speaker 3: I just want to set it up about what it

452
00:21:56,200 --> 00:21:59,960
Speaker 3: actually is. So it has been described as an iraany

453
00:22:00,119 --> 00:22:04,520
Speaker 3: in vampire spaghetti western, which is true. Even though some

454
00:22:04,560 --> 00:22:06,679
Speaker 3: of those words you feel like will not work together,

455
00:22:07,160 --> 00:22:11,119
Speaker 3: it absolutely works because Anna Lily Amirpur is a fucking

456
00:22:11,200 --> 00:22:12,840
Speaker 3: genius and.

457
00:22:13,040 --> 00:22:16,200
Speaker 2: This movie is so unique. It is so interesting.

458
00:22:16,480 --> 00:22:19,480
Speaker 3: It's truly brilliant, and it's fresh, like you do not

459
00:22:19,680 --> 00:22:22,560
Speaker 3: know what's coming at any point. It's like nothing you

460
00:22:22,640 --> 00:22:25,840
Speaker 3: have ever seen. And something that I really love about

461
00:22:25,880 --> 00:22:27,960
Speaker 3: this movie is that it's really hard to place in

462
00:22:28,119 --> 00:22:31,399
Speaker 3: time when you first start watching it, but that's intentional,

463
00:22:31,760 --> 00:22:34,879
Speaker 3: so you're kind of already from the minute the movie starts,

464
00:22:34,920 --> 00:22:37,359
Speaker 3: kind of like what's going on? And I love movies

465
00:22:37,400 --> 00:22:40,239
Speaker 3: like that where I don't have to instantly feel. I mean,

466
00:22:40,320 --> 00:22:42,840
Speaker 3: I do, like a comforting watch that you know walks

467
00:22:42,880 --> 00:22:44,960
Speaker 3: you through every step of the way. But it's so

468
00:22:45,200 --> 00:22:48,200
Speaker 3: rare that you get to see a newer movie that

469
00:22:48,320 --> 00:22:52,320
Speaker 3: just feels completely fresh, and so I just appreciate the

470
00:22:52,359 --> 00:22:54,040
Speaker 3: hell out of this movie for that. I think that

471
00:22:54,080 --> 00:22:58,640
Speaker 3: Anna Lily armourpoor is she's kind of reinventing film by

472
00:22:59,040 --> 00:23:03,040
Speaker 3: doing this mashup of genres in this film. And the

473
00:23:03,119 --> 00:23:04,640
Speaker 3: other thing I wanted to look up because I think

474
00:23:04,640 --> 00:23:08,040
Speaker 3: it's important because I've seen the film described in different

475
00:23:08,040 --> 00:23:10,800
Speaker 3: ways is I wanted to look up the difference between

476
00:23:11,000 --> 00:23:15,040
Speaker 3: Persian and Farsi as a language, because the movie is

477
00:23:15,080 --> 00:23:18,560
Speaker 3: in Farsi, and the difference is that Persian is what

478
00:23:18,600 --> 00:23:22,280
Speaker 3: we call it in the English speaking world and Farsi is.

479
00:23:22,240 --> 00:23:23,800
Speaker 2: How native speakers refer to it.

480
00:23:24,200 --> 00:23:28,440
Speaker 3: So as per usual, we ruin everything it doesn't come

481
00:23:28,520 --> 00:23:32,920
Speaker 3: from this fucking white capitalist society by calling it something

482
00:23:32,960 --> 00:23:33,240
Speaker 3: it's not.

483
00:23:34,480 --> 00:23:36,400
Speaker 2: But that is if you were at all curious about

484
00:23:36,440 --> 00:23:36,960
Speaker 2: the difference.

485
00:23:37,280 --> 00:23:39,800
Speaker 3: I don't think it's particularly offensive to use either one,

486
00:23:39,840 --> 00:23:42,440
Speaker 3: but I just personally wanted to know because I'd seen

487
00:23:42,440 --> 00:23:44,280
Speaker 3: it described in so many different ways when I was

488
00:23:44,280 --> 00:23:47,200
Speaker 3: reading through interviews and articles, I kind of wanted to

489
00:23:47,280 --> 00:23:50,479
Speaker 3: nail down, like what was the difference. So getting into

490
00:23:51,280 --> 00:23:55,959
Speaker 3: Maulwan sentence, synopsis. A lonely, self employed vampire with a

491
00:23:56,040 --> 00:24:00,439
Speaker 3: strong moral compass has her world disrupted when she meets

492
00:24:00,520 --> 00:24:02,120
Speaker 3: a hot cat napper.

493
00:24:02,119 --> 00:24:04,280
Speaker 1: With a past perfect perfection.

494
00:24:06,880 --> 00:24:07,760
Speaker 2: It's kind of weird.

495
00:24:07,600 --> 00:24:10,359
Speaker 3: How all vampires are self employed unless you're watching what

496
00:24:10,400 --> 00:24:18,520
Speaker 3: we do in Shadows, Like, every vampire is a freelancer, right, This.

497
00:24:18,600 --> 00:24:21,520
Speaker 1: Might be the big takeaway from this episode is the

498
00:24:22,080 --> 00:24:28,040
Speaker 1: idea that vampires are freelancers. But what are they freelancing for.

499
00:24:28,320 --> 00:24:30,000
Speaker 2: They're freelancing for blood and rent.

500
00:24:30,080 --> 00:24:33,359
Speaker 1: Okay, so it's more it's they're yeah, they're like a

501
00:24:33,560 --> 00:24:35,560
Speaker 1: soul proprietorship type of thing.

502
00:24:35,800 --> 00:24:37,520
Speaker 3: Yeah, okay, unless you're watching what we do in the

503
00:24:37,520 --> 00:24:40,120
Speaker 3: Shadows and they all have jobs. But for the most part,

504
00:24:40,280 --> 00:24:41,600
Speaker 3: vamps are freelancers.

505
00:24:41,800 --> 00:24:44,879
Speaker 1: I dare you guys to send us messages. If you

506
00:24:44,920 --> 00:24:49,280
Speaker 1: know of any vampires who have jobs besides the vampires

507
00:24:49,320 --> 00:24:51,720
Speaker 1: from what we do in the Shadows, please let us know.

508
00:24:51,840 --> 00:24:52,679
Speaker 1: I saw what you did pot of.

509
00:24:52,680 --> 00:24:55,400
Speaker 2: Gmail dot com, especially if they work in a donut shop.

510
00:24:55,840 --> 00:25:00,280
Speaker 1: Anyway, I had to say, that's like one of the

511
00:25:00,320 --> 00:25:02,600
Speaker 1: funniest concepts I've ever had to think about.

512
00:25:02,880 --> 00:25:06,879
Speaker 2: Thank you, You're welcome. I'm happy to do it. Happy

513
00:25:06,880 --> 00:25:08,160
Speaker 2: to do it to you every time.

514
00:25:09,040 --> 00:25:11,879
Speaker 3: And I say that this vampire has a strong moral

515
00:25:11,960 --> 00:25:16,280
Speaker 3: compass because she only tends to eat quote unquote bad people.

516
00:25:16,960 --> 00:25:20,160
Speaker 3: So the real summary of this film is that, and again,

517
00:25:20,280 --> 00:25:22,080
Speaker 3: it's so interesting that I don't want to ruin it

518
00:25:22,119 --> 00:25:25,600
Speaker 3: for anyone by discussing some of the intricacies of what's

519
00:25:25,640 --> 00:25:26,080
Speaker 3: going on.

520
00:25:26,240 --> 00:25:27,880
Speaker 2: But I will say that the.

521
00:25:27,760 --> 00:25:30,399
Speaker 3: People that you meet in the beginning of the film

522
00:25:30,880 --> 00:25:35,600
Speaker 3: are all important to the narrative and their lives intertwined throughout.

523
00:25:35,840 --> 00:25:39,720
Speaker 3: So it's this really cool take on boy meets Girl movies,

524
00:25:39,920 --> 00:25:44,040
Speaker 3: Western's horror. But it's again in that narrative sense. She's

525
00:25:44,080 --> 00:25:46,480
Speaker 3: really stringing you along and you still don't know what's

526
00:25:46,480 --> 00:25:48,240
Speaker 3: going to happen, even though you've met all of the

527
00:25:48,280 --> 00:25:51,639
Speaker 3: key players, which again to me touch of brilliance.

528
00:25:52,000 --> 00:25:54,720
Speaker 2: I was reading an interview on Electric Sheep, which came

529
00:25:54,760 --> 00:25:57,639
Speaker 2: out in May of twenty fifteen, and I was just

530
00:25:57,680 --> 00:25:59,959
Speaker 2: really curious about like how this movie came to be

531
00:26:00,359 --> 00:26:02,880
Speaker 2: and what Anna Lily Armerpoor had to say about her

532
00:26:02,920 --> 00:26:06,040
Speaker 2: own work. And this is a direct quote from her.

533
00:26:06,440 --> 00:26:09,240
Speaker 3: So I think this is a dark fairy tale and

534
00:26:09,320 --> 00:26:12,560
Speaker 3: it's a place of my mind I'm part Iranian and

535
00:26:12,640 --> 00:26:15,520
Speaker 3: part American and born in England, and it's like a

536
00:26:15,560 --> 00:26:18,520
Speaker 3: soup of so many things. What's so awesome about the

537
00:26:18,560 --> 00:26:21,359
Speaker 3: film is that it doesn't have any loyalty to the

538
00:26:21,400 --> 00:26:24,359
Speaker 3: real world, and it doesn't have to. It's like a dream.

539
00:26:24,880 --> 00:26:27,520
Speaker 3: It's just consistent to itself. And I thought that was

540
00:26:27,560 --> 00:26:30,040
Speaker 3: a really smart way to think about your own work,

541
00:26:30,560 --> 00:26:34,040
Speaker 3: because it is again fresh, exciting, new love this movie.

542
00:26:34,119 --> 00:26:37,000
Speaker 3: Our main character, or one of the main characters in

543
00:26:37,000 --> 00:26:40,639
Speaker 3: this film is simply called the girl, and the girl

544
00:26:40,760 --> 00:26:43,240
Speaker 3: is the vampire. And the other thing I thought was

545
00:26:43,359 --> 00:26:50,080
Speaker 3: so cool about this movie is the girl wears a trador,

546
00:26:50,359 --> 00:26:54,000
Speaker 3: which is such a cool choice. And again in that

547
00:26:54,119 --> 00:26:57,600
Speaker 3: same Electric Sheep interview, I'm your Poor describes it as

548
00:26:57,640 --> 00:27:00,720
Speaker 3: a brilliant disguise and I quote, no one is going

549
00:27:00,720 --> 00:27:02,959
Speaker 3: to expect it from her. For me, it was just

550
00:27:03,000 --> 00:27:05,359
Speaker 3: because I put one on. I had one as a

551
00:27:05,359 --> 00:27:07,439
Speaker 3: prop in a movie and put it on for the

552
00:27:07,480 --> 00:27:10,680
Speaker 3: first time. It felt like a sting ray. I instantly

553
00:27:10,680 --> 00:27:13,240
Speaker 3: felt like a creature. It moves, and it's made of

554
00:27:13,240 --> 00:27:16,000
Speaker 3: a different kind of fabric. It's very soft, and it

555
00:27:16,080 --> 00:27:18,680
Speaker 3: catches the wind and it's beautiful and I just felt

556
00:27:18,720 --> 00:27:21,399
Speaker 3: like a badass, and then I thought this would be

557
00:27:21,400 --> 00:27:22,520
Speaker 3: an Iranian vampire.

558
00:27:22,800 --> 00:27:23,400
Speaker 2: This is it.

559
00:27:23,400 --> 00:27:26,720
Speaker 3: It's this girl so cool. And again I looked this

560
00:27:26,840 --> 00:27:30,440
Speaker 3: up because was just interested in it. And the chador

561
00:27:30,720 --> 00:27:32,800
Speaker 3: it covers the head and body.

562
00:27:32,480 --> 00:27:33,880
Speaker 2: But leaves the face visible.

563
00:27:34,480 --> 00:27:36,920
Speaker 3: And you've probably heard about a bunch of different garments

564
00:27:36,960 --> 00:27:40,439
Speaker 3: worn by Muslim women, and there are several and I

565
00:27:40,520 --> 00:27:42,760
Speaker 3: just kind of wanted to again get some more information,

566
00:27:43,119 --> 00:27:45,320
Speaker 3: and they're all so different, so I just looked up

567
00:27:45,520 --> 00:27:47,840
Speaker 3: the look and the definition and how they're all different.

568
00:27:48,200 --> 00:27:52,040
Speaker 2: The chador is floor length, like it covers your whole body.

569
00:27:52,200 --> 00:27:55,200
Speaker 3: The hijab is one that you probably see more often

570
00:27:55,240 --> 00:27:57,720
Speaker 3: than not, and it's, you know, again, covers the head

571
00:27:57,960 --> 00:28:01,040
Speaker 3: but not the face. The burka is your whole face

572
00:28:01,200 --> 00:28:03,680
Speaker 3: and body. And then there's also on that's called the kaimar,

573
00:28:04,000 --> 00:28:06,600
Speaker 3: which is like a waist length, I believe, so the

574
00:28:06,640 --> 00:28:08,919
Speaker 3: hijab is kind of like shoulder length, but the kaimar

575
00:28:09,000 --> 00:28:11,400
Speaker 3: is waist length. So again, just thinking about all these differences,

576
00:28:11,440 --> 00:28:13,560
Speaker 3: because when you're looking at movies that are made by

577
00:28:13,720 --> 00:28:17,040
Speaker 3: people who are culturally from someplace other than you are,

578
00:28:17,560 --> 00:28:19,280
Speaker 3: you have to do your new difference to kind of

579
00:28:19,280 --> 00:28:22,480
Speaker 3: figure out why some of the moves are important in

580
00:28:22,520 --> 00:28:25,080
Speaker 3: the story they're telling, and everything is intentional. That's the

581
00:28:25,119 --> 00:28:28,040
Speaker 3: thing like with most creators, most directors, they're making these

582
00:28:28,080 --> 00:28:31,320
Speaker 3: intentional moves, and the more that you can learn about

583
00:28:31,359 --> 00:28:33,879
Speaker 3: the culture that they're trying to display, the more that

584
00:28:33,920 --> 00:28:35,760
Speaker 3: you can learn about how the movie works.

585
00:28:35,880 --> 00:28:37,480
Speaker 1: Yeah. I actually look that up too.

586
00:28:38,120 --> 00:28:38,440
Speaker 2: Nice.

587
00:28:38,520 --> 00:28:41,000
Speaker 1: Yeah, I did so because I was curious, and I'm

588
00:28:41,000 --> 00:28:42,920
Speaker 1: glad that you explained it because I think it's a

589
00:28:42,960 --> 00:28:45,600
Speaker 1: big part of this film, so it was good information

590
00:28:45,720 --> 00:28:45,920
Speaker 1: to know.

591
00:28:46,440 --> 00:28:47,000
Speaker 2: Thanks.

592
00:28:48,280 --> 00:28:50,320
Speaker 3: I also I also I just have to take a

593
00:28:50,320 --> 00:28:54,480
Speaker 3: moment to point out another very interesting choice because when

594
00:28:54,480 --> 00:28:56,880
Speaker 3: you meet one of the characters, his name is Sayid

595
00:28:56,960 --> 00:28:59,280
Speaker 3: and he's referred to as the pimp or the drug dealer,

596
00:29:00,080 --> 00:29:03,840
Speaker 3: And I was like, this dude looks so wild and

597
00:29:04,040 --> 00:29:07,200
Speaker 3: reminded me of that guy from d ant Ward, remember

598
00:29:07,240 --> 00:29:09,200
Speaker 3: back like ten years ago when you were all jammed

599
00:29:09,200 --> 00:29:09,600
Speaker 3: a d.

