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Speaker 1: Hey guys, just a reminder that we are doing our

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Speaker 1: first ever live show at the Tara Theater in Atlanta, Georgia,

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Speaker 1: on November seventh. Ticket information is available at all of

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Speaker 1: our social media sites. We are at I Saw Pod

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Speaker 1: on Instagram, Blue Sky, Twitter and Facebook. Be there, don't

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Speaker 1: be square, be round and soft and at our show.

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Speaker 2: Hey, everybody, welcome to another episode of I Saw What

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Speaker 2: You Did. My name is Millie to Jericho, I'm Daniel Henderson,

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Speaker 2: and we have us wukiest film podcast you've ever heard

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Speaker 2: in all of your days and nights.

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Speaker 1: I even changed my voice for this episode to be lower. Yeah.

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Speaker 2: Are you feeling okay?

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Speaker 1: No, I'm on the tail end of an intense bronchial event.

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Speaker 2: Ooh it's not COVID. It's just a bronchial event.

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Speaker 1: I just had bronchitis. I made it sound as dramatic

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Speaker 1: as possible, but I just have bronchitis. Oh my god.

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Speaker 1: So I'm like, but this lingering. It's like the cough

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Speaker 1: has been lingering, and I don't get sick anymore. Like

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Speaker 1: I usually don't get colds or anything. So if I

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Speaker 1: do get something, it usually like hangs out for a

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Speaker 1: while and then I'm not sick for like seven years.

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Speaker 2: Yeah, you think a change of the season influence.

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Speaker 1: I think it's change of seasons. I think it's like

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Speaker 1: I just think it's it's got I got a cold.

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Speaker 1: I was hanging out with my grandma, and when the

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Speaker 1: seasons change at a nursing home, everybody gets sick.

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Speaker 2: This nursing home. Do they do anything for Halloween or anything?

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Speaker 2: Is there?

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Speaker 3: Oh?

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Speaker 1: Yeah? Yeah, Oh they go fucking balls out.

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Speaker 2: Ooh what like how it's costumes?

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Speaker 1: They have, like a DJ come in, they have a

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Speaker 1: little like the local boy and Girl scouts come by

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Speaker 1: and do a little costume parade for the for all

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Speaker 1: the people, the residents. Then they hand out candy and

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Speaker 1: it's just it's very very funny and very cute. But yeah,

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Speaker 1: they go and some people real ham like my grandma.

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Speaker 1: She wanted to be Freddy Krueger last year, and I

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Speaker 1: was like, I feel like that mask is too scary,

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Speaker 1: Like you have people here who are on oxygen and

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Speaker 1: having heart issues on a regular day. Let's not have

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Speaker 1: you roll around the corner and a fucking Freddy Krueger

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Speaker 1: mask and genuinely kill people. Why not? So she so

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Speaker 1: I got her a compromise mask, which is just like

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Speaker 1: kind of a spooky skeleton mask.

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Speaker 2: Oh gosh, that's sweet. Yeah, you don't want to be

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Speaker 2: causing any you know, cardiac events with the costumes at

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Speaker 2: that place.

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Speaker 1: Man, not needed on my conscience.

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Speaker 2: I uh, I've never DJed a nursing home. Now I

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Speaker 2: kind of want to.

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Speaker 1: Not only how do you recommend it? I will set

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Speaker 1: it up for you. I think you would have a

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Speaker 1: fucking bless.

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Speaker 2: I dj auh like an after school It was like

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Speaker 2: for I guess elementary maybe middle school kids. It was

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Speaker 2: kind of like there, uh, after school high achiever hang place.

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Speaker 2: I don't know what you call these businesses. They're not

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Speaker 2: like Montesssori schools, but it's basically like a place where

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Speaker 2: like smart kids go and hang out with other smart

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Speaker 2: kids after school. If you're like an elementary school, middle

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Speaker 2: school day care, I guess it is. Maybe it's called daycare, but.

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Speaker 1: Sounds like like babysitting for precocious little pricks. Yeah, I say,

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Speaker 1: as a former precocious little prick.

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Speaker 2: Yeah, I was gonna say you were the one to

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Speaker 2: join that club for sure.

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Speaker 1: I love that shit. Are you fucking kidding me? I

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Speaker 1: would have loved to just go. Actually, maybe I would

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Speaker 1: have hated it. Maybe my life just turned out exactly

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Speaker 1: how it was supposed to. Maybe if I hung out

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Speaker 1: with too many kids who were super smart after school

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Speaker 1: when I was a kid, it would have changed me.