600
00:29:09,640 --> 00:29:11,600
Speaker 2: Ant Warm and then.

601
00:29:14,000 --> 00:29:17,680
Speaker 3: That South African like wrap.

602
00:29:18,400 --> 00:29:19,920
Speaker 2: We don't know what happened in them, but we're gonna

603
00:29:19,920 --> 00:29:20,320
Speaker 2: find out.

604
00:29:20,400 --> 00:29:24,280
Speaker 1: Okay, we gotta talk about the pimp, okay, because he

605
00:29:24,400 --> 00:29:28,240
Speaker 1: is so that band mixed with like a kind of

606
00:29:28,360 --> 00:29:32,800
Speaker 1: guy Ritchie movie dude like they had the track suit.

607
00:29:33,160 --> 00:29:37,400
Speaker 1: He had the word sex tattooed across his mech.

608
00:29:36,920 --> 00:29:39,240
Speaker 2: Which like, damn, I love getting boned?

609
00:29:39,440 --> 00:29:43,320
Speaker 3: But do I love getting boned? Because I would never

610
00:29:43,440 --> 00:29:44,320
Speaker 3: make that choice.

611
00:29:44,960 --> 00:29:47,880
Speaker 1: I mean, I was like, I know the kids rock

612
00:29:48,000 --> 00:29:51,280
Speaker 1: some weird tattoos these days, like the face stuff what

613
00:29:51,440 --> 00:29:55,040
Speaker 1: have you. But writing the word sex across the Adam's apple,

614
00:29:55,160 --> 00:29:57,200
Speaker 1: I don't know. That seems like a poor choice.

615
00:29:57,280 --> 00:29:59,160
Speaker 3: Well, he also had a pac man going down his

616
00:29:59,200 --> 00:30:02,120
Speaker 3: neck eating some hell it's And I'm like, this is

617
00:30:02,320 --> 00:30:05,760
Speaker 3: just a very confusing mix of like, what are you

618
00:30:05,840 --> 00:30:08,760
Speaker 3: trying to say about yourself and the world with your

619
00:30:08,760 --> 00:30:09,320
Speaker 3: body art?

620
00:30:09,400 --> 00:30:10,400
Speaker 2: Sir? It was a lot.

621
00:30:10,600 --> 00:30:14,080
Speaker 3: And then I read about it and she absolutely modeled

622
00:30:14,240 --> 00:30:16,320
Speaker 3: that dude on Ninja from Dan War.

623
00:30:16,640 --> 00:30:17,240
Speaker 1: God.

624
00:30:17,800 --> 00:30:20,920
Speaker 3: I knew it because I'm like, this is too a

625
00:30:21,000 --> 00:30:24,400
Speaker 3: specific and wild a look, yeah, it has to be.

626
00:30:24,520 --> 00:30:25,120
Speaker 2: It has to be.

627
00:30:25,760 --> 00:30:25,840
Speaker 3: So.

628
00:30:25,920 --> 00:30:28,160
Speaker 2: Yeah, there's this incredible cast of characters.

629
00:30:28,200 --> 00:30:31,040
Speaker 3: You've got the girl who's the vampire, a Rash who

630
00:30:31,160 --> 00:30:35,760
Speaker 3: is this very cool young dude who will find out

631
00:30:35,760 --> 00:30:40,240
Speaker 3: more about later. Hossain is his dad, who's also referred

632
00:30:40,280 --> 00:30:43,640
Speaker 3: to as the junkie Atti, who is the sex worker,

633
00:30:44,120 --> 00:30:48,880
Speaker 3: and the actress that plays Atti, Mojean Marnau, is also

634
00:30:49,200 --> 00:30:50,160
Speaker 3: on the Blacklist.

635
00:30:50,160 --> 00:30:51,560
Speaker 2: So if you watch this movie.

636
00:30:51,560 --> 00:30:53,600
Speaker 3: And you've ever been forced to spend a Sunday afternoon

637
00:30:53,640 --> 00:30:56,120
Speaker 3: with like your grandparents, you probably know that I didn't

638
00:30:56,120 --> 00:30:58,400
Speaker 3: because I have not seen the Blacklist. My grandmother is

639
00:30:58,480 --> 00:31:03,120
Speaker 3: usually watching Naked in a free You have Sayid who's

640
00:31:03,160 --> 00:31:07,320
Speaker 3: the pimp, and then Shida is the princess. There is

641
00:31:07,680 --> 00:31:10,880
Speaker 3: a little cute kid who's referred to as his character

642
00:31:10,960 --> 00:31:12,320
Speaker 3: name is the street urchin.

643
00:31:12,760 --> 00:31:13,840
Speaker 2: Mila deic Bali.

644
00:31:14,400 --> 00:31:18,240
Speaker 3: And then there's Matt Suka, the cat, who you don't

645
00:31:18,240 --> 00:31:20,040
Speaker 3: think is going to have such a pivotal role but

646
00:31:20,160 --> 00:31:22,840
Speaker 3: ends up being a big old deal in this movie. Yes,

647
00:31:23,200 --> 00:31:25,840
Speaker 3: and they all live in Bad City, which is a

648
00:31:25,840 --> 00:31:28,600
Speaker 3: place that has like a very run down, forgotten feel.

649
00:31:29,200 --> 00:31:31,800
Speaker 3: And the way that the story is propelled, because again,

650
00:31:32,200 --> 00:31:34,160
Speaker 3: this is such an interesting.

651
00:31:33,680 --> 00:31:35,880
Speaker 2: Movie that I don't want to ruin any part of it.

652
00:31:35,800 --> 00:31:38,160
Speaker 3: For you, So I'll tell you how the story is

653
00:31:38,520 --> 00:31:41,080
Speaker 3: kind of set up, and it's basically that a rash

654
00:31:41,160 --> 00:31:43,920
Speaker 3: is living with his father Hosein in this very small space.

655
00:31:44,600 --> 00:31:48,280
Speaker 3: His mother's passed away and Hossein is a junkie. He's

656
00:31:48,280 --> 00:31:50,640
Speaker 3: addicted to heroin and when he can't pay his drug

657
00:31:50,680 --> 00:31:55,040
Speaker 3: dealer said, said takes a Rash's prize possession, which is

658
00:31:55,080 --> 00:31:58,000
Speaker 3: his car, and this is very fifties looking like cool car.

659
00:31:58,360 --> 00:31:59,400
Speaker 2: A Rash responds that.

660
00:31:59,400 --> 00:32:02,720
Speaker 3: Going downstairs and punching a wall and like breaking his

661
00:32:02,840 --> 00:32:05,680
Speaker 3: hand and just just for me to you, never punch

662
00:32:05,720 --> 00:32:07,960
Speaker 3: a wall. Always palm it, like you can slap a

663
00:32:08,000 --> 00:32:10,080
Speaker 3: wall real hard and get that energy out.

664
00:32:10,200 --> 00:32:12,280
Speaker 2: Don't punch a wall, especially if it's a brick wall.

665
00:32:12,480 --> 00:32:16,040
Speaker 1: Okay, get serious, Who is gonna slap a wall.

666
00:32:16,400 --> 00:32:19,320
Speaker 2: I'm slapping walls all day. I'll slap a wall right

667
00:32:19,360 --> 00:32:19,920
Speaker 2: now all.

668
00:32:19,840 --> 00:32:23,600
Speaker 3: Day in this place when I'm like, oh, I have

669
00:32:23,720 --> 00:32:26,480
Speaker 3: how many animals in my attic? I'm slapping walls because

670
00:32:26,480 --> 00:32:28,280
Speaker 3: if I punch it, I'm putting a hole in it,

671
00:32:28,320 --> 00:32:29,760
Speaker 3: and that's a whole different process.

672
00:32:29,960 --> 00:32:35,280
Speaker 1: I'm just saying, the energy expelled is not as satisfying

673
00:32:35,720 --> 00:32:38,400
Speaker 1: to slap a wall. Like I understand why people want

674
00:32:38,400 --> 00:32:40,480
Speaker 1: to punch, and I understand what you're telling people not

675
00:32:40,560 --> 00:32:44,160
Speaker 1: to punch, but slapping a wall does not feel as satisfying.

676
00:32:44,200 --> 00:32:45,280
Speaker 1: I'm just throwing it out there.

677
00:32:45,600 --> 00:32:49,800
Speaker 2: I'm just gonna say, punching a wall super misogynistic. Slapping

678
00:32:49,880 --> 00:32:52,360
Speaker 2: a wall. You're in the clear, baby, Wow, you went there,

679
00:32:52,440 --> 00:32:53,520
Speaker 2: just an emotional expression.

680
00:32:53,560 --> 00:32:58,040
Speaker 1: Okay, Okay, you're heard, You've been heard.

681
00:32:58,160 --> 00:33:02,040
Speaker 2: Yes, slap those walls. We just try it.

682
00:33:02,120 --> 00:33:04,280
Speaker 3: Just try slapping the wall, the wall, Like if you're

683
00:33:04,280 --> 00:33:06,520
Speaker 3: walking down the street with your friends going to dinner,

684
00:33:06,960 --> 00:33:09,240
Speaker 3: slap a wall and see what they say. And I

685
00:33:09,640 --> 00:33:11,520
Speaker 3: guarantee all of them will be on Millie's side, like

686
00:33:11,600 --> 00:33:12,880
Speaker 3: what the shit was that?

687
00:33:15,240 --> 00:33:17,120
Speaker 2: But I just want to know that it's an option

688
00:33:17,200 --> 00:33:20,320
Speaker 2: for you to slap a wall. But he doesn't. Arash

689
00:33:20,360 --> 00:33:22,320
Speaker 2: punches the wall and breaks his fucking hand.

690
00:33:22,480 --> 00:33:25,200
Speaker 3: Now, this drug dealer, Sayid, has his car and while

691
00:33:25,200 --> 00:33:27,960
Speaker 3: he's in the car with Ati, the sex worker, he

692
00:33:28,040 --> 00:33:30,680
Speaker 3: sees his dark figure in the rear view. And then

693
00:33:30,760 --> 00:33:33,720
Speaker 3: later on he meets that dark figure who is the girl.

694
00:33:33,960 --> 00:33:37,160
Speaker 3: He takes her home and then she fucking kills and

695
00:33:37,240 --> 00:33:43,000
Speaker 3: robs him after what is one of the creepiest entrances.

696
00:33:42,560 --> 00:33:45,800
Speaker 2: I've ever seen into an apartment, Like it is just creepy.

697
00:33:45,880 --> 00:33:47,560
Speaker 1: I really want to talk to you about this because

698
00:33:47,720 --> 00:33:50,160
Speaker 1: you know, we talked a lot about like vampire lore

699
00:33:50,440 --> 00:33:54,960
Speaker 1: vampire stuff. Right, every movie is different. You know when

700
00:33:55,000 --> 00:33:58,600
Speaker 1: we talked about Gonjin Hess, they're vampire stuff, much different

701
00:33:58,680 --> 00:34:04,840
Speaker 1: than Bella Lugosi styled. Okay, thoughts on those, like retractable

702
00:34:05,000 --> 00:34:06,560
Speaker 1: switchblade vampire teeth.

703
00:34:06,800 --> 00:34:08,520
Speaker 3: I love those because this is the other thing about

704
00:34:08,560 --> 00:34:09,880
Speaker 3: this film that I really dig.

705
00:34:10,000 --> 00:34:11,520
Speaker 2: It doesn't have a ton of dialogue.

706
00:34:11,640 --> 00:34:15,799
Speaker 3: Yeah, and so the stuff that is telegraphed about vampirism

707
00:34:16,280 --> 00:34:17,160
Speaker 3: is subtle.

708
00:34:17,800 --> 00:34:20,120
Speaker 2: And there's this point where they're like looking at each other.

709
00:34:20,200 --> 00:34:22,400
Speaker 3: He's dancing up to her and thinking they're about to bone,

710
00:34:22,880 --> 00:34:25,360
Speaker 3: and then she just has these little tiny fangs just

711
00:34:25,440 --> 00:34:27,960
Speaker 3: kind of flip down, and I'm like, why did he

712
00:34:28,000 --> 00:34:29,600
Speaker 3: stick around when those fangs dropped?

713
00:34:29,640 --> 00:34:30,840
Speaker 2: She fucking warned you, buddy.

714
00:34:30,960 --> 00:34:33,840
Speaker 1: See that's why. That's because he's got sex written across

715
00:34:33,880 --> 00:34:39,439
Speaker 1: his neck. There was a moment where I thought that too.

716
00:34:39,520 --> 00:34:41,160
Speaker 1: I was like, he's gonna be shit in his pants.

717
00:34:41,200 --> 00:34:43,480
Speaker 1: I'm like, no, no, no, he's got sex written across his neck.

718
00:34:43,719 --> 00:34:45,160
Speaker 1: He's like, yo, I'm into it.

719
00:34:45,680 --> 00:34:47,759
Speaker 2: He also just did like four lines of code.

720
00:34:47,640 --> 00:34:50,200
Speaker 1: Yeah. He's like, I'm doing my finger trick where I'm

721
00:34:50,200 --> 00:34:53,279
Speaker 1: gonna put my finger in somebody's mouth. Which is disgusting,

722
00:34:53,400 --> 00:34:54,279
Speaker 1: by the way.

723
00:34:54,120 --> 00:34:56,400
Speaker 2: I don't know as a move, horrible.

724
00:34:56,560 --> 00:34:59,359
Speaker 1: Don't put your nasty finger in my mouth, like come on.

725
00:34:59,600 --> 00:35:02,160
Speaker 2: That's like you licking my eyeball as a come on.

726
00:35:02,320 --> 00:35:03,799
Speaker 1: And then you can tell it's this move because he

727
00:35:03,840 --> 00:35:07,719
Speaker 1: did it several times to several people. Yes, And when

728
00:35:07,760 --> 00:35:09,960
Speaker 1: he puts the finger up right next to her mouth

729
00:35:10,000 --> 00:35:14,400
Speaker 1: and then he sees those retractable switchblade fangs. You see

730
00:35:14,480 --> 00:35:16,840
Speaker 1: his eyes and that, which I think is a great

731
00:35:17,080 --> 00:35:19,879
Speaker 1: technique that the director does where you can stay. I'm

732
00:35:19,880 --> 00:35:22,560
Speaker 1: like processing the information of him going what the fuck?

733
00:35:22,840 --> 00:35:25,959
Speaker 1: Await a second, I'm kind of into this, like, ah,

734
00:35:26,080 --> 00:35:28,160
Speaker 1: I got sex where in the grass my neck? Ah.

735
00:35:30,280 --> 00:35:32,319
Speaker 3: He's like, this could be hot. I've never had a

736
00:35:32,360 --> 00:35:34,920
Speaker 3: fang buck before. And then she's like, and you still

737
00:35:34,960 --> 00:35:36,279
Speaker 3: won't because I'm gonna eat you.

738
00:35:36,480 --> 00:35:37,440
Speaker 2: That's what these fangs are.

739
00:35:37,600 --> 00:35:44,360
Speaker 1: Mouth slap the wall, slap the wolf. Yes, slap that wall.

740
00:35:44,840 --> 00:35:46,960
Speaker 3: And I love it because she eats him and then

741
00:35:47,000 --> 00:35:49,719
Speaker 3: she robs him and you kind of get, just in

742
00:35:49,800 --> 00:35:52,600
Speaker 3: that moment, that very quick moment, an idea of what

743
00:35:52,680 --> 00:35:55,279
Speaker 3: her life is like. This is how she survives, not

744
00:35:55,400 --> 00:35:58,160
Speaker 3: just with the blood stuff, but she robs him, and

745
00:35:58,200 --> 00:35:59,960
Speaker 3: then later on we do see like a pile of

746
00:36:00,640 --> 00:36:04,280
Speaker 3: jewels and you know, a pile of watches in her apartment,

747
00:36:04,560 --> 00:36:05,440
Speaker 3: and you're like, that's how.

748
00:36:05,320 --> 00:36:06,400
Speaker 2: She pays for this apartment.

749
00:36:06,480 --> 00:36:09,160
Speaker 3: Like it's very subtle, and I love it because it

750
00:36:09,239 --> 00:36:11,239
Speaker 3: helps keep you in the story because you're not thinking

751
00:36:11,239 --> 00:36:14,799
Speaker 3: about the vampire stuff exactly. So Arash goes to get

752
00:36:14,840 --> 00:36:18,520
Speaker 3: his car back, goes to this apartment se Sayed is dead,

753
00:36:18,880 --> 00:36:20,960
Speaker 3: and not only does he get his car, but he

754
00:36:21,040 --> 00:36:23,520
Speaker 3: takes the drug suitcase and starts a new life for

755
00:36:23,560 --> 00:36:24,480
Speaker 3: himself as a dealer.

756
00:36:24,560 --> 00:36:26,719
Speaker 1: He's like, got to make that money to pay off

757
00:36:26,719 --> 00:36:27,520
Speaker 1: all this stuff.

758
00:36:27,600 --> 00:36:30,839
Speaker 3: So and the inadvertently cool thing about it is that

759
00:36:31,280 --> 00:36:34,040
Speaker 3: now that he is the drug dealer, he's not going to.

760
00:36:34,080 --> 00:36:36,920
Speaker 2: Get his own dad high. So his dad is like

761
00:36:37,040 --> 00:36:40,600
Speaker 2: going through withdrawls because his drug dealer has been murdered

762
00:36:41,040 --> 00:36:42,520
Speaker 2: and his son has all the gear.

763
00:36:43,040 --> 00:36:47,080
Speaker 3: So very very cool. Again, subtle, subtle moves. And you know,

764
00:36:47,120 --> 00:36:48,200
Speaker 3: a Rash is into this.

765
00:36:48,200 --> 00:36:49,600
Speaker 2: Lifestyle and he's having a good time.

766
00:36:49,640 --> 00:36:51,400
Speaker 3: And he goes to this party and sees one of

767
00:36:51,440 --> 00:36:54,239
Speaker 3: his former landscaping clients who gives him one of his

768
00:36:54,280 --> 00:36:57,520
Speaker 3: own ecstasy pills, and while he's high on his own supply,

769
00:36:58,160 --> 00:37:01,319
Speaker 3: he meets the girl, he meets the vampire, and the

770
00:37:01,360 --> 00:37:04,440
Speaker 3: next thing you know, he's snugging a vamp. He's snuggling

771
00:37:04,520 --> 00:37:06,560
Speaker 3: up with a vamp, and all hell breaks loose.

772
00:37:06,600 --> 00:37:09,399
Speaker 1: I gotta tell you, Like, this movie is obviously very

773
00:37:09,400 --> 00:37:13,440
Speaker 1: beautiful and very cinematic, and it's gorgeous black and white.

774
00:37:13,920 --> 00:37:19,160
Speaker 1: That party scene, it's post ecstasy basically, when he's like

775
00:37:19,480 --> 00:37:22,759
Speaker 1: in his own feelings and he's high, he's just kind

776
00:37:22,800 --> 00:37:25,600
Speaker 1: of hanging out dressed as Dracula, which I think is

777
00:37:25,640 --> 00:37:30,000
Speaker 1: a nice touch, right beautiful. That whole sequence of like

778
00:37:30,040 --> 00:37:33,080
Speaker 1: where he meets the girl and they like go home together,

779
00:37:33,200 --> 00:37:37,719
Speaker 1: is so sexy. Yes, it's such a sexy piece of filmmaking.

780
00:37:38,200 --> 00:37:39,319
Speaker 2: It truly is.

781
00:37:39,360 --> 00:37:41,280
Speaker 3: And it's, like you said, the way that it's filmed,

782
00:37:41,320 --> 00:37:42,880
Speaker 3: and I know that you can look this up on

783
00:37:42,920 --> 00:37:45,200
Speaker 3: your own, but there were again a lot of intentional

784
00:37:45,200 --> 00:37:47,520
Speaker 3: moves made by Anna Lily Armor Poor and one of

785
00:37:47,520 --> 00:37:49,400
Speaker 3: the things that she used was like a very specific

786
00:37:49,480 --> 00:37:53,120
Speaker 3: kind of lens to give depth to the scene or

787
00:37:53,120 --> 00:37:53,520
Speaker 3: to all the.

788
00:37:53,520 --> 00:37:56,680
Speaker 2: Scenes really to the whole film. And it's just gorgeous.

789
00:37:56,760 --> 00:38:00,479
Speaker 3: It is so gorgeous and slow and like sexy and

790
00:38:00,800 --> 00:38:02,520
Speaker 3: like you're never seeing P and V.

791
00:38:03,360 --> 00:38:07,719
Speaker 2: But there's just it's just sexy. That's what I just

792
00:38:07,800 --> 00:38:08,120
Speaker 2: love it.

793
00:38:08,200 --> 00:38:11,200
Speaker 3: Yeah, And the other thing I wanted to add is

794
00:38:11,239 --> 00:38:13,880
Speaker 3: that at one point we see the girl kind of

795
00:38:13,960 --> 00:38:18,279
Speaker 3: lightly terrorizing the street urchin child and she takes his

796
00:38:18,400 --> 00:38:21,520
Speaker 3: skateboard when he leaves it behind as he runs away

797
00:38:21,520 --> 00:38:22,200
Speaker 3: from her in fear.

798
00:38:22,480 --> 00:38:23,200
Speaker 2: And so you get to.

799
00:38:23,200 --> 00:38:27,440
Speaker 3: See all of these beautiful scenes of her on a

800
00:38:27,520 --> 00:38:29,400
Speaker 3: skateboard with the chador.

801
00:38:29,840 --> 00:38:32,600
Speaker 2: It is like ethereal gorgeous.

802
00:38:32,680 --> 00:38:35,319
Speaker 1: And is it true that the director is a skateboarder? Like,

803
00:38:35,640 --> 00:38:36,880
Speaker 1: doesn't she know how to skateboard?

804
00:38:37,320 --> 00:38:39,520
Speaker 3: She knows how to skate Yeah, she knows how to

805
00:38:39,560 --> 00:38:41,560
Speaker 3: skate So I don't know if the actress did. The

806
00:38:41,600 --> 00:38:45,120
Speaker 3: actress who plays the girl is Shila Vand and I

807
00:38:45,160 --> 00:38:48,040
Speaker 3: don't know, but she learned or she had enough skills

808
00:38:48,080 --> 00:38:50,160
Speaker 3: to get on that board and put herself down a street.

809
00:38:50,320 --> 00:38:53,000
Speaker 2: But it's just so cool because again, like you see.

810
00:38:52,760 --> 00:38:55,080
Speaker 3: These moments of I don't know, I what was around

811
00:38:55,120 --> 00:38:57,680
Speaker 3: the time this film came out or later, But since

812
00:38:57,719 --> 00:39:00,759
Speaker 3: I've seen this film, I've also been seeing like documentaries

813
00:39:00,800 --> 00:39:03,360
Speaker 3: about Iranian girls who skateboard and use it as like

814
00:39:03,400 --> 00:39:05,400
Speaker 3: a form of social justice and a form.

815
00:39:05,200 --> 00:39:07,520
Speaker 2: Of like breaking gender boundaries.

816
00:39:07,640 --> 00:39:09,880
Speaker 3: And so when you look at something like this and

817
00:39:09,880 --> 00:39:12,799
Speaker 3: then you look at these videos of what's happening with

818
00:39:12,960 --> 00:39:15,839
Speaker 3: in real life with girls in Iran, and then you're

819
00:39:15,840 --> 00:39:18,560
Speaker 3: looking at things like Persepolis, like there is such a

820
00:39:18,880 --> 00:39:24,200
Speaker 3: theme of punk, like absolute punk, territorial like rejection of

821
00:39:24,239 --> 00:39:26,400
Speaker 3: the norm. And I think it's important for people to

822
00:39:26,400 --> 00:39:30,040
Speaker 3: remember that that, like, kids are kids everywhere, and the

823
00:39:30,080 --> 00:39:32,239
Speaker 3: way they're able to exhibit some of these things might

824
00:39:32,280 --> 00:39:34,120
Speaker 3: be different, but kids are kids everywhere.

825
00:39:34,440 --> 00:39:36,440
Speaker 2: And yeah, I just I really dig all those.

826
00:39:36,320 --> 00:39:38,160
Speaker 3: Scenes with her on the skateboard, and there's this one

827
00:39:38,160 --> 00:39:39,759
Speaker 3: scene where she's on the skateboard and kind of like

828
00:39:39,800 --> 00:39:42,520
Speaker 3: pulling herself along a wall and it's just it's gorgeous.

829
00:39:42,560 --> 00:39:45,400
Speaker 3: So the things that I noticed this time around about

830
00:39:45,400 --> 00:39:47,680
Speaker 3: the film, and I'm not going to get too much

831
00:39:47,719 --> 00:39:50,239
Speaker 3: into the plot after this, because again don't want to

832
00:39:50,320 --> 00:39:52,680
Speaker 3: ruin anything, but the things that I noticed that I

833
00:39:52,680 --> 00:39:55,520
Speaker 3: thought were really cool on this watch is when the

834
00:39:55,560 --> 00:39:58,920
Speaker 3: girl is leaving the store. When you first see the girl,

835
00:39:59,120 --> 00:40:02,320
Speaker 3: there's this image graffitied on the side of the building

836
00:40:02,680 --> 00:40:05,320
Speaker 3: of a figure with a dark cloak and a white face,

837
00:40:05,680 --> 00:40:09,279
Speaker 3: and it's completely unsaid, but just from that image and

838
00:40:09,360 --> 00:40:12,680
Speaker 3: watching her leave this store, there's this feeling that her

839
00:40:12,800 --> 00:40:16,400
Speaker 3: lore precedes her and that everyone in this town is

840
00:40:16,480 --> 00:40:19,920
Speaker 3: kind of aware of a dark force or knows.

841
00:40:19,680 --> 00:40:21,640
Speaker 2: That there's something to be afraid of. So I kind

842
00:40:21,640 --> 00:40:22,200
Speaker 2: of dug that.

843
00:40:22,719 --> 00:40:26,319
Speaker 3: And I also really like that both Sayid and Ati

844
00:40:26,680 --> 00:40:30,560
Speaker 3: have evil eyes hanging on their apartment walls, so Sayid

845
00:40:30,640 --> 00:40:34,040
Speaker 3: has one, Ati has two, but it doesn't keep the

846
00:40:34,120 --> 00:40:38,120
Speaker 3: vampire from entering their space. So it implies that either

847
00:40:38,120 --> 00:40:41,000
Speaker 3: the girl is not evil or that safety is an

848
00:40:41,000 --> 00:40:44,480
Speaker 3: illusion and nothing will actually protect you. So I just

849
00:40:44,600 --> 00:40:46,799
Speaker 3: again like notice those two things, and I'm like, oh god,

850
00:40:46,840 --> 00:40:50,800
Speaker 3: this movie just has so many layer Oh it's beautiful,

851
00:40:50,840 --> 00:40:53,120
Speaker 3: and it's just oddly creepy. Like there's a scene where

852
00:40:53,160 --> 00:40:58,160
Speaker 3: she follows and mimics Hosain and it's so truly creepy,

853
00:40:58,400 --> 00:41:00,279
Speaker 3: and I laughed my ass off at that I've seen

854
00:41:00,360 --> 00:41:02,680
Speaker 3: this time, because I'm like, Ati just fucking leaves. She

855
00:41:02,760 --> 00:41:06,279
Speaker 3: sees this, he's this bitch across the street, and she's

856
00:41:06,360 --> 00:41:09,279
Speaker 3: like goodbye, and she's out of there.

857
00:41:09,760 --> 00:41:10,479
Speaker 2: But he's like.

858
00:41:10,880 --> 00:41:13,560
Speaker 3: Freaked out but also intrigued, And I think that's part

859
00:41:13,719 --> 00:41:17,480
Speaker 3: of the charm of this character is that, yeah, she's creepy,

860
00:41:17,520 --> 00:41:19,200
Speaker 3: but she's also deeply intriguing.

861
00:41:19,440 --> 00:41:20,480
Speaker 2: And something that's really.

862
00:41:20,320 --> 00:41:23,000
Speaker 3: Odd when you first meet her is that when you

863
00:41:23,040 --> 00:41:25,040
Speaker 3: see what her space looks like, she lives in the

864
00:41:25,080 --> 00:41:28,360
Speaker 3: Spaceman apartment and all of her posters are from the sixties, seventies,

865
00:41:28,400 --> 00:41:31,560
Speaker 3: and eighties, So it's a very cool way to telegraph

866
00:41:31,640 --> 00:41:35,160
Speaker 3: that she's been around for a long time without having

867
00:41:35,200 --> 00:41:38,640
Speaker 3: to dial into exactly how long, which is something that

868
00:41:38,680 --> 00:41:41,640
Speaker 3: like disrupts a lot of the vampire stories that we

869
00:41:41,640 --> 00:41:42,520
Speaker 3: were just discussing.

870
00:41:42,640 --> 00:41:45,239
Speaker 1: Yeah, this movie is so interesting to me because of

871
00:41:45,360 --> 00:41:50,880
Speaker 1: the sort of multi genre thing that's happening, because you know,

872
00:41:51,160 --> 00:41:56,600
Speaker 1: vampire film horror in general, but specifically vampire movies have

873
00:41:56,680 --> 00:42:00,440
Speaker 1: a long tradition, as we've talked about on previous episodes,

874
00:42:00,560 --> 00:42:03,319
Speaker 1: and the way that they communicate the vampire lore is

875
00:42:03,320 --> 00:42:05,800
Speaker 1: always different, and in this movie it's all so different.

876
00:42:06,000 --> 00:42:09,360
Speaker 1: But then I really glommed onto the spaghetti Western part

877
00:42:09,440 --> 00:42:12,640
Speaker 1: of this film because, like I have also mentioned in

878
00:42:12,680 --> 00:42:16,040
Speaker 1: previous episodes, I'm a huge fan of westerns. I developed

879
00:42:16,080 --> 00:42:18,400
Speaker 1: it later in life because I used to think Westerns

880
00:42:18,400 --> 00:42:20,120
Speaker 1: were kind of boring as a kid, but then I

881
00:42:20,600 --> 00:42:24,520
Speaker 1: started to understand them more as I got older, and

882
00:42:24,880 --> 00:42:29,480
Speaker 1: Spaghetti Westerns in particular is an offshoot of the kind

883
00:42:29,520 --> 00:42:33,000
Speaker 1: of traditional American Western that we kind of know about,

884
00:42:33,080 --> 00:42:35,480
Speaker 1: you know, and have known about forever. There's a lot

885
00:42:35,480 --> 00:42:38,360
Speaker 1: of differences. I mean, there's the obvious difference, which is

886
00:42:38,400 --> 00:42:40,520
Speaker 1: that they were made outside of America, and they were

887
00:42:40,520 --> 00:42:45,600
Speaker 1: typically made in Italy, which is why they're called spaghetti Westerns.

888
00:42:45,239 --> 00:42:50,640
Speaker 3: Not culturally insensitive at all. We're like, it's Persian and

889
00:42:50,680 --> 00:42:52,000
Speaker 3: there's spaghetti Westerns.

890
00:42:52,200 --> 00:42:53,319
Speaker 2: Fucking deal with it.