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Speaker 1: But I think you should one by any place that

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Speaker 1: is outside of the Yeah, and.

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Speaker 2: Yes, sometimes you get sometimes you get weird requests. I've dj'

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Speaker 2: like fundraisers for you know, nonprofits and stuff, and that's

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Speaker 2: not even really weird, but you know, like this after

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Speaker 2: school thing, this daycare place was I had such trouble

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Speaker 2: trying to figure out what to play because it's the

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Speaker 2: thing where I'm like, this was many many years ago,

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Speaker 2: so it wasn't like I would even say that these

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Speaker 2: kids are not They're probably millennials now or something. But

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Speaker 2: like at the time, I was like, I don't know

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Speaker 2: what kids like. And then I was like, should I

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Speaker 2: just play Kids Bop? Which is like, you know, I

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Speaker 2: was like, do kids listen to Kids Bop? Are kids

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Speaker 2: into Kids Bop? Or is this what we think they're into? Yep, yeah,

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Speaker 2: And then I was like that then I'd have to

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Speaker 2: go out and buy kids Bop records, which is like

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Speaker 2: I don't want to do that. But then I was like, well,

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Speaker 2: then what do I play? Do I play like Push

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Speaker 2: It by Salt and Pepper, Like what is this? How

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Speaker 2: do you DJ for kids?

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Speaker 1: Also? Are there boundaries now because like, you know, we

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Speaker 1: listen to any and everything nobody cared, but now people

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Speaker 1: are like that's too sexual, or that's too political, or

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Speaker 1: that's too like I don't want to freak kids out,

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Speaker 1: but I also think they're already listening to those shit

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Speaker 1: you just don't know it, Yeah, I know.

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Speaker 2: I mean it would be different if they were in

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Speaker 2: high school. I think that was the the age was

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Speaker 2: what was really throwing me, because I was like, oh,

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Speaker 2: if they're in high school, then I'd just be playing

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Speaker 2: like Nicki Minaj and stuff or whatever like exactly, you know.

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Speaker 2: But like it was weird because they're kind of little

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Speaker 2: and so I don't really know and so my might.

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Speaker 2: Now I'm thinking, what if I did get a gig

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Speaker 2: at a nursing home, what would I play?

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Speaker 1: Here's what I would suggest. There's always a crowd pleaser,

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Speaker 1: right because these are folks that are accustomed to dancing,

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Speaker 1: like they used to go to parties and actually dance

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Speaker 1: and go out and actually there's always crowd pleasers. There's

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Speaker 1: always like, you know, I will survive. There's know fucking

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Speaker 1: begs like they'll dance, they will dance to shit. But

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Speaker 1: I would say, and this is purely selfish, because I

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Speaker 1: often think about who I'm going to be as an

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Speaker 1: older person in a nursing home. Nobody is gonna play

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Speaker 1: sepulturer for me. Nobody's gonna play an like Radiohead or

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Speaker 1: anything that I actually listen to. They go for the

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Speaker 1: for the baseline, They go for the least defensive baseline.

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Speaker 1: Freak them out, play some shit, play some like fucking

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Speaker 1: Echo and the Bunnymen for them.

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Speaker 2: We are you thinking that people that like Echo and

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Speaker 2: the Buddy Bet are nursing homes?

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Speaker 1: Now? Absolutely think people. Do you think any of those

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Speaker 1: people plan to get old or retire or die? One

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Speaker 1: hundred percent. Play some fucking psychedelic furs and watch who

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Speaker 1: dances around, and those are the coolest people in the

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Speaker 1: nursing home.

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Speaker 2: But I like psychedelic furs, so that means I would

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Speaker 2: be in the nursing home.

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Speaker 1: Whatever.

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Speaker 2: Yeah, we're all head breaked out.

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Speaker 1: By this, Okay, all headed for one, We're all headed

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Speaker 1: for a nursing home and just think about like, even

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Speaker 1: when they play movies, it's like a bucket list. It's

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Speaker 1: like always you know, while you were sleeping, no one

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Speaker 1: is gonna show you a fucking Giallo movie in a

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Speaker 1: nursing home. But if you are in when you are

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Speaker 1: in a nursing home one day and you're gonna be like, yeah,

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Speaker 1: I'm doing the activities. All these activities are catered to

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Speaker 1: the kind of people I would never have hung out

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Speaker 1: with in my actual life.