891
00:42:53,400 --> 00:42:55,400
Speaker 1: We're gonna have to figure that one out. We're gonna

892
00:42:55,440 --> 00:42:58,560
Speaker 1: put that on the list. But part of what the

893
00:42:58,680 --> 00:43:02,759
Speaker 1: tradition I think of the Spaghetti Western versus the American

894
00:43:03,120 --> 00:43:07,440
Speaker 1: Western is that they're very highly stylized, and there's a

895
00:43:07,480 --> 00:43:09,440
Speaker 1: lot of traits to them that are a little bit different.

896
00:43:09,520 --> 00:43:12,799
Speaker 1: But they are very highly stylized, they're made outside of America.

897
00:43:13,400 --> 00:43:17,360
Speaker 1: The hero is typically more of an anti hero, not

898
00:43:17,640 --> 00:43:20,279
Speaker 1: like a kind of pure good guy in that kind

899
00:43:20,320 --> 00:43:23,400
Speaker 1: of American Western kind of way. But then it uses

900
00:43:23,440 --> 00:43:25,880
Speaker 1: a lot of it's very highly stylized and uses a

901
00:43:25,880 --> 00:43:29,000
Speaker 1: lot of like music cues, which is what I think

902
00:43:29,239 --> 00:43:33,160
Speaker 1: really makes this film a spaghetti Western in that very

903
00:43:33,200 --> 00:43:35,600
Speaker 1: specific way, which is like totally the music in this

904
00:43:35,719 --> 00:43:37,560
Speaker 1: movie is fucking great.

905
00:43:37,800 --> 00:43:39,640
Speaker 2: The soundtrack is fire.

906
00:43:40,040 --> 00:43:44,400
Speaker 1: Yeah. And like here you have this girl, right, girl

907
00:43:44,560 --> 00:43:49,880
Speaker 1: slash woman, who is an anti hero because she's a vampire, right, Like,

908
00:43:50,080 --> 00:43:53,920
Speaker 1: she's doing sort of quote unquote good things. Right, she's

909
00:43:54,200 --> 00:43:58,360
Speaker 1: you know, essentially killing bad people, and maybe not always,

910
00:43:58,480 --> 00:44:00,520
Speaker 1: but you know, for the most part, you know, the

911
00:44:00,560 --> 00:44:04,200
Speaker 1: people that she does kill are typically bad people, but

912
00:44:04,640 --> 00:44:07,759
Speaker 1: it's complicated, yeah, Right. And also on top of that,

913
00:44:08,480 --> 00:44:11,600
Speaker 1: the idea that she lives by herself and she's kind

914
00:44:11,600 --> 00:44:14,240
Speaker 1: of mysterious and she has a lot of like lore

915
00:44:14,520 --> 00:44:17,600
Speaker 1: around her, Like you just said, that's I think a

916
00:44:17,760 --> 00:44:22,360
Speaker 1: very you know, kind of later period Western, like revisionist Western,

917
00:44:22,400 --> 00:44:25,440
Speaker 1: spaghetti western thing. And I love that about this film.

918
00:44:25,480 --> 00:44:27,359
Speaker 1: And I love that there's like a lot of those

919
00:44:27,400 --> 00:44:30,160
Speaker 1: like spaghetti western kind of close ups on the face.

920
00:44:30,400 --> 00:44:34,680
Speaker 1: And I was reading that Anna lily 'mirpor grew up

921
00:44:34,880 --> 00:44:39,360
Speaker 1: partially in Bakersfield, California, Yes, which I think is really

922
00:44:39,360 --> 00:44:42,719
Speaker 1: interesting because this movie. As much as I read that

923
00:44:42,760 --> 00:44:46,960
Speaker 1: it was filmed in California, but it's obviously like people

924
00:44:46,960 --> 00:44:52,080
Speaker 1: are speaking Farsi, and it's obviously featuring Iranian actors.

925
00:44:52,280 --> 00:44:55,080
Speaker 3: It's that loneliness of the spaghetti western hero. Like you said,

926
00:44:55,080 --> 00:44:57,920
Speaker 3: it's different from the American western hero. And I know

927
00:44:58,040 --> 00:45:01,240
Speaker 3: that again reading an interview with her, that she picked

928
00:45:01,400 --> 00:45:05,200
Speaker 3: the movie soundtrack to kind of sound like a spaghetti Western,

929
00:45:05,239 --> 00:45:08,279
Speaker 3: and she even described the uh, the musical composer or

930
00:45:08,320 --> 00:45:09,600
Speaker 3: the you know, the person that she worked with on

931
00:45:09,680 --> 00:45:12,160
Speaker 3: the on the music in the film as an Aneomrricone

932
00:45:12,400 --> 00:45:15,239
Speaker 3: esque style. Anyomurconi did a lot of the soundtracks for

933
00:45:15,280 --> 00:45:18,160
Speaker 3: a lot of spaghetti westerns, and so yeah, I just

934
00:45:18,480 --> 00:45:22,480
Speaker 3: I love this movie. The soundtrack is great. But this is, again,

935
00:45:22,560 --> 00:45:26,320
Speaker 3: I think, a wonderful instance of a woman who's writing

936
00:45:26,400 --> 00:45:29,359
Speaker 3: and directing her own film, who's changing the genre, who's

937
00:45:29,440 --> 00:45:32,480
Speaker 3: changing the game. And you know, she also directs a

938
00:45:32,480 --> 00:45:35,240
Speaker 3: bunch of episodes of TV, so some of your favorite shows,

939
00:45:35,320 --> 00:45:37,480
Speaker 3: you know, she's probably directed in an episode in the

940
00:45:37,560 --> 00:45:41,680
Speaker 3: last few years. But she's just fucking cool and has

941
00:45:41,719 --> 00:45:46,080
Speaker 3: of such a strong voice. And again, I'm just really

942
00:45:46,160 --> 00:45:49,040
Speaker 3: taken even you know, six years later, seven years later,

943
00:45:49,680 --> 00:45:54,480
Speaker 3: I'm really taken by you know, how actively she pursued.

944
00:45:54,120 --> 00:45:56,960
Speaker 2: Doing something that was not the norm. Yeah, I just

945
00:45:57,000 --> 00:45:57,440
Speaker 2: I love it.

946
00:45:57,520 --> 00:45:59,400
Speaker 3: I love that she was just like, I'm doing my

947
00:45:59,440 --> 00:46:02,200
Speaker 3: fucking thing, and you're gonna learn about this shit, and

948
00:46:02,239 --> 00:46:05,960
Speaker 3: you're gonna just watch this great fucking movie and it's

949
00:46:05,960 --> 00:46:07,839
Speaker 3: gonna make you think about the world that you live in.

950
00:46:08,120 --> 00:46:12,719
Speaker 1: Man, I gotta tell you, this movie was so beautiful, romantic,

951
00:46:13,200 --> 00:46:16,960
Speaker 1: scary in parts for sure. I remember when this movie

952
00:46:17,000 --> 00:46:19,759
Speaker 1: came out, I had heard so much about it and

953
00:46:19,800 --> 00:46:24,200
Speaker 1: so much about the director and her being this director

954
00:46:24,239 --> 00:46:27,480
Speaker 1: that falls in line with sort of the Tarantino aesthetic,

955
00:46:27,560 --> 00:46:29,760
Speaker 1: like I always had heard that she was being compared

956
00:46:29,800 --> 00:46:33,400
Speaker 1: to him. Yeah, which it's always like an interesting comparison

957
00:46:33,520 --> 00:46:36,680
Speaker 1: when you say, oh, here's this female director that's being

958
00:46:36,880 --> 00:46:39,800
Speaker 1: compared to this like very famous male director and doing

959
00:46:39,800 --> 00:46:43,440
Speaker 1: that kind of genre work that he does. It's great.

960
00:46:43,480 --> 00:46:46,600
Speaker 1: I feel like a shithead for not having seen it

961
00:46:46,640 --> 00:46:49,240
Speaker 1: in until now. But I'm again, as I always say,

962
00:46:49,320 --> 00:46:51,640
Speaker 1: when it's like a first watch for me, I'm glad

963
00:46:51,640 --> 00:46:53,359
Speaker 1: you made me watch it. I'm glad that you put

964
00:46:53,360 --> 00:46:56,719
Speaker 1: it on our list. And it was beautiful. There was like, man,

965
00:46:56,760 --> 00:46:59,600
Speaker 1: I gotta tell you again not to take it.

966
00:46:59,560 --> 00:47:04,280
Speaker 2: Back to Hornyville. We gotta put that on a T shirt.

967
00:47:04,880 --> 00:47:07,520
Speaker 1: It's almost like my film analysis doesn't matter if I

968
00:47:07,560 --> 00:47:08,560
Speaker 1: take it to Hornyvill.

969
00:47:08,920 --> 00:47:12,759
Speaker 3: Okay, well, we are also changing our own game by

970
00:47:12,760 --> 00:47:15,080
Speaker 3: making sure that those two things can exist together.

971
00:47:15,200 --> 00:47:18,520
Speaker 1: Thank you, thank you. I'm glad you said that. But

972
00:47:18,960 --> 00:47:23,319
Speaker 1: the Arash character, uh, I mean, uh is so hot.

973
00:47:23,400 --> 00:47:25,840
Speaker 1: He looks like he's out of a Jim Jarmish movie,

974
00:47:25,880 --> 00:47:29,080
Speaker 1: Like just like the kind of rockabilly hair and the

975
00:47:29,280 --> 00:47:32,080
Speaker 1: white shirt with the jeans. I was like, what a

976
00:47:32,120 --> 00:47:36,040
Speaker 1: fucking cool customer. Like he was so attractive, but in

977
00:47:36,080 --> 00:47:38,319
Speaker 1: the best way, and that very like stylish, like I said,

978
00:47:38,400 --> 00:47:42,480
Speaker 1: kind of like a Jim Jarmish eighties director kind of

979
00:47:42,480 --> 00:47:45,160
Speaker 1: way like in those like eighties movies like the Alex

980
00:47:45,239 --> 00:47:47,360
Speaker 1: Cox movies or the Jim Darmish movies.

981
00:47:47,520 --> 00:47:50,319
Speaker 3: Man so cool, but he has like a real like

982
00:47:50,600 --> 00:47:54,120
Speaker 3: modern sensitive sensibility about him too. So when he starts

983
00:47:54,160 --> 00:47:57,320
Speaker 3: to deal drugs, for example, you're like, oh, no, sweet

984
00:47:57,360 --> 00:48:00,920
Speaker 3: baby angel, don't deal drugs. Like, but he's tough and

985
00:48:01,040 --> 00:48:03,760
Speaker 3: cool and oh my god, so hot. And the actor

986
00:48:03,840 --> 00:48:07,480
Speaker 3: is named Araschmurandi definitely look him up. He's incredible. And

987
00:48:07,520 --> 00:48:09,640
Speaker 3: I will say this the actor who plays.

988
00:48:09,400 --> 00:48:11,480
Speaker 2: The pimp, his name is Dominic Rains.

989
00:48:11,600 --> 00:48:14,040
Speaker 3: He's also very attractive when he doesn't have that fucking

990
00:48:14,080 --> 00:48:17,919
Speaker 3: d ant ward mustache and sex tattooed across his neck.

991
00:48:19,600 --> 00:48:21,399
Speaker 3: This is a movie filled to the brim with hot

992
00:48:21,440 --> 00:48:24,120
Speaker 3: people who might not always be hot in this film.

993
00:48:23,800 --> 00:48:25,680
Speaker 2: But hey are hot in real life.

994
00:48:26,239 --> 00:48:29,000
Speaker 1: That's Oscar bait if you ask me, completely right, and

995
00:48:29,120 --> 00:48:31,880
Speaker 1: sex across your neck will get you the Oscar.

996
00:48:32,200 --> 00:48:34,920
Speaker 3: The next merchant Ivory film is gonna be like Maggie

997
00:48:34,920 --> 00:48:37,799
Speaker 3: Smith's gonna take down her ruffled collar. It's gonna say

998
00:48:37,840 --> 00:48:41,799
Speaker 3: sex across her neck tat but tattooed to like that

999
00:48:41,920 --> 00:48:44,239
Speaker 3: old English fond because that's all I wrote in back then.

1000
00:48:45,920 --> 00:48:48,560
Speaker 1: I literally cannot wait for that to happen. I'm so

1001
00:48:48,600 --> 00:48:51,880
Speaker 1: so stoked on a Maggie Smith House of Pain logo

1002
00:48:52,000 --> 00:48:55,399
Speaker 1: tattoo or whatever she's gonna get. Oh my god, such

1003
00:48:55,400 --> 00:48:57,239
Speaker 1: a great choice. Thank you for picking it. I'm so

1004
00:48:57,280 --> 00:48:59,160
Speaker 1: glad I got to see it finally. It's such a

1005
00:48:59,160 --> 00:48:59,920
Speaker 1: wonderful film.

1006
00:49:00,120 --> 00:49:03,399
Speaker 3: I'm so glad you liked it. Oh, I love this movie.

1007
00:49:03,480 --> 00:49:06,000
Speaker 3: Could watch it every day for years and be.

1008
00:49:06,000 --> 00:49:15,840
Speaker 1: Fine, Well, how do you feel about talking about my movie?

1009
00:49:16,280 --> 00:49:18,680
Speaker 2: I can't wait to talk about your movie.

1010
00:49:18,760 --> 00:49:22,120
Speaker 3: It has been too long since I've seen it, and

1011
00:49:22,600 --> 00:49:26,680
Speaker 3: it just brought back so many emotions and memories.

1012
00:49:26,920 --> 00:49:28,520
Speaker 2: Yeah, I cannot wait.

1013
00:49:28,880 --> 00:49:31,000
Speaker 1: Yeah, No, this, I think it's This is gonna be

1014
00:49:31,000 --> 00:49:33,760
Speaker 1: a good little double feature here because for the theme

1015
00:49:34,080 --> 00:49:38,000
Speaker 1: of actually, it's woman is a movie from nineteen ninety two.

1016
00:49:38,280 --> 00:49:42,040
Speaker 1: It was written, produced, and directed by Leslie Harris, and

1017
00:49:42,080 --> 00:49:45,600
Speaker 1: it's called just another Girl on the Irt.

1018
00:49:45,880 --> 00:49:48,600
Speaker 2: Lots of folks think Brooks and girls are real tough.

1019
00:49:50,040 --> 00:49:52,640
Speaker 3: I'll let nobody mets with me and I do what

1020
00:49:52,680 --> 00:49:55,920
Speaker 3: I want. Is it ready? Is it ready? Get your

1021
00:49:56,080 --> 00:49:58,919
Speaker 3: your big belts and your bucket hats ready listen, because

1022
00:49:58,920 --> 00:50:01,719
Speaker 3: we're going back in time. And how cool is it

1023
00:50:01,760 --> 00:50:03,879
Speaker 3: that both of our movies were written and directed by

1024
00:50:04,200 --> 00:50:06,520
Speaker 3: the women who created exactly We love it.

1025
00:50:06,800 --> 00:50:10,160
Speaker 1: More about that just a second, of course, But right

1026
00:50:10,200 --> 00:50:12,680
Speaker 1: off the bat. So I was in a googling frenzy

1027
00:50:12,880 --> 00:50:15,920
Speaker 1: obviously with these two films, because I actually did not

1028
00:50:16,000 --> 00:50:18,080
Speaker 1: know what IRT stood for, because I did not grow

1029
00:50:18,120 --> 00:50:18,719
Speaker 1: up in New York.

1030
00:50:18,960 --> 00:50:21,080
Speaker 2: Oh my god, it's right, and they don't really use

1031
00:50:21,120 --> 00:50:21,759
Speaker 2: it anymore.

1032
00:50:22,000 --> 00:50:26,440
Speaker 1: Right, it stands for Interborough Rapid Transit. Yes, okay, So

1033
00:50:26,600 --> 00:50:28,799
Speaker 1: was that the name of the subway system in New

1034
00:50:28,880 --> 00:50:29,920
Speaker 1: York for a while.

1035
00:50:29,760 --> 00:50:33,160
Speaker 3: Or how if I'm remembering correctly, there were certain lines

1036
00:50:33,200 --> 00:50:35,279
Speaker 3: that were the IRT and then I forget what the

1037
00:50:35,320 --> 00:50:39,120
Speaker 3: other line was called. It used to be privately owned, okay,

1038
00:50:39,360 --> 00:50:41,560
Speaker 3: and then New York City took over the subway system.

1039
00:50:41,719 --> 00:50:42,760
Speaker 1: Oh gotcha?

1040
00:50:42,880 --> 00:50:45,200
Speaker 3: Okay, so that might have been like the different names

1041
00:50:45,200 --> 00:50:48,560
Speaker 3: for different lines or because they were owned by different companies. Yeah, okay,

1042
00:50:48,680 --> 00:50:51,080
Speaker 3: but enough about this fucking New York in this train.

1043
00:50:51,719 --> 00:50:55,160
Speaker 1: Will makes sense. So the director of this film is

1044
00:50:55,239 --> 00:50:58,880
Speaker 1: Leslie Harris. She's from Cleveland. Originally, she moved to New

1045
00:50:58,960 --> 00:51:02,600
Speaker 1: York in the early eighties. She started working in advertising

1046
00:51:02,880 --> 00:51:07,080
Speaker 1: and started making commercials pretty quickly after that. However, you know,

1047
00:51:07,160 --> 00:51:11,600
Speaker 1: she really wanted to write screenplays, and she started doing

1048
00:51:11,640 --> 00:51:17,200
Speaker 1: these temp jobs and would write screenplays in between her jobs.

1049
00:51:17,800 --> 00:51:21,080
Speaker 1: And I think it's obvious like that is such a

1050
00:51:21,120 --> 00:51:25,200
Speaker 1: like a filmmaker's story, and you know that whole like

1051
00:51:25,400 --> 00:51:28,400
Speaker 1: I'm just gonna like work on my film in between

1052
00:51:28,480 --> 00:51:29,960
Speaker 1: all this other shit that I have to do in

1053
00:51:30,040 --> 00:51:33,520
Speaker 1: order to stay alive hustling. Yeah, totally. Like there's an

1054
00:51:33,520 --> 00:51:37,759
Speaker 1: interview actually where she was on Charlie Rose and basically

1055
00:51:37,800 --> 00:51:40,080
Speaker 1: she was kind of explaining like, oh, yeah, I would

1056
00:51:40,080 --> 00:51:43,800
Speaker 1: take these jobs. I told them that I couldn't type,

1057
00:51:44,160 --> 00:51:46,520
Speaker 1: even though I actually knew how to type, because I

1058
00:51:46,520 --> 00:51:48,880
Speaker 1: did not want to write. I just wanted to like

1059
00:51:48,920 --> 00:51:51,560
Speaker 1: answer the phone and do like bullshit at the job

1060
00:51:51,880 --> 00:51:54,160
Speaker 1: so that I could focus all my energy on writing.

1061
00:51:54,200 --> 00:51:55,640
Speaker 1: And I was like, that's really smart.

1062
00:51:55,719 --> 00:51:59,239
Speaker 2: Actually, that is a boss move. I'm so mad that

1063
00:51:59,280 --> 00:52:00,520
Speaker 2: I never tried. I know.

1064
00:52:00,680 --> 00:52:02,840
Speaker 1: I was like, good for her. It's like she she

1065
00:52:02,960 --> 00:52:05,719
Speaker 1: was very well aware of where she wanted to put

1066
00:52:05,760 --> 00:52:09,160
Speaker 1: her energy in time. So I think that's awesome. And

1067
00:52:09,400 --> 00:52:11,800
Speaker 1: you know, she's still in film. I mean, she's still alive,

1068
00:52:12,000 --> 00:52:15,120
Speaker 1: still working. She's taught film at NYU, she's been a

1069
00:52:15,120 --> 00:52:18,920
Speaker 1: film lecturer, you know, at different universities, and she's still

1070
00:52:19,040 --> 00:52:23,400
Speaker 1: in the film business. But this movie is her first

1071
00:52:23,440 --> 00:52:26,320
Speaker 1: and only feature film, Wow, And it has the distinction

1072
00:52:26,400 --> 00:52:30,160
Speaker 1: of being the first film that was directed, written, and

1073
00:52:30,239 --> 00:52:33,160
Speaker 1: produced by a black woman to win the Special Jury

1074
00:52:33,160 --> 00:52:36,920
Speaker 1: Prize at Sundance back in the old days of nineteen

1075
00:52:36,960 --> 00:52:37,440
Speaker 1: ninety three.

1076
00:52:37,960 --> 00:52:40,759
Speaker 3: I love that Oh, and I forgot my movie was

1077
00:52:40,800 --> 00:52:42,680
Speaker 3: also a product of the Sundance Labs.

1078
00:52:42,719 --> 00:52:45,879
Speaker 1: Hey, that's another that's another theme that we didn't forget.

1079
00:52:45,960 --> 00:52:47,239
Speaker 1: Maybe somebody will bring it up.

1080
00:52:49,200 --> 00:52:51,360
Speaker 2: I love it. It was the first one though.

1081
00:52:51,680 --> 00:52:54,399
Speaker 1: Yeah, it's great. But I want to like sit on

1082
00:52:54,480 --> 00:52:58,840
Speaker 1: this for a brief second because we've discussed the director

1083
00:52:59,000 --> 00:53:01,759
Speaker 1: Julie dash before, who made Daughters of the Dusk. Yes,

1084
00:53:01,800 --> 00:53:05,080
Speaker 1: how she was the first black woman to have national

1085
00:53:05,120 --> 00:53:10,080
Speaker 1: distribution for her feature length film. Guess what, Leslie Harris

1086
00:53:10,200 --> 00:53:13,520
Speaker 1: was the second. D I know. And like I said,

1087
00:53:13,560 --> 00:53:16,200
Speaker 1: I went down this like YouTube poll of watching interviews

1088
00:53:16,239 --> 00:53:18,640
Speaker 1: with Leslie Harris and there's a lot of great ones

1089
00:53:19,040 --> 00:53:22,960
Speaker 1: where she just talks about how hard it was to

1090
00:53:23,000 --> 00:53:25,000
Speaker 1: get a film made if you were a black woman

1091
00:53:25,040 --> 00:53:29,239
Speaker 1: in the nineteen nineties, right, absolutely, which is why I

1092
00:53:29,280 --> 00:53:34,040
Speaker 1: think this is Leslie Harris's only feature length film. And honestly,

1093
00:53:34,080 --> 00:53:38,600
Speaker 1: it just underscores the ideas that we've discussed on previous episodes,

1094
00:53:39,080 --> 00:53:42,960
Speaker 1: which is that there's a problem that exists with distribution

1095
00:53:43,120 --> 00:53:46,440
Speaker 1: and with financing for film, and we're always trying to

1096
00:53:46,480 --> 00:53:50,600
Speaker 1: get more and more people that access because obviously, for

1097
00:53:50,680 --> 00:53:53,440
Speaker 1: the longest time it was only like straight says white

1098
00:53:53,480 --> 00:53:56,360
Speaker 1: men who got to make movies, right, But think about

1099
00:53:56,680 --> 00:53:59,560
Speaker 1: that in terms of the ways that that kind of

1100
00:53:59,640 --> 00:54:05,960
Speaker 1: silent creators, Like it's why women like Leslie Harris, Julie Dash,

1101
00:54:06,320 --> 00:54:10,000
Speaker 1: Kathleen Collins, they should have made tons of films.

1102
00:54:10,080 --> 00:54:11,840
Speaker 2: Absolut fucking loutely.

1103
00:54:12,120 --> 00:54:14,040
Speaker 3: Like when I hear that, it makes me so angry

1104
00:54:14,120 --> 00:54:16,080
Speaker 3: because I think, all right, cool, it's great that she

1105
00:54:16,160 --> 00:54:18,480
Speaker 3: was able to be a professor and find a way

1106
00:54:18,480 --> 00:54:22,240
Speaker 3: to still work in this industry. But if you compare

1107
00:54:22,360 --> 00:54:26,160
Speaker 3: her career to say as Sis Heatman that had an

1108
00:54:26,160 --> 00:54:28,320
Speaker 3: indie film come out in nineteen ninety three or nineteen

1109
00:54:28,360 --> 00:54:31,319
Speaker 3: ninety four, they are all now directing Star Wars and

1110
00:54:31,320 --> 00:54:34,880
Speaker 3: shit like that. Yeah, And it does silence people. And

1111
00:54:34,920 --> 00:54:38,800
Speaker 3: it's not only silences the creator, it silences the stories

1112
00:54:38,800 --> 00:54:41,719
Speaker 3: that they could tell that are different from what we

1113
00:54:41,880 --> 00:54:43,120
Speaker 3: see every day.

1114
00:54:43,239 --> 00:54:46,280
Speaker 1: It's really upsetting, Yeah, because it's like what I talked

1115
00:54:46,280 --> 00:54:50,000
Speaker 1: about in Black History Month from last year with Kathleen Collins.

1116
00:54:50,280 --> 00:54:53,799
Speaker 1: Kathleen Collins could have had like the Eric Romer career, yes, right,

1117
00:54:53,840 --> 00:54:56,600
Speaker 1: she could have made a shit ton of films, all

1118
00:54:56,640 --> 00:55:01,840
Speaker 1: these like very like you know, contained indie conversational slice

1119
00:55:01,840 --> 00:55:06,200
Speaker 1: of life movies. But she didn't and why did that happen?

1120
00:55:06,280 --> 00:55:07,960
Speaker 1: And it's the same thing with Leslie Harris. It's not

1121
00:55:08,000 --> 00:55:10,239
Speaker 1: for lack of her not having stories to tell. She

1122
00:55:10,440 --> 00:55:12,160
Speaker 1: has a lot of stories to tell. She wanted to

1123
00:55:12,200 --> 00:55:15,960
Speaker 1: write screenplays. She's like working all night writing screenplays. But

1124
00:55:16,080 --> 00:55:19,080
Speaker 1: yet she couldn't find anybody to help her make a

1125
00:55:19,160 --> 00:55:21,920
Speaker 1: movie after the one that she made like that got

1126
00:55:21,960 --> 00:55:24,800
Speaker 1: distributed by Mira Max. This film, Just Another Girl in

1127
00:55:24,840 --> 00:55:27,279
Speaker 1: the Irt was distributed by Mira Max. It was at

1128
00:55:27,320 --> 00:55:30,279
Speaker 1: Sundance and won the Special Jey Prize. Why not? Why

1129
00:55:30,320 --> 00:55:31,879
Speaker 1: did she get to do more?

1130
00:55:32,040 --> 00:55:32,440
Speaker 2: Exactly?

1131
00:55:32,440 --> 00:55:34,960
Speaker 1: And that's just always an interesting question we ask on

1132
00:55:35,000 --> 00:55:39,080
Speaker 1: this podcast. Right, Yeah, so let me do a one

1133
00:55:39,160 --> 00:55:43,439
Speaker 1: sentence synopsis of this film. A high school girl living

1134
00:55:43,480 --> 00:55:46,160
Speaker 1: in the projects of New York City threatens her dream

1135
00:55:46,400 --> 00:55:50,520
Speaker 1: of going to college and becoming a doctor by repeated

1136
00:55:50,600 --> 00:55:56,120
Speaker 1: arguments with her teachers and parents and an unexpected pregnancy. Okay,

1137
00:55:56,200 --> 00:55:59,919
Speaker 1: So the star of Just Another Girl on the IR

1138
00:56:00,320 --> 00:56:06,120
Speaker 1: is Chantal. She's played by arion A Johnson. Chantal is

1139
00:56:06,120 --> 00:56:08,880
Speaker 1: in high school and at the beginning of the movie,

1140
00:56:08,960 --> 00:56:12,400
Speaker 1: she works in this shop. Okay, it kind of reminded

1141
00:56:12,480 --> 00:56:15,240
Speaker 1: me of like one of those like good grocery places,

1142
00:56:15,239 --> 00:56:18,120
Speaker 1: like a Z Bars or something like that, because in

1143
00:56:18,160 --> 00:56:21,000
Speaker 1: these few moments when she's working in this shop, you

1144
00:56:21,080 --> 00:56:23,799
Speaker 1: start to get a sense of who Chantal is, right

1145
00:56:23,840 --> 00:56:26,920
Speaker 1: because she shows in kind of late. Manager is kind

1146
00:56:26,920 --> 00:56:29,719
Speaker 1: of like where have you been? She's like whatever, He's like, well,

1147
00:56:29,760 --> 00:56:31,920
Speaker 1: I gotta run out, so you're in charge. And then

1148
00:56:32,120 --> 00:56:36,720
Speaker 1: she's in charge and this like snooty, rich white lady

1149
00:56:36,800 --> 00:56:40,239
Speaker 1: comes in and starts demanding this like I think it

1150
00:56:40,320 --> 00:56:42,719
Speaker 1: was literally like some kind of weird.

1151
00:56:42,640 --> 00:56:46,480
Speaker 3: Oh you're out of Brion Caraway seeds or something like that, some.

1152
00:56:46,600 --> 00:56:50,319
Speaker 1: Like stupid expensive food and it's not in stock. And

1153
00:56:50,360 --> 00:56:52,600
Speaker 1: of course she goes ape shit, she goes full on

1154
00:56:52,760 --> 00:56:57,080
Speaker 1: k mode Karen Moode and she's basically like ordering Chantal

1155
00:56:57,080 --> 00:57:00,799
Speaker 1: around and Chantal is like fuck this, start talking back,

1156
00:57:00,920 --> 00:57:01,640
Speaker 1: giving her shit.

1157
00:57:01,880 --> 00:57:07,440
Speaker 2: It's great, it's wonderful. The mouth on this character is unparalleled.

1158
00:57:07,600 --> 00:57:10,440
Speaker 2: I've not seen anything like it since I know.

1159
00:57:10,840 --> 00:57:13,320
Speaker 1: And See. That's the thing is that you quickly realize

1160
00:57:13,360 --> 00:57:15,960
Speaker 1: that Chantal is like one of these take no prisoner's

1161
00:57:16,040 --> 00:57:20,000
Speaker 1: type of gals. Like she's from Brooklyn, she's from the projects.

1162
00:57:20,200 --> 00:57:23,280
Speaker 1: Her parents are still married, but they're both paid check

1163
00:57:23,320 --> 00:57:26,840
Speaker 1: to paycheck, struggling financially. The dad works at night and

1164
00:57:26,880 --> 00:57:29,800
Speaker 1: sleeps during the day, and you know, he really wants

1165
00:57:29,840 --> 00:57:31,720
Speaker 1: to move the family out of the neighborhood, but they're

1166
00:57:31,720 --> 00:57:34,960
Speaker 1: just having a hard time scraping up the money. And

1167
00:57:35,000 --> 00:57:38,880
Speaker 1: this is what I think makes Chantal have to be

1168
00:57:38,960 --> 00:57:42,560
Speaker 1: a woman, even though she's still a girl. I mean, honestly,

1169
00:57:42,560 --> 00:57:45,280
Speaker 1: it's that's the thing, is like being poor kind of

1170
00:57:45,360 --> 00:57:46,680
Speaker 1: instantly makes you an adult.