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Speaker 2: I guess what I'm saying is that I'm trying to

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Speaker 2: tell myself that I'm still young enough to just DJ

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Speaker 2: a nursing home, not be in one to enjoy the DJ.

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Speaker 1: Iily went to, No, you're gonna be in one, play

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Speaker 1: what you want, just left over it like fucking flow joke.

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Speaker 2: You're like, bitch, you're locked in there. They're gonna fight

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Speaker 2: out your DJ and they're gonna make you DJ for

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Speaker 2: your fucking roommates.

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Speaker 3: No, I'm talking about I'm young and I can still

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Speaker 3: play for people or in there.

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Speaker 2: But it's sad.

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Speaker 1: It's true, It's truly. It's truly the same. Though. What

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Speaker 1: I mean it is the thought process should be the same.

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Speaker 1: Of I can play what I think is cool because

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Speaker 1: somebody will be into it, Like somebody who's currently ninety

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Speaker 1: might not know that. You might not know that they're

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Speaker 1: into it because all they ever get is the baseline. Yeah,

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Speaker 1: but you.

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Speaker 2: Want to hear mental, is what you're saying.

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Speaker 1: If and I'm saying this to the listenership at large

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Speaker 1: and to you because I do not have children, I

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Speaker 1: have a will, I have a trust, like I know

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Speaker 1: who is going to be responsible for me when I'm

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Speaker 1: older and should I be in care. But I just

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Speaker 1: want this known and remembered. If I'm ever in a

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Speaker 1: nursing home or retirement community of any kind and you

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Speaker 1: expect me to show up to a fucking activity, you

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Speaker 1: better be playing some of the weirdest ship possible I

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Speaker 1: or just for me, just come visit me and be

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Speaker 1: like here, I'm playing pulp for you, like I'm playing

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Speaker 1: what you actually used to listen to.

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Speaker 2: Yeah. Yeah, I keep thinking that things are gonna change

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Speaker 2: for us, Like maybe it's not like obviously the music

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Speaker 2: is gonna be different, Obviously the movies are gonna be different.

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Speaker 2: I feel like the food would be different. Yeah, Like

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Speaker 2: I mean as much as like it's probably like the

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Speaker 2: wisest to serve soft foods in a assistant living or

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Speaker 2: nursing home scenario. I mean, I feel like all the

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Speaker 2: motherfuckers that I know are these like stupid foodies that

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Speaker 2: are like really into like you know, artistically crafted fucking

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Speaker 2: foods stuffs. So it's like, oh no, we're gonna get

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Speaker 2: like the asparagus one asparagus in some kind of sauce

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Speaker 2: with a squiggle on top, and like.

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Speaker 1: There are different I've because I've been visiting for so

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Speaker 1: long and I've seen how this looks. There are definitely

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Speaker 1: different dietary options. And also my grandma's in a very

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Speaker 1: good home, like they're fantastic. I know a lot of

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Speaker 1: them are not, but she isn't a very good one.

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Speaker 1: So there are different dietary options. Some of it is

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Speaker 1: for texture, so you got your soft chewers, and some

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Speaker 1: of it is just preference. So if you still got

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Speaker 1: your teeth or you got some good dentures and you

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Speaker 1: can still chew, they'll give you a fucking HOGI if

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Speaker 1: that's what you want, you can make your own menu

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Speaker 1: for lunch. But the food is really good, but it

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Speaker 1: is it is not going to be at all artistic

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Speaker 1: and also imagine, so you're sitting in a fucking retirement

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Speaker 1: community and they bring around dinner and you're peeing in

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Speaker 1: your own pants and they bring you a fucking curried

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Speaker 1: butternut squash rizo with a squiggle of a dobo sauce

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Speaker 1: and green onions on top. You ain't eating that shit.

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Speaker 1: That would be the most annoying fucking nursing home on

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Speaker 1: the planet. Because this is the other option, I'm like,

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Speaker 1: what's going to happen? I can see it coming a

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Speaker 1: mile and a half away. What is going to happen

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Speaker 1: for our generation? If someone is going to say, at

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Speaker 1: some point we need to make nursing homes cooler, and

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Speaker 1: then that's the shit we're going to be dealing with.

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Speaker 2: Well, the first thing that screams out to me is

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Speaker 2: that nobody's nobody from our generations trying to eat that

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Speaker 2: American food. Sorry, Like everyone's going to be like I

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Speaker 2: want Korean barbecue absolutely for lunch today, and then for dinner,

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Speaker 2: I want Peruvian Like Like when I think about, like, oh,

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Speaker 2: what what have I seen in either hospitals or I

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Speaker 2: said hospitals, like a perspital.