1171
00:57:47,040 --> 00:57:49,280
Speaker 3: When your kid, Yeah, you have to take care of

1172
00:57:49,320 --> 00:57:51,600
Speaker 3: your brothers after school, Like you can't have the life

1173
00:57:51,680 --> 00:57:53,560
Speaker 3: right that you might want to have because you have

1174
00:57:53,560 --> 00:57:55,080
Speaker 3: to run home and take care of two kids. Just

1175
00:57:55,120 --> 00:57:58,680
Speaker 3: the fact that she's even aware of her parents' financial

1176
00:57:58,680 --> 00:58:00,720
Speaker 3: status is something that makes her.

1177
00:58:00,800 --> 00:58:01,680
Speaker 2: Have to grow up more.

1178
00:58:01,760 --> 00:58:03,760
Speaker 3: Yeah, Like I remember when I was a kid, and

1179
00:58:04,160 --> 00:58:06,040
Speaker 3: you know, I was well aware that we didn't have

1180
00:58:06,120 --> 00:58:09,440
Speaker 3: money for extra things, like nothing extraneous, and I never

1181
00:58:09,560 --> 00:58:12,520
Speaker 3: knew exactly how much my grandparents made, but I always

1182
00:58:12,600 --> 00:58:14,880
Speaker 3: knew that, Like, I was just kind of aware that

1183
00:58:14,920 --> 00:58:17,040
Speaker 3: we were poor. And I think that that just kind

1184
00:58:17,040 --> 00:58:19,400
Speaker 3: of ages you up a little bit because you have

1185
00:58:19,480 --> 00:58:23,120
Speaker 3: more stress and the stress of her parents carries over

1186
00:58:23,200 --> 00:58:25,000
Speaker 3: to Chantal's life for sure. Yeah.

1187
00:58:25,040 --> 00:58:26,600
Speaker 1: But you know, in spite of this, I mean, she

1188
00:58:26,680 --> 00:58:31,080
Speaker 1: has really big dreams. And listen, as we mentioned, she's smart,

1189
00:58:31,480 --> 00:58:35,560
Speaker 1: she speaks her mind. She's proudly black, which I think

1190
00:58:35,640 --> 00:58:38,120
Speaker 1: is a very big component to this film. She does

1191
00:58:38,160 --> 00:58:41,840
Speaker 1: what she wants pretty much always. But she also gets

1192
00:58:41,840 --> 00:58:44,720
Speaker 1: pretty good grades. Like she's a really good student, and

1193
00:58:45,080 --> 00:58:48,640
Speaker 1: she wants to graduate early. And you know, like I said,

1194
00:58:48,680 --> 00:58:51,640
Speaker 1: her dream is that she graduates early from high school,

1195
00:58:52,000 --> 00:58:55,080
Speaker 1: goes to college, becomes a doctor. That's what her dream is.

1196
00:58:55,440 --> 00:58:59,240
Speaker 1: And it's looking like she could maybe actually graduate early.

1197
00:58:59,440 --> 00:59:03,520
Speaker 1: But she's not willing to control that mouth, which gets

1198
00:59:03,560 --> 00:59:05,680
Speaker 1: her in a lot of trouble with her teachers.

1199
00:59:06,440 --> 00:59:11,320
Speaker 3: Okay, I look, I gotta say, I recognize myself in

1200
00:59:11,360 --> 00:59:18,360
Speaker 3: this character to a shock, constantly mouthing off to my

1201
00:59:18,480 --> 00:59:19,520
Speaker 3: teachers in high school.

1202
00:59:19,600 --> 00:59:23,000
Speaker 2: Yeah, constantly. It's like the easiest form of rebellion.

1203
00:59:22,920 --> 00:59:24,960
Speaker 3: And not just in a general like fuck you kind

1204
00:59:24,960 --> 00:59:27,480
Speaker 3: of way, but just like a why aren't we discussing

1205
00:59:27,520 --> 00:59:29,520
Speaker 3: this thing? If we're in history class, Like, why aren't

1206
00:59:29,560 --> 00:59:31,040
Speaker 3: we discussing shit that's important to me?

1207
00:59:31,240 --> 00:59:33,560
Speaker 1: Yeah, that's the thing is that it's the kind of

1208
00:59:33,560 --> 00:59:37,480
Speaker 1: thing where she's not wrong about what she's saying, but

1209
00:59:37,600 --> 00:59:39,720
Speaker 1: she just kind of doesn't know like the time and

1210
00:59:39,800 --> 00:59:41,960
Speaker 1: place for it, and you know what I mean, And

1211
00:59:42,040 --> 00:59:44,160
Speaker 1: like she's kind of a hothead, but like she is

1212
00:59:44,200 --> 00:59:48,080
Speaker 1: not wrong about what she has to say totally.

1213
00:59:48,280 --> 00:59:50,720
Speaker 2: Also, in sticking with the theme, there's so many ways

1214
00:59:50,720 --> 00:59:52,160
Speaker 2: in this film which you know, I hope we get

1215
00:59:52,200 --> 00:59:54,320
Speaker 2: to talk about where she is a girl. Like she's

1216
00:59:54,440 --> 00:59:57,160
Speaker 2: very clearly a girl, and she's just trying to in

1217
00:59:57,280 --> 00:59:59,600
Speaker 2: some of those moments to be a kid, but she

1218
00:59:59,720 --> 01:00:00,600
Speaker 2: can't help herself.

1219
01:00:01,280 --> 01:00:04,560
Speaker 1: Yeah, it's a real like straddle of the line between

1220
01:00:04,880 --> 01:00:08,080
Speaker 1: like a grown up woman's world in a kid's world

1221
01:00:08,200 --> 01:00:10,840
Speaker 1: for her. Because here's the thing. Her life outside of

1222
01:00:10,880 --> 01:00:14,560
Speaker 1: school is like a typical teenage girl's life. Like she

1223
01:00:14,600 --> 01:00:17,040
Speaker 1: hangs out with her friends. She's got this boyfriend named

1224
01:00:17,080 --> 01:00:20,040
Speaker 1: Gerard who she's like one foot out the door with

1225
01:00:20,080 --> 01:00:23,320
Speaker 1: this guy all the time. But she's just like whatever

1226
01:00:23,440 --> 01:00:26,680
Speaker 1: he is here, I don't care whatever. She's obsessed with

1227
01:00:26,760 --> 01:00:29,120
Speaker 1: boys and parties and like her and her friends, she's

1228
01:00:29,120 --> 01:00:31,520
Speaker 1: got this best friend who is actually her co worker

1229
01:00:31,600 --> 01:00:34,080
Speaker 1: at this like Za bar Z type place. Her name

1230
01:00:34,160 --> 01:00:38,160
Speaker 1: is Ntete. She's played by Ebanie Jaredo, and they are

1231
01:00:38,200 --> 01:00:41,280
Speaker 1: like having full on conversations about what they're gonna wear

1232
01:00:41,360 --> 01:00:43,280
Speaker 1: to parties. Yeah, you know, they're like, Oh, I'm gonna

1233
01:00:43,280 --> 01:00:45,680
Speaker 1: wear the sweet jacket with this like cool skirt.

1234
01:00:45,680 --> 01:00:45,840
Speaker 2: You know.

1235
01:00:45,920 --> 01:00:48,200
Speaker 1: It's like I remember being obsessed with that when I

1236
01:00:48,280 --> 01:00:51,160
Speaker 1: was their age, Like, yeah, the exact outfit to wear

1237
01:00:51,240 --> 01:00:51,960
Speaker 1: to a party.

1238
01:00:52,360 --> 01:00:54,600
Speaker 3: And that's the only reason you're working in the first place,

1239
01:00:54,640 --> 01:00:56,000
Speaker 3: is to buy the shit you want to buy that

1240
01:00:56,040 --> 01:00:57,080
Speaker 3: your parents won't buy.

1241
01:00:56,920 --> 01:01:00,640
Speaker 1: For you, exactly. And like Sean Talin, the Tet are

1242
01:01:00,720 --> 01:01:03,760
Speaker 1: like they have this other friend, Denisha. They're trying to

1243
01:01:03,880 --> 01:01:06,120
Speaker 1: convince to come to this party that they're going to

1244
01:01:06,200 --> 01:01:09,400
Speaker 1: this weekend. But Denisha has just had a baby, and

1245
01:01:09,720 --> 01:01:12,480
Speaker 1: it's the kind of thing where they're like, oh, just

1246
01:01:12,600 --> 01:01:14,560
Speaker 1: drop her off at your mom's. It's not a big deal.

1247
01:01:14,680 --> 01:01:16,280
Speaker 1: Drop your baby off of your mom's. See you come

1248
01:01:16,280 --> 01:01:19,760
Speaker 1: this party with us, right, So is that we're still kids.

1249
01:01:20,000 --> 01:01:22,360
Speaker 1: We don't understand the full scope of what this is.

1250
01:01:22,680 --> 01:01:25,040
Speaker 1: Our friend has a baby, you know what I mean.

1251
01:01:25,280 --> 01:01:28,080
Speaker 3: Yeah, we don't understand the responsibility that comes with fully.

1252
01:01:28,280 --> 01:01:31,480
Speaker 3: And they even have like this shockingly funny conversation on

1253
01:01:31,560 --> 01:01:36,920
Speaker 3: a bench about sex and how to avoid pregnancy, and

1254
01:01:36,960 --> 01:01:39,720
Speaker 3: it is still one of the funniest things you've ever

1255
01:01:39,800 --> 01:01:40,680
Speaker 3: seen it on screen.

1256
01:01:40,800 --> 01:01:45,440
Speaker 1: It is shockingly misguided, Like the whole thing is really naive, okay,

1257
01:01:45,800 --> 01:01:48,720
Speaker 1: because they go into this like realm where they start

1258
01:01:48,760 --> 01:01:53,120
Speaker 1: talking about AIDS and HIV. Okay, Now, this is nineteen

1259
01:01:53,200 --> 01:01:55,040
Speaker 1: ninety two. A lot of people had a lot of

1260
01:01:55,040 --> 01:01:58,960
Speaker 1: bad information about AIDS and HIV, and it was simply

1261
01:01:59,040 --> 01:02:03,800
Speaker 1: because of the lack of any education or information about

1262
01:02:03,840 --> 01:02:04,120
Speaker 1: it at.

1263
01:02:04,040 --> 01:02:06,840
Speaker 3: All in the eighties, right, Yeah, like no government response

1264
01:02:06,920 --> 01:02:08,320
Speaker 3: to the fucking crisis exactly.

1265
01:02:08,440 --> 01:02:10,920
Speaker 1: So in a way, it doesn't surprise me at all

1266
01:02:10,960 --> 01:02:13,200
Speaker 1: that teenage girls would be saying this shit to each

1267
01:02:13,200 --> 01:02:15,600
Speaker 1: other in nineteen ninety two. I'm just throwing that out there.

1268
01:02:15,800 --> 01:02:19,120
Speaker 1: But this conversation in general is so like they just

1269
01:02:19,280 --> 01:02:23,200
Speaker 1: have no idea what they're talking about. Right, it's listen,

1270
01:02:22,880 --> 01:02:28,200
Speaker 1: it's especially the worst, the worst of it. And this

1271
01:02:28,280 --> 01:02:29,920
Speaker 1: is the thing that I had to remind myself when

1272
01:02:29,920 --> 01:02:31,960
Speaker 1: I rewatched this movie. And this is sort of generally

1273
01:02:32,000 --> 01:02:35,320
Speaker 1: to the vibe of like people who are adults watching

1274
01:02:35,320 --> 01:02:39,400
Speaker 1: teenage things aka euphoria, which everyone I know talks about

1275
01:02:39,520 --> 01:02:41,120
Speaker 1: is like shocked by the.

1276
01:02:41,160 --> 01:02:43,200
Speaker 3: Thing to remember about euphoria, if you ever want to

1277
01:02:43,200 --> 01:02:48,200
Speaker 3: dig in, is beneath the shocking glare of the sex

1278
01:02:48,320 --> 01:02:52,360
Speaker 3: lives of children, there's actually a very compelling narrative about

1279
01:02:52,440 --> 01:02:55,440
Speaker 3: zendia as a drug addict, And if you just focus

1280
01:02:55,560 --> 01:02:57,600
Speaker 3: on that, you could get through it without wanting to

1281
01:02:57,640 --> 01:03:00,920
Speaker 3: like crawl into a fucking ball. Well.

1282
01:03:00,760 --> 01:03:02,400
Speaker 1: Well, that's the thing is that it's hard for me

1283
01:03:02,440 --> 01:03:05,880
Speaker 1: to take my like adult perspective hat off when I'm

1284
01:03:05,920 --> 01:03:10,240
Speaker 1: watching teenagers making poor decisions, right, because I have to

1285
01:03:10,280 --> 01:03:13,920
Speaker 1: basically remember like I was. Also, I was having like

1286
01:03:14,040 --> 01:03:17,840
Speaker 1: the dumbest, most naive conversations at that age. I had

1287
01:03:17,960 --> 01:03:21,360
Speaker 1: like little to no sex education, and I thought the

1288
01:03:21,560 --> 01:03:25,439
Speaker 1: wildest stuff, like wildest stuff, Like I swear to God,

1289
01:03:25,440 --> 01:03:27,080
Speaker 1: this is an aside, but I'm gonna tell it anyway.

1290
01:03:27,560 --> 01:03:30,640
Speaker 1: I remember once I was like in middle school, this

1291
01:03:30,800 --> 01:03:34,000
Speaker 1: like older neighbor girl that like lived in the neighborhood.

1292
01:03:34,000 --> 01:03:37,480
Speaker 1: I remember she told me once that that my period

1293
01:03:37,640 --> 01:03:41,840
Speaker 1: would turn off when I immersed myself in water.

1294
01:03:42,280 --> 01:03:42,920
Speaker 2: Oh what?

1295
01:03:43,240 --> 01:03:46,840
Speaker 1: And I remember I believed that for an embarrassingly long

1296
01:03:46,880 --> 01:03:47,720
Speaker 1: amount of time.

1297
01:03:51,000 --> 01:03:52,680
Speaker 2: Like a little Fosse little tap.

1298
01:03:53,440 --> 01:03:56,520
Speaker 1: Yeah, she's basically, Oh, you're like your peerage just shuts

1299
01:03:56,560 --> 01:03:59,680
Speaker 1: off anytime you go into water, like if you go

1300
01:03:59,720 --> 01:04:01,600
Speaker 1: swim or if you go on the bathtub, it just

1301
01:04:01,680 --> 01:04:05,000
Speaker 1: turns off. And I was like same, Wow, really that's

1302
01:04:05,040 --> 01:04:07,160
Speaker 1: so crazy how your body just knows how to turn

1303
01:04:07,200 --> 01:04:07,640
Speaker 1: it off.

1304
01:04:08,080 --> 01:04:10,600
Speaker 2: And you're like, and I just stopped believing that. Last year.

1305
01:04:12,960 --> 01:04:16,520
Speaker 3: Ah, I finally asked my godcollogists on the verge of

1306
01:04:16,560 --> 01:04:19,040
Speaker 3: paramenopause if that actually is true.

1307
01:04:19,320 --> 01:04:21,040
Speaker 1: But that's the thing is that, Like, that's why I'm

1308
01:04:21,080 --> 01:04:23,920
Speaker 1: looking at this movie and these girls having these conversations

1309
01:04:23,920 --> 01:04:25,680
Speaker 1: with each other, because that was like such a thing.

1310
01:04:25,720 --> 01:04:28,200
Speaker 1: It's like we were all just like we wanted to

1311
01:04:28,240 --> 01:04:31,080
Speaker 1: know what we were talking about. We had no idea

1312
01:04:31,120 --> 01:04:32,840
Speaker 1: what we were talking about, and we were trying to

1313
01:04:32,880 --> 01:04:35,720
Speaker 1: disseminate bad information to other girls.

1314
01:04:36,680 --> 01:04:40,240
Speaker 3: It's so situational and geographical too, because I feel like

1315
01:04:40,360 --> 01:04:43,960
Speaker 3: I had a really good grass on sex and any

1316
01:04:44,040 --> 01:04:46,080
Speaker 3: of the threats of sex or the joys of sex

1317
01:04:46,120 --> 01:04:49,760
Speaker 3: because I lived in a town that was pretty wealthy

1318
01:04:49,800 --> 01:04:53,240
Speaker 3: and has high taxes, and we had a health class,

1319
01:04:53,280 --> 01:04:56,840
Speaker 3: Like we had health throughout middle school and high school,

1320
01:04:56,840 --> 01:04:59,160
Speaker 3: it was available to you. And I also grew up

1321
01:04:59,160 --> 01:05:01,160
Speaker 3: with my grandmother. I would watch the fucking news with

1322
01:05:01,200 --> 01:05:03,600
Speaker 3: her every night, and the AIDS crisis was real, and

1323
01:05:03,640 --> 01:05:06,680
Speaker 3: we talked about it constantly, like, well, these are the

1324
01:05:06,720 --> 01:05:08,600
Speaker 3: ways that it's transmitted, and you shouldn't be afraid to

1325
01:05:08,640 --> 01:05:11,160
Speaker 3: hug people that had Like we just constantly talked.

1326
01:05:10,880 --> 01:05:12,800
Speaker 2: About the realities of that.

1327
01:05:13,080 --> 01:05:14,720
Speaker 3: But if you grew up in a place where there's

1328
01:05:14,760 --> 01:05:18,160
Speaker 3: no health education where this astonished me because I'm like,

1329
01:05:18,160 --> 01:05:20,720
Speaker 3: why are there so many people who are like ten

1330
01:05:20,800 --> 01:05:23,160
Speaker 3: fifteen years younger than us that really have still no.

1331
01:05:23,160 --> 01:05:25,680
Speaker 2: Idea about sex stuff. It's because they grew up in

1332
01:05:25,680 --> 01:05:28,439
Speaker 2: these small towns that had no education at all, or

1333
01:05:28,480 --> 01:05:31,720
Speaker 2: even worse, they had that fucking George W. Bush like

1334
01:05:31,800 --> 01:05:32,840
Speaker 2: global gag.

1335
01:05:32,640 --> 01:05:35,640
Speaker 3: Rule kind of sex education that was basically like it

1336
01:05:35,680 --> 01:05:39,200
Speaker 3: all sucks, You're gonna die. Like it's shocking still how

1337
01:05:39,200 --> 01:05:41,919
Speaker 3: many people don't have information about this. So to see

1338
01:05:41,920 --> 01:05:44,520
Speaker 3: that scene on the bench, it just really brought me

1339
01:05:44,560 --> 01:05:47,080
Speaker 3: back to a time when it's like you're trying your

1340
01:05:47,120 --> 01:05:50,800
Speaker 3: hardest to know things about the world and protect yourself,

1341
01:05:51,360 --> 01:05:54,240
Speaker 3: but you were also in that weird time where you're

1342
01:05:54,280 --> 01:05:56,560
Speaker 3: not going to go to an adult to ask any

1343
01:05:56,600 --> 01:05:59,680
Speaker 3: of these questions. And there was no internet, and you

1344
01:05:59,680 --> 01:06:01,600
Speaker 3: can't do go to a library and maybe look up

1345
01:06:01,640 --> 01:06:03,400
Speaker 3: some of this stuff. So yeah, just it just brought

1346
01:06:03,480 --> 01:06:05,880
Speaker 3: me back, like to a very specific time of life

1347
01:06:05,880 --> 01:06:09,040
Speaker 3: where like, like you said, misinformation was rampant. My grandmother,

1348
01:06:09,120 --> 01:06:11,640
Speaker 3: for example, firmly believed that if I used tampons, I

1349
01:06:11,640 --> 01:06:12,439
Speaker 3: wouldn't be a virgin.

1350
01:06:13,040 --> 01:06:15,840
Speaker 2: Yeah, so, like tampons were banned in my house.

1351
01:06:16,120 --> 01:06:19,280
Speaker 1: Heard that, heard that so often, and that's like a.

1352
01:06:19,200 --> 01:06:21,480
Speaker 3: Cultural thing as well as an age thing. But I'm like,

1353
01:06:21,960 --> 01:06:24,160
Speaker 3: misinformation coming from your own damn.

1354
01:06:24,000 --> 01:06:29,120
Speaker 1: House, It was everywhere, for sure. Those scenes in particular

1355
01:06:29,160 --> 01:06:31,520
Speaker 1: were just sort of like really brought it back to

1356
01:06:31,560 --> 01:06:35,000
Speaker 1: that place. But yes, so Seantala and her friends, you know,

1357
01:06:35,360 --> 01:06:39,000
Speaker 1: they attend this party. Denisha shows up to the party.

1358
01:06:39,080 --> 01:06:40,840
Speaker 1: I guess she dropped her kid off in her mom's

1359
01:06:41,240 --> 01:06:43,840
Speaker 1: But Sean told me it's this guy there named Tyrone,

1360
01:06:44,200 --> 01:06:47,160
Speaker 1: and falls in love with him pretty much instantly because

1361
01:06:47,200 --> 01:06:50,880
Speaker 1: he has a car. That's it. That's all it takes.

1362
01:06:50,960 --> 01:06:53,280
Speaker 1: He has a jeep. She does not have to be

1363
01:06:53,520 --> 01:06:56,960
Speaker 1: another girl on the irt. She can get rides and

1364
01:06:57,000 --> 01:07:00,760
Speaker 1: that is all. She wrote, take it out with them

1365
01:07:00,760 --> 01:07:04,560
Speaker 1: all the time. They start sleeping together, and eventually wouldn't

1366
01:07:04,600 --> 01:07:07,160
Speaker 1: she out She finds out that she's pregnant.

1367
01:07:07,520 --> 01:07:12,120
Speaker 3: Okay, that scene was distressing because you're watching her beg

1368
01:07:12,280 --> 01:07:15,600
Speaker 3: him to use a condom, yeah, and him coercing her

1369
01:07:15,680 --> 01:07:18,720
Speaker 3: into not using one. So she's trying to use the

1370
01:07:18,720 --> 01:07:22,280
Speaker 3: information she has, but she hasn't learned that other part,

1371
01:07:22,320 --> 01:07:24,840
Speaker 3: which is you know, no means no and you can

1372
01:07:24,880 --> 01:07:27,000
Speaker 3: stop if you want to, and even if they insist,

1373
01:07:27,040 --> 01:07:29,760
Speaker 3: like she there's just so much missing information. But you

1374
01:07:29,800 --> 01:07:33,280
Speaker 3: see her being smart and then just being a hormonal

1375
01:07:33,320 --> 01:07:34,440
Speaker 3: teenager and it happened.

1376
01:07:34,520 --> 01:07:37,680
Speaker 1: Yeah, And I will say this so like from this

1377
01:07:37,840 --> 01:07:40,720
Speaker 1: point forward, this is where the movie kind of takes

1378
01:07:40,760 --> 01:07:42,160
Speaker 1: a little bit of a darker turn.

1379
01:07:42,560 --> 01:07:43,960
Speaker 2: Oh it gets dark as shit.

1380
01:07:44,120 --> 01:07:48,040
Speaker 1: Yeah, it's basically that Chantal's life becomes way more serious

1381
01:07:48,080 --> 01:07:51,240
Speaker 1: and complicated. And if you haven't seen the film and

1382
01:07:51,240 --> 01:07:53,800
Speaker 1: you're watching it, you're thinking about watching it, you know,

1383
01:07:53,920 --> 01:07:56,320
Speaker 1: I think I think certain people would be shocked by

1384
01:07:56,320 --> 01:07:58,040
Speaker 1: some of the things that happened in the last half

1385
01:07:58,040 --> 01:07:59,680
Speaker 1: of this film. I mean, I certainly was when I

1386
01:07:59,720 --> 01:08:05,040
Speaker 1: first It's not the Juno thing where the character is

1387
01:08:05,120 --> 01:08:10,440
Speaker 1: pregnant and she has this like existential aha moment or like,

1388
01:08:10,600 --> 01:08:13,480
Speaker 1: you know, just like her goofy best friend guy next

1389
01:08:13,520 --> 01:08:15,760
Speaker 1: door is gonna just deal with it with her, you know.

1390
01:08:15,840 --> 01:08:17,320
Speaker 1: And that's the thing is that I'm not sure I

1391
01:08:17,320 --> 01:08:19,840
Speaker 1: want to give any more information about what happens at

1392
01:08:19,840 --> 01:08:23,240
Speaker 1: this point, because it's powerful and very intense, and I

1393
01:08:23,280 --> 01:08:25,680
Speaker 1: just would love everybody to watch it and formulate an

1394
01:08:25,720 --> 01:08:28,160
Speaker 1: opinion on it. But the thing that I will say

1395
01:08:28,280 --> 01:08:30,800
Speaker 1: is that I think it's a perspective that you just

1396
01:08:30,960 --> 01:08:35,120
Speaker 1: rarely see in movies because chan Tal in these scenes,

1397
01:08:35,320 --> 01:08:38,639
Speaker 1: she's not always doing the right thing, quote unquote, right,

1398
01:08:39,320 --> 01:08:43,680
Speaker 1: But I love that Leslie Harris is like choosing to

1399
01:08:43,760 --> 01:08:47,639
Speaker 1: do something different in that moment. Right, It's more raw,

1400
01:08:47,760 --> 01:08:50,240
Speaker 1: it's more honest. She's showing that it's just not this

1401
01:08:50,320 --> 01:08:52,720
Speaker 1: like simple question of like is she gonna be a

1402
01:08:52,720 --> 01:08:54,680
Speaker 1: good girl or is she gonna be a bad girl? Like,

1403
01:08:54,760 --> 01:08:59,160
Speaker 1: it's way more nuanced than that. And from everything that

1404
01:08:59,240 --> 01:09:02,080
Speaker 1: I did read and watch with Leslie Harris when I

1405
01:09:02,120 --> 01:09:04,320
Speaker 1: was prepping for this episode, I mean, she said that

1406
01:09:04,360 --> 01:09:07,160
Speaker 1: this was the point she wanted it to be this way.

1407
01:09:07,640 --> 01:09:09,679
Speaker 1: She was trying to make a coming of age movie

1408
01:09:09,800 --> 01:09:12,280
Speaker 1: about a teenage girl that was real and it wasn't

1409
01:09:12,320 --> 01:09:15,720
Speaker 1: this like typical feel good Hollywood bullshit. And I just

1410
01:09:15,760 --> 01:09:18,360
Speaker 1: think it's a creative triumph for her when she finally

1411
01:09:18,400 --> 01:09:20,840
Speaker 1: at the end of it, like when it all plays out.

1412
01:09:21,560 --> 01:09:23,880
Speaker 1: I mean, it's something that we don't ever rarely see

1413
01:09:23,880 --> 01:09:25,360
Speaker 1: and it I think it's very unique.

1414
01:09:25,560 --> 01:09:26,599
Speaker 2: I completely agree.

1415
01:09:26,600 --> 01:09:28,600
Speaker 3: And it's it's like I was saying before with you know,

1416
01:09:28,600 --> 01:09:30,559
Speaker 3: we were discussing a girl walks home alone at night,

1417
01:09:30,600 --> 01:09:32,720
Speaker 3: that kids are kids everywhere, like kids are going to

1418
01:09:32,760 --> 01:09:35,280
Speaker 3: be kids, and it's not as easy to say, well,

1419
01:09:35,280 --> 01:09:36,760
Speaker 3: this one's good and that one's bad, or this one

1420
01:09:36,760 --> 01:09:38,559
Speaker 3: makes good decisions and that one makes bad decisions.

1421
01:09:38,640 --> 01:09:41,760
Speaker 1: I think this goes back to last week's films too,

1422
01:09:42,320 --> 01:09:45,679
Speaker 1: and just sort of like the thing that we talk

1423
01:09:45,720 --> 01:09:49,040
Speaker 1: about on this podcast when it comes to female directors,

1424
01:09:49,479 --> 01:09:52,479
Speaker 1: and something that I certainly enjoy about watching movies made

1425
01:09:52,560 --> 01:09:57,920
Speaker 1: by women is that showing female characters that are complicated

1426
01:09:58,040 --> 01:10:01,320
Speaker 1: and nuanced and it's not perfect. It's not like their

1427
01:10:01,400 --> 01:10:04,200
Speaker 1: goals aren't like I'm gonna be really really good or

1428
01:10:04,240 --> 01:10:06,360
Speaker 1: be really really bad. It's like this gray area in

1429
01:10:06,400 --> 01:10:10,000
Speaker 1: between where they're not making there's sometimes making good decisions

1430
01:10:10,000 --> 01:10:13,920
Speaker 1: and other times not. And I love that. I love,

1431
01:10:14,280 --> 01:10:17,800
Speaker 1: like as a woman, looking and seeing that play out

1432
01:10:17,840 --> 01:10:20,360
Speaker 1: on screen and knowing that maybe it's okay to be

1433
01:10:20,439 --> 01:10:23,679
Speaker 1: messy and complicated and I don't have to be perfect.

1434
01:10:23,760 --> 01:10:26,000
Speaker 1: I mean, that's just everything that we love about these films.

1435
01:10:26,040 --> 01:10:28,280
Speaker 1: And I think that that's the best part about doing

1436
01:10:28,320 --> 01:10:30,760
Speaker 1: these episodes with these films that we chose, is that,

1437
01:10:30,880 --> 01:10:33,679
Speaker 1: like in your film, it's complicated. She's an anti hero,

1438
01:10:34,160 --> 01:10:37,120
Speaker 1: she's killing people, but she's also maybe doing it for

1439
01:10:37,280 --> 01:10:40,360
Speaker 1: a good reason. Sometimes there's a teenage girl who is

1440
01:10:40,760 --> 01:10:43,200
Speaker 1: trying to, you know, get to college, but she has

1441
01:10:43,280 --> 01:10:46,200
Speaker 1: a little hiccup, and how does she, you know, manage

1442
01:10:46,240 --> 01:10:48,200
Speaker 1: all of it? And so that's what we need is

1443
01:10:48,240 --> 01:10:52,080
Speaker 1: more nuanced stories of women. And I'm hoping that we're

1444
01:10:52,120 --> 01:10:55,320
Speaker 1: getting more and more of them, obviously, I think in

1445
01:10:55,400 --> 01:10:59,240
Speaker 1: modern times. Yeah, but it wasn't that long ago, no, actually,

1446
01:10:59,600 --> 01:11:02,759
Speaker 1: when you would see movies about women and female characters

1447
01:11:02,800 --> 01:11:06,120
Speaker 1: that were like really one sided, oh completely, And you

1448
01:11:06,240 --> 01:11:09,840
Speaker 1: can actually track the progression of like a movie that

1449
01:11:09,960 --> 01:11:12,960
Speaker 1: was made like in the Hollywood studio system, in the

1450
01:11:13,000 --> 01:11:15,720
Speaker 1: classic Hollywood system where it was like a woman is

1451
01:11:15,760 --> 01:11:17,880
Speaker 1: truly perfect at the end of the movie, right, and

1452
01:11:17,880 --> 01:11:21,320
Speaker 1: you're just like, holy shit, like, how do you aspire

1453
01:11:21,400 --> 01:11:22,559
Speaker 1: to that? That's crazy?

1454
01:11:24,760 --> 01:11:25,639
Speaker 2: How does that happen?