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Speaker 1: An hopital in hospital, in hospital whatever.

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Speaker 2: Whatever I've seen in these establishments thus far has basically

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Speaker 2: been like American food like meat loaf, yep, you know,

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Speaker 2: mac and cheese, potatoes, this type of fair. And I'm

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Speaker 2: saying that people our age when we get old, it's

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Speaker 2: not going to be that they're not gonna want that stuff.

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Speaker 2: They're gonna want like ramen.

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Speaker 1: We want taketos, we want a bucket of Trader Joe's cookies, yeah,

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Speaker 1: or like I guarantee someone's gonna be like, can I

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Speaker 1: have can I order out some insomnia cookies? You know

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Speaker 1: the like. Again, we're just we're too specific because we've

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Speaker 1: taken food to such a degree it's it's kind of

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Speaker 1: a stark reminder to visit. I encourage people to visit

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Speaker 1: retirement homes if they can, and nursing homes if they can,

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Speaker 1: because it's a really stark reminder that we don't always

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Speaker 1: get to do whatever the fuck we want. Like that's

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Speaker 1: the goal, that's what we're working for now. But occasionally

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Speaker 1: someone's gonna take over your most basic needs. Yeah, and

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Speaker 1: they're not giving you tiketos.

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Speaker 2: I know we're not gonna get fullafel with a side

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Speaker 2: of hot sauce.

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Speaker 1: And so no, so yeah, I think it's it's go

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Speaker 1: DJ one and then stay for dinner, and then maybe

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Speaker 1: you'll be the person who comes up with the cool

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Speaker 1: retirement home for us. Because also it's gonna take it's

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Speaker 1: gonna cost a million and a half dollars to feed

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Speaker 1: gen X, gen y, gen Z and beyond, because everyone's

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Speaker 1: gonna want a different meal every day, like no big

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Speaker 1: bucket strake and known as size pots of stew are

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Speaker 1: coming out of our kitchens, like I can't eat that.

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Speaker 1: I'm gluten free, I can't eat that I'm allergic to salt.

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Speaker 1: Like it's gonna be a fucking nightmare.

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Speaker 2: I love how this one from hey, I want to

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Speaker 2: kind of dj a nursing home sometime to having a

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Speaker 2: full on panic attack about what it's going to be

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Speaker 2: like when we're in one and we're never going to

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Speaker 2: get our foods in our heavy metal music. This is

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Speaker 2: what this is what happened in the past fifteen a M.

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Speaker 1: You know, I'm a dowur bitch. I'll bring it down

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Speaker 1: in a heartbeat. I'll bring any conversation down in ten

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Speaker 1: seconds of flat The joy of djinget a retirement community.

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Speaker 1: Oh shit, we're gonna be in one one day. But

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Speaker 1: this is also why this house is gonna be a commune,

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Speaker 1: because you know my plan already.

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Speaker 2: Yes, you me.

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Speaker 1: Anyone who wants to move in, who is either single, childless,

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Speaker 1: any of our friends who just have no plan, they

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Speaker 1: get a room in the house, or the barn or

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Speaker 1: the silo, or maybe you'll build a tiny house out

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Speaker 1: in the back somewhere too. We can accommodate all of

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Speaker 1: our of our friends, and then we pull our social

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Speaker 1: Security checks in retirement, we hire a driver and we

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Speaker 1: hire a chef. Okay, the fuck, dude, eat whatever we want.

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Speaker 1: Listen to Slayer all day long.

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Speaker 2: Yeah, No, I like this plan better. I don't right,

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Speaker 2: I don't know if I want to be in the

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Speaker 2: in the home.

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Speaker 1: No, we'll do We'll do a tiny retirement community. It'll

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Speaker 1: just be like one house. Yeah, that to me seems

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Speaker 1: like a better plan for autonomy, because I cannot go

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Speaker 1: into the sweet slumber of my end days with absolutely

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Speaker 1: nobody suggesting that I watched Chernobyl. Yeah, they ain't showing

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Speaker 1: Chernobyl all these fun retire of villages.

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Speaker 2: No way, they're not gonna. It's not gonna be you know,

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Speaker 2: a bespoke experience. I'll tell you how much.

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Speaker 1: So no, we're gonna hire a chef and a driver.

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Speaker 1: The driver will take us to all our doctor's appointments

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Speaker 1: and take us into the city and do whatever the

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Speaker 1: fuck we want. Okay, pull those checks, man, live free.

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Speaker 2: Extremely down. I will DJ. I don't do Spotify, I

289
00:15:25,920 --> 00:15:27,040
Speaker 2: do actual vinyl.

290
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Speaker 1: So there's no kids Bop or maybe you will buy

291
00:15:30,480 --> 00:15:33,760
Speaker 1: a kids Bop and we'll all fucking laugh our asses

292
00:15:33,800 --> 00:15:37,720
Speaker 1: off at back that ass up done by a group

293
00:15:37,760 --> 00:15:40,040
Speaker 1: of nine year olds who can't say the word ass

294
00:15:41,760 --> 00:15:43,400
Speaker 1: for kids Bop in ninety nine.

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Speaker 2: Kids Popping ninety nine. Okay, so speaking of metal, perhaps music,

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00:15:52,120 --> 00:15:57,840
Speaker 2: maybe kids pop, I don't know. We have, uh a

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Speaker 2: letter from a listener that I wanted to to you.

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Speaker 2: If is that okay?

299
00:16:02,520 --> 00:16:03,640
Speaker 1: Always okay?

300
00:16:03,720 --> 00:16:08,320
Speaker 2: Since it's Halloween, it's a Halloween themed email, so here

301
00:16:08,320 --> 00:16:13,040
Speaker 2: it goes. This is from Chris s him pronouns. The

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00:16:13,120 --> 00:16:18,920
Speaker 2: title of the email is called Halloween FMK, Hey, movie queens,

303
00:16:19,200 --> 00:16:22,520
Speaker 2: Greetings from the UK. I always thought I didn't like movies,

304
00:16:22,560 --> 00:16:25,200
Speaker 2: but after listening to you and re examining my thoughts,

305
00:16:25,440 --> 00:16:27,840
Speaker 2: it turns out I'm just particular about the kind of

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00:16:27,920 --> 00:16:32,080
Speaker 2: films I like and do actually enjoy the right films. Anyway,

307
00:16:32,360 --> 00:16:35,920
Speaker 2: to the point at hand, as we're in spooky season

308
00:16:36,040 --> 00:16:39,960
Speaker 2: and you clearly love music, I thought a Halloween themed

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00:16:40,040 --> 00:16:43,120
Speaker 2: FMK would be appropriate. Can't wait to hear the answers

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00:16:43,120 --> 00:16:46,160
Speaker 2: on this one. Keep up your amazing work, Chris S.

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00:16:46,960 --> 00:16:50,680
Speaker 2: And we have an FMK that is I don't know.

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00:16:50,800 --> 00:16:52,800
Speaker 2: It seems like it's right up your alley. It's definite.

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Speaker 1: Yeah, okay, oh, it's right up both of our allys.

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Speaker 1: I also, I am so curious to know how we

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Speaker 1: have influenced Chris to watch certain kinds of movies that

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00:17:02,200 --> 00:17:03,880
Speaker 1: are considered the right films. I want to know what

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Speaker 1: Chris thinks are the right films.

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Speaker 2: Yes, Chris didn't like movies at all, appearing until Us,

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00:17:09,800 --> 00:17:13,400
Speaker 2: Until Us.

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Speaker 1: Scary loving this. I havena wait for this email my

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Speaker 1: whole fucking life. Are you kidding me?

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00:17:18,440 --> 00:17:24,119
Speaker 2: You really turned him out? Danielle, you like movies before

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00:17:24,160 --> 00:17:25,280
Speaker 2: you came along? Girl?

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00:17:25,960 --> 00:17:27,080
Speaker 1: What what did it for you?

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00:17:27,240 --> 00:17:27,560
Speaker 2: Was it?

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00:17:29,240 --> 00:17:32,000
Speaker 1: Possession? Was it?

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Speaker 2: I wasn't border to be honest. Okay, are you ready

328
00:17:37,680 --> 00:17:38,400
Speaker 2: for this FMK?

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00:17:38,920 --> 00:17:40,840
Speaker 1: I'm so ready for them?

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00:17:41,400 --> 00:17:46,840
Speaker 2: All right? Halloween FMK from Chris As your choices are

331
00:17:47,359 --> 00:17:52,840
Speaker 2: Pete Steele. Well, I'm assuming is Peter Steele from Typo Negative.

332
00:17:53,119 --> 00:17:54,639
Speaker 1: Don't get them a cheat sheet? Let him look at

333
00:17:54,720 --> 00:17:56,280
Speaker 1: let me go to Google's.