1455
01:11:25,680 --> 01:11:28,000
Speaker 3: And Yeah, I think I mean, I agree with you completely,

1456
01:11:28,000 --> 01:11:29,920
Speaker 3: and I think it's also to kind of dial it

1457
01:11:29,960 --> 01:11:31,920
Speaker 3: down a little bit. It's kind of like, I like

1458
01:11:32,000 --> 01:11:36,000
Speaker 3: watching movies about women who don't have a fucking plan, yeah,

1459
01:11:36,040 --> 01:11:39,080
Speaker 3: and don't have anything that they're aspiring to, but also

1460
01:11:39,160 --> 01:11:40,639
Speaker 3: still want to just kind of be who they are.

1461
01:11:41,280 --> 01:11:43,160
Speaker 3: And you know, in both of our films, I think

1462
01:11:43,160 --> 01:11:45,479
Speaker 3: we haven't talked too much about like a feminist angle.

1463
01:11:45,560 --> 01:11:48,280
Speaker 2: But I think it's because it's it's unsaid that, of.

1464
01:11:48,200 --> 01:11:50,320
Speaker 3: Course these are feminist films, and of course these are

1465
01:11:50,320 --> 01:11:52,760
Speaker 3: films that are putting a different spin on what feminism

1466
01:11:52,880 --> 01:11:56,640
Speaker 3: is and what it means from these different narrative perspectives,

1467
01:11:56,680 --> 01:12:00,320
Speaker 3: like You've got two women, two girls from totally different

1468
01:12:00,320 --> 01:12:03,280
Speaker 3: parts of the world who are experiencing their femininity in

1469
01:12:03,320 --> 01:12:06,400
Speaker 3: different ways, or experiencing like how the outside world treats them,

1470
01:12:06,439 --> 01:12:09,040
Speaker 3: what their own interior lives are. Yeah, I just I

1471
01:12:09,080 --> 01:12:11,000
Speaker 3: love it and I loved I just love this movie

1472
01:12:11,040 --> 01:12:14,280
Speaker 3: for so many reasons. But I think that it's just

1473
01:12:14,400 --> 01:12:17,400
Speaker 3: really masterful at it kind of feels like the kind

1474
01:12:17,400 --> 01:12:19,519
Speaker 3: of movie that felt like what it was really like

1475
01:12:19,560 --> 01:12:22,040
Speaker 3: to be a teenage girl. Yeah, and that's a rarity

1476
01:12:22,040 --> 01:12:23,960
Speaker 3: for me to feel that, like you said, in the

1477
01:12:24,040 --> 01:12:28,600
Speaker 3: Juno sort of movies with the supportive parents and everything's

1478
01:12:28,640 --> 01:12:31,960
Speaker 3: cool and you know, just just has a different spin,

1479
01:12:32,080 --> 01:12:34,120
Speaker 3: different flavor to it that I really appreciate.

1480
01:12:34,800 --> 01:12:36,679
Speaker 1: Yeah, because at the end of the day, a lot

1481
01:12:36,680 --> 01:12:39,960
Speaker 1: of times being a teenager is experiencing a lot of

1482
01:12:40,000 --> 01:12:43,720
Speaker 1: emotions alone because you're afraid to talk to people, You're

1483
01:12:43,760 --> 01:12:47,160
Speaker 1: afraid to tell your parents of what's going on, and

1484
01:12:47,439 --> 01:12:51,120
Speaker 1: so much about like disappointing people or making people mad

1485
01:12:51,320 --> 01:12:53,280
Speaker 1: or you know, and so a lot of times you

1486
01:12:53,360 --> 01:12:55,840
Speaker 1: have to have things in secret. And it's rare that

1487
01:12:55,880 --> 01:12:57,880
Speaker 1: we get to see that. And that's what I like

1488
01:12:57,920 --> 01:12:59,800
Speaker 1: about this movie is that we're actually seeing kind of

1489
01:12:59,880 --> 01:13:02,679
Speaker 1: like a real thing of a teenager kind of going

1490
01:13:02,720 --> 01:13:05,880
Speaker 1: through this hard time and you know, having to kind

1491
01:13:05,880 --> 01:13:07,920
Speaker 1: of bear it a lot by yourself.

1492
01:13:08,280 --> 01:13:10,599
Speaker 2: Yeah. So oh got a. Couldn't agree more.

1493
01:13:10,600 --> 01:13:12,800
Speaker 3: And I don't did you get the feeling when you

1494
01:13:12,840 --> 01:13:15,920
Speaker 3: were a teenager, because I always had this thought process

1495
01:13:15,960 --> 01:13:17,920
Speaker 3: and I don't know if it was true for everyone

1496
01:13:18,040 --> 01:13:19,920
Speaker 3: or just true of how I grew up, but it

1497
01:13:19,960 --> 01:13:22,439
Speaker 3: was always drilled into me that, like, you could make

1498
01:13:22,479 --> 01:13:25,120
Speaker 3: a decision now that will negatively affect your whole life. Yeah,

1499
01:13:25,240 --> 01:13:27,439
Speaker 3: so it made everything feel a lot more fraught than

1500
01:13:27,439 --> 01:13:30,160
Speaker 3: it needed to be, Like you kind of remove someone's

1501
01:13:30,240 --> 01:13:33,360
Speaker 3: chance to be a kid when you start laying on

1502
01:13:33,439 --> 01:13:37,000
Speaker 3: them this heaviness of one thing you do now will

1503
01:13:37,040 --> 01:13:39,479
Speaker 3: always be a problem for you, or will follow you

1504
01:13:39,640 --> 01:13:41,479
Speaker 3: or will ruin your chances.

1505
01:13:41,800 --> 01:13:45,120
Speaker 2: Like that is a fucked up kind of way to live.

1506
01:13:45,320 --> 01:13:48,479
Speaker 1: I completely agree that was the pressure of that was

1507
01:13:48,600 --> 01:13:52,479
Speaker 1: so intense in middle school, but especially high school. And yeah,

1508
01:13:52,560 --> 01:13:55,880
Speaker 1: it's weird, and I don't know what the instinct was there,

1509
01:13:55,960 --> 01:13:58,080
Speaker 1: Like I don't know if it's like we must like

1510
01:13:58,400 --> 01:14:02,080
Speaker 1: overdo it so that they can maybe course correct at

1511
01:14:02,080 --> 01:14:04,240
Speaker 1: some point, Like it's not this intense all the time,

1512
01:14:04,240 --> 01:14:06,639
Speaker 1: but if we tell them it's intense upfront, then maybe

1513
01:14:06,680 --> 01:14:09,040
Speaker 1: they'll be scared into doing the right thing or whatever.

1514
01:14:09,720 --> 01:14:11,240
Speaker 1: I don't know. I don't know if that's like the

1515
01:14:11,320 --> 01:14:13,639
Speaker 1: proper way to do things. Again, I'm not a parent,

1516
01:14:13,880 --> 01:14:17,120
Speaker 1: so I don't really know. But all I know is

1517
01:14:17,120 --> 01:14:20,360
Speaker 1: that I was fucking terrified every single second of being

1518
01:14:20,400 --> 01:14:26,000
Speaker 1: a kiss. So I don't know, take that as you will.

1519
01:14:27,439 --> 01:14:29,360
Speaker 3: I mean like I was scared to the point where

1520
01:14:29,360 --> 01:14:31,479
Speaker 3: I'm like, if I go to a party, my life's fucked.

1521
01:14:32,439 --> 01:14:34,920
Speaker 3: Like just going to a party felt like in its

1522
01:14:35,200 --> 01:14:36,480
Speaker 3: extreme situations.

1523
01:14:36,960 --> 01:14:41,120
Speaker 1: I mean, I'm always like a complete paranoid freak for everything,

1524
01:14:41,200 --> 01:14:43,920
Speaker 1: but man, it was really really leveled up. When I

1525
01:14:43,960 --> 01:14:46,559
Speaker 1: was a kid. I just thought everything that happened was

1526
01:14:46,560 --> 01:14:49,280
Speaker 1: going to have this like insane consequence that was going

1527
01:14:49,360 --> 01:14:51,559
Speaker 1: to alter the rest of my life. And I don't know.

1528
01:14:51,640 --> 01:14:54,400
Speaker 1: Sometimes you do skip school and nothing happens.

1529
01:14:54,880 --> 01:14:57,200
Speaker 3: Let me tell you, as a successful woman in her

1530
01:14:57,280 --> 01:15:01,839
Speaker 3: mid forties, nobody cares about your regions exams, nobody cares

1531
01:15:01,880 --> 01:15:05,080
Speaker 3: about how many days you're absent from school. And to

1532
01:15:05,120 --> 01:15:07,920
Speaker 3: be real, I have never gotten a job where they

1533
01:15:07,960 --> 01:15:10,720
Speaker 3: have looked at or given a shit about my college transcripts.

1534
01:15:10,840 --> 01:15:14,120
Speaker 1: I mean, stay in school. But also you're right, I

1535
01:15:14,200 --> 01:15:17,519
Speaker 1: actually never think about I never think about my GPA,

1536
01:15:17,720 --> 01:15:20,599
Speaker 1: Like I can't even remember what my GPA is. Honestly,

1537
01:15:20,800 --> 01:15:21,599
Speaker 1: nobody gives a shit.

1538
01:15:21,760 --> 01:15:23,040
Speaker 2: You don't even give a shit anymore.

1539
01:15:24,360 --> 01:15:26,320
Speaker 3: I don't know what it is the things that were

1540
01:15:26,360 --> 01:15:30,360
Speaker 3: like told to us that would be terrifying, life ruining things,

1541
01:15:30,439 --> 01:15:32,519
Speaker 3: so that we should do this other stuff. Nobody cares

1542
01:15:32,520 --> 01:15:34,920
Speaker 3: about the other stuff either, So find the healthy middle

1543
01:15:35,280 --> 01:15:39,280
Speaker 3: between being like a disaster and a paranoid freek.

1544
01:15:39,400 --> 01:15:41,320
Speaker 1: Couldn't have said it any better myself.

1545
01:15:42,520 --> 01:15:45,439
Speaker 3: Oh my gosh, Oh what a great episode. I love

1546
01:15:45,520 --> 01:15:49,120
Speaker 3: these films. I love celebrating women in film. I just

1547
01:15:49,200 --> 01:15:49,880
Speaker 3: I love movies.

1548
01:15:50,040 --> 01:15:52,960
Speaker 1: Yes, me too, you know, come to think of it,

1549
01:15:53,080 --> 01:15:57,640
Speaker 1: me too. If you have been enjoying these episodes, I

1550
01:15:57,680 --> 01:15:59,760
Speaker 1: know we you know, we came off of Black History

1551
01:15:59,800 --> 01:16:03,160
Speaker 1: Months then kind of rolled into you know, Women's History Month,

1552
01:16:03,200 --> 01:16:06,479
Speaker 1: and hopefully we've had some conversations that y'all can chew on.

1553
01:16:06,640 --> 01:16:09,599
Speaker 1: And if you have any thoughts, please email us at

1554
01:16:09,640 --> 01:16:11,719
Speaker 1: I Saw What you Did pod at gmail dot com

1555
01:16:12,160 --> 01:16:14,240
Speaker 1: and also too if you want to send us questions

1556
01:16:14,240 --> 01:16:18,559
Speaker 1: for bonus episodes. We love stories that you tell us.

1557
01:16:18,920 --> 01:16:21,519
Speaker 1: We would love to hear more, so please do that.

1558
01:16:21,600 --> 01:16:22,320
Speaker 1: I Saw what you Did.

1559
01:16:22,240 --> 01:16:24,439
Speaker 3: Pod at Gmail, and you can also find us on

1560
01:16:24,479 --> 01:16:26,840
Speaker 3: our social media We are at I Saw pod on

1561
01:16:26,920 --> 01:16:29,880
Speaker 3: Instagram and Twitter, where you can guess our themes and

1562
01:16:29,880 --> 01:16:31,519
Speaker 3: see if you're right tuning in to see if you're

1563
01:16:31,560 --> 01:16:32,120
Speaker 3: right every week.

1564
01:16:32,360 --> 01:16:35,200
Speaker 1: That's correct. Also, if you would like merch, we have

1565
01:16:35,400 --> 01:16:39,559
Speaker 1: some in the Exactly Right Shop at Exactlyrightmedia dot com.

1566
01:16:39,800 --> 01:16:42,160
Speaker 3: And if you want even more from us, we've got

1567
01:16:42,160 --> 01:16:44,479
Speaker 3: a whole bunch of bonus episodes up at Stitch your

1568
01:16:44,520 --> 01:16:48,120
Speaker 3: Premium exclusively and you can use the promo code SAW

1569
01:16:48,560 --> 01:16:50,240
Speaker 3: for a free month.

1570
01:16:50,600 --> 01:16:55,679
Speaker 1: Awesome. Well, Danielle, please, if you wouldn't mind, why should

1571
01:16:55,680 --> 01:16:58,559
Speaker 1: you tell the fine folks about our movies for next week?

1572
01:16:59,040 --> 01:17:03,639
Speaker 2: I would love to. And ah, sorry, I just read

1573
01:17:03,640 --> 01:17:04,040
Speaker 2: the theme.

1574
01:17:04,240 --> 01:17:05,280
Speaker 1: I just saw the theme.

1575
01:17:06,080 --> 01:17:15,880
Speaker 2: I just saw the theme. Okay, I'm gonna get it

1576
01:17:15,920 --> 01:17:19,880
Speaker 2: together because our movies for.

1577
01:17:19,960 --> 01:17:25,840
Speaker 3: Next week are big from nineteen eighty eight and thirteen

1578
01:17:25,960 --> 01:17:29,240
Speaker 3: going on thirty from two thousand and four. Holy shit

1579
01:17:30,240 --> 01:17:32,519
Speaker 3: that I cannot wait for you to guess the theme.

1580
01:17:33,120 --> 01:17:37,280
Speaker 1: Everyone's gonna flat line next week watching those movies. That's

1581
01:17:37,280 --> 01:17:38,720
Speaker 1: how huge those movies are.

1582
01:17:39,040 --> 01:17:42,040
Speaker 3: Oh my god, enjoy enjoy watching them. Come on back

1583
01:17:42,080 --> 01:17:44,519
Speaker 3: and listen to us talk about them. And thank you

1584
01:17:44,600 --> 01:17:46,280
Speaker 3: so much for this episode, Millie. I love talk to

1585
01:17:46,320 --> 01:17:47,040
Speaker 3: you about this stuff.

1586
01:17:47,120 --> 01:17:50,439
Speaker 1: Thank you for being you, and thanks to everybody for listening.

1587
01:17:50,560 --> 01:17:51,559
Speaker 1: We'll see you next time.

1588
01:17:52,120 --> 01:17:52,400
Speaker 2: Boy.

1589
01:17:58,640 --> 01:18:00,960
Speaker 3: This has been an exactly right production. Our producer is

1590
01:18:00,960 --> 01:18:04,479
Speaker 3: Alesis Slamrosi, Our engineer is Ryo Baum. Our theme song

1591
01:18:04,560 --> 01:18:07,680
Speaker 3: is by Tom bry Fogel, artwork by Garrett Ross. Our

1592
01:18:07,720 --> 01:18:11,360
Speaker 3: executive producers are Georgia Hardstart, Karen Kilgareth and Danielle Kramer.

1593
01:18:11,600 --> 01:18:13,960
Speaker 3: You can follow us on Instagram and Twitter at I

1594
01:18:14,080 --> 01:18:16,439
Speaker 3: Saw Pod. You can email us at I Saw What

1595
01:18:16,520 --> 01:18:19,400
Speaker 3: You Did Pod at Gmail, and please don't forget to listen,

1596
01:18:19,479 --> 01:18:22,879
Speaker 3: Subscribe and leave us a review on Apple Podcasts, Stitcher,

1597
01:18:23,120 --> 01:18:24,439
Speaker 3: or wherever you listen