334
00:17:56,080 --> 00:17:59,439
Speaker 2: All right, fine, Rob Zombie, I won't tell you what

335
00:17:59,520 --> 00:18:00,280
Speaker 2: band he.

336
00:18:01,760 --> 00:18:07,480
Speaker 4: And Nick cave Wow, all right, I'm gonna give you

337
00:18:07,480 --> 00:18:10,080
Speaker 4: my answers in rapid succession because this is so easy

338
00:18:10,080 --> 00:18:12,840
Speaker 4: for me, and then I will explain the answer. Oh, absolutely,

339
00:18:12,880 --> 00:18:13,560
Speaker 4: go ahead.

340
00:18:13,840 --> 00:18:18,119
Speaker 1: Okay, fuck Peter Steele married to cave kill Rob Zombie.

341
00:18:20,160 --> 00:18:22,320
Speaker 2: Very interesting, Let's go.

342
00:18:22,600 --> 00:18:26,320
Speaker 1: Did you ever see Peter Steele on Jerry Springer? Uh?

343
00:18:26,400 --> 00:18:28,920
Speaker 2: Yes, I did. That shows up on TikTok once in

344
00:18:29,000 --> 00:18:29,359
Speaker 2: a while.

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00:18:31,160 --> 00:18:34,880
Speaker 1: Every time it does like, how are these people? How

346
00:18:34,880 --> 00:18:39,280
Speaker 1: are the children getting to this? What was the exact

347
00:18:39,440 --> 00:18:42,680
Speaker 1: search function that brought you to Beete Steel on Jerry

348
00:18:42,760 --> 00:18:48,960
Speaker 1: Springer in the nineties. I'm fucking he's tall, He's super tall.

349
00:18:49,160 --> 00:18:53,160
Speaker 1: You've got that voice. Yeah, he's a like just creepy

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00:18:53,320 --> 00:18:57,960
Speaker 1: enough mm hmm again weird l I'm into it. I'll

351
00:18:57,960 --> 00:19:00,480
Speaker 1: give it a shot. She got that long ass hair, like,

352
00:19:00,840 --> 00:19:02,960
Speaker 1: bring it the fuck on. He seems like he's kind

353
00:19:02,960 --> 00:19:07,200
Speaker 1: of built underneath. Yeah, all the you know the goth stuff.

354
00:19:07,200 --> 00:19:11,840
Speaker 1: Oh yeah, yeah, yeah, yeah, I'm fucking beat steel. Absolutely, yeah,

355
00:19:11,880 --> 00:19:16,000
Speaker 1: marrying Nick Cave because his music is eternal in my life.

356
00:19:16,119 --> 00:19:19,080
Speaker 1: Through every season of life, Nick Cave has shown up. Yes,

357
00:19:20,320 --> 00:19:23,080
Speaker 1: absolutely today, I know I told you. I don't know

358
00:19:23,080 --> 00:19:24,440
Speaker 1: if I told the listeners that I saw him in

359
00:19:24,520 --> 00:19:25,400
Speaker 1: Los Phillies once.

360
00:19:26,359 --> 00:19:29,920
Speaker 2: No, oh wit, no you did, like maybe very very

361
00:19:29,960 --> 00:19:31,400
Speaker 2: early days of the podcast.

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00:19:31,800 --> 00:19:33,479
Speaker 1: Yeah, and he was just like a dad with his

363
00:19:33,560 --> 00:19:37,240
Speaker 1: kid walking around and I'm like, I could have that

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00:19:37,320 --> 00:19:40,600
Speaker 1: afternoon with him. That could be a marriage. Yeah, just

365
00:19:40,680 --> 00:19:44,280
Speaker 1: walking around looking at bookstores, having a little diner food

366
00:19:44,320 --> 00:19:45,720
Speaker 1: at Fred sixty two.

367
00:19:46,080 --> 00:19:47,840
Speaker 2: Yes, that sounds lovely.

368
00:19:48,200 --> 00:19:50,320
Speaker 1: I'm into that. And then he got in I think

369
00:19:50,320 --> 00:19:51,800
Speaker 1: I did talk about it because I expected him to

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00:19:51,800 --> 00:19:53,119
Speaker 1: get into a hearse and he got into like a

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Speaker 1: pickup truck.

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00:19:54,320 --> 00:19:56,200
Speaker 2: Oh right, right right, you were like what? Yeah, I

373
00:19:56,200 --> 00:19:58,480
Speaker 2: think we ended up talking about like famous people's cars.

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Speaker 1: Yeah, like it was like a new make up drucking'

375
00:20:00,600 --> 00:20:03,119
Speaker 1: like what's having in here? But yeah, that seems like

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00:20:03,119 --> 00:20:05,679
Speaker 1: a nice little day. And again he's Nick kne he

377
00:20:05,760 --> 00:20:06,840
Speaker 1: ate in my face all the time.

378
00:20:07,600 --> 00:20:10,880
Speaker 2: Yeah, he's a world traveling musician. He will not be.

379
00:20:10,880 --> 00:20:15,640
Speaker 1: Home hanging around. Bye love you see when you get here, bye, goodbye, goodbye.

380
00:20:15,840 --> 00:20:20,280
Speaker 1: And then Rob Zombie. I mean, look, I am a

381
00:20:20,280 --> 00:20:22,159
Speaker 1: person who used to have dreadlogs. I had dreadlocks for

382
00:20:22,160 --> 00:20:27,720
Speaker 1: about ten years and frequently got complimented on them because

383
00:20:27,720 --> 00:20:31,920
Speaker 1: I took very good care of my dreadlocks. So teach,

384
00:20:32,000 --> 00:20:35,639
Speaker 1: we're talking, teacher, your old shampoo shade butter. Yeah, like,

385
00:20:35,640 --> 00:20:38,879
Speaker 1: shit was tight, scalp was clean. I do not know

386
00:20:38,960 --> 00:20:44,480
Speaker 1: what's crawling out of Rob Zombie's head or that hat. Yeah,

387
00:20:44,520 --> 00:20:46,439
Speaker 1: so he gotta go, And I'm not a fan of

388
00:20:46,440 --> 00:20:47,639
Speaker 1: his films, so he gotta go.

389
00:20:48,960 --> 00:20:51,040
Speaker 2: Remember when he wore that, Like did he used to

390
00:20:51,040 --> 00:20:53,560
Speaker 2: wear like kind of those like court Jester hats? Or

391
00:20:53,600 --> 00:20:56,680
Speaker 2: am I thinking of what do you call those hats?

392
00:20:57,080 --> 00:21:00,080
Speaker 1: The court Jester hat is the one that arcs out with.

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00:21:02,000 --> 00:21:03,840
Speaker 1: I would have loved that season for him.

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00:21:05,040 --> 00:21:08,920
Speaker 2: What it's like he wore. It's like the hat. It's

395
00:21:08,920 --> 00:21:13,760
Speaker 2: not a beret, but it Yeah, it's like a nineties

396
00:21:13,800 --> 00:21:18,000
Speaker 2: had to me, like Jeff Ahments from Pearl Jam wore

397
00:21:18,119 --> 00:21:18,879
Speaker 2: a war.

398
00:21:18,760 --> 00:21:26,679
Speaker 1: It a lot? Is that style the exaggerated beret of

399
00:21:26,760 --> 00:21:29,320
Speaker 1: the nineties? I know I could picture exactly what you're

400
00:21:29,320 --> 00:21:30,520
Speaker 1: talking about, like that.

401
00:21:30,840 --> 00:21:36,439
Speaker 2: Patchwork pattern sometimes, and I kind of confused it in

402
00:21:36,480 --> 00:21:37,000
Speaker 2: my mind.

403
00:21:37,119 --> 00:21:39,720
Speaker 1: Just now. For l Jorgensen's hat.

404
00:21:41,880 --> 00:21:44,760
Speaker 2: People were like a wide headbands a lot, you were

405
00:21:44,800 --> 00:21:45,640
Speaker 2: a wide head band.

406
00:21:45,680 --> 00:21:48,600
Speaker 1: But then didn't he occasionally have that like real tall

407
00:21:48,760 --> 00:21:53,240
Speaker 1: Abraham Lincoln looking top passing stove pipe hat. But it

408
00:21:53,320 --> 00:21:57,600
Speaker 1: was like a dusty stovepipe with like goggles on the outside.

409
00:21:58,119 --> 00:22:01,280
Speaker 2: Yeah, it was like a steampunk was proto steampunk?

410
00:22:01,480 --> 00:22:05,360
Speaker 1: That proto steampunk hat. I thought maybe maybe uh Rob

411
00:22:05,440 --> 00:22:07,879
Speaker 1: Zombie had touched upon that at one point in his life.

412
00:22:08,800 --> 00:22:11,720
Speaker 2: Wow, it's like the big mountain dreads, right, the snake

413
00:22:11,720 --> 00:22:13,720
Speaker 2: eating the tail or what.

414
00:22:14,000 --> 00:22:17,879
Speaker 1: Is a snake eating a mouse dressed mouse dress? Like

415
00:22:19,280 --> 00:22:22,720
Speaker 1: I used to I used to be on a dreadlock

416
00:22:23,800 --> 00:22:28,520
Speaker 1: forum like community, real early days like or like we're

417
00:22:28,520 --> 00:22:31,600
Speaker 1: talking over twenty years ago, early internet. Sure, it was

418
00:22:31,640 --> 00:22:36,359
Speaker 1: pretty hilarious because I just like twirled my hair once

419
00:22:37,040 --> 00:22:39,200
Speaker 1: and let it do its thing, and then I had dreadlocks.

420
00:22:39,440 --> 00:22:39,600
Speaker 2: Yeah.

421
00:22:39,640 --> 00:22:42,160
Speaker 1: Yeah, But the forum was like a lot of white

422
00:22:42,240 --> 00:22:44,600
Speaker 1: people being like, how do I do dreadlocks? And they

423
00:22:44,600 --> 00:22:46,640
Speaker 1: were talking to each other about how to start them?

424
00:22:47,000 --> 00:22:50,120
Speaker 1: Oh wow, and so many people were like, you got

425
00:22:50,119 --> 00:22:52,560
Speaker 1: to use beeswax, you got to use like all this

426
00:22:52,640 --> 00:22:55,760
Speaker 1: stuff to kind of build it up. And then they

427
00:22:55,800 --> 00:22:58,920
Speaker 1: would do that and years later come back and be like, hey,

428
00:22:58,920 --> 00:23:01,479
Speaker 1: I cut off my dreadlock. And they would cut they

429
00:23:01,480 --> 00:23:04,880
Speaker 1: would show the cut dreadlocks and the inside. You know how,

430
00:23:05,119 --> 00:23:08,280
Speaker 1: instead of looking like a tree with the rings that

431
00:23:08,320 --> 00:23:11,720
Speaker 1: indicate years of life, it was just a dreadlock with

432
00:23:11,800 --> 00:23:15,959
Speaker 1: the rings that indicated layers of filth. It was just

433
00:23:16,080 --> 00:23:21,040
Speaker 1: like bees wax and bees wax and dust, like actual

434
00:23:21,200 --> 00:23:25,320
Speaker 1: dust like branches and twigs and leaves like these are

435
00:23:25,359 --> 00:23:27,000
Speaker 1: like a compost pile.

436
00:23:27,720 --> 00:23:28,240
Speaker 2: Wow.

437
00:23:28,560 --> 00:23:31,160
Speaker 1: And I'm like that was on your head for how

438
00:23:31,200 --> 00:23:35,680
Speaker 1: many years? Like this is why appropriation does not work

439
00:23:35,760 --> 00:23:39,080
Speaker 1: for everyone. If your hair, regardless of your race, if

440
00:23:39,080 --> 00:23:42,800
Speaker 1: your hair does not naturally dread, maybe it ain't for you.

441
00:23:43,359 --> 00:23:47,600
Speaker 2: Yeah, I feel like, Okay, I just googled a picture

442
00:23:47,600 --> 00:23:48,439
Speaker 2: of Rob Zombie.

443
00:23:48,520 --> 00:23:51,480
Speaker 1: Now, oh I have this is also the thing. I'm

444
00:23:51,680 --> 00:23:53,280
Speaker 1: thinking Rob Zombie nineties, So.

445
00:23:53,560 --> 00:23:55,520
Speaker 2: Yeah, yeah, I know. That's why I was wondering if

446
00:23:55,560 --> 00:23:57,280
Speaker 2: he still had the dreadlocks. That's why I was like,

447
00:23:57,480 --> 00:24:00,520
Speaker 2: has he kept that? Look? I mean, it's seems like

448
00:24:00,680 --> 00:24:03,520
Speaker 2: I can't tell if this is just extremely tangled long

449
00:24:03,600 --> 00:24:07,639
Speaker 2: hair or a dreadlock. It's like dancing on the line.

450
00:24:08,200 --> 00:24:11,479
Speaker 1: I'm looking at a current picture of Rob Zombie and

451
00:24:11,520 --> 00:24:17,400
Speaker 1: it just looks like I've been electrocuted and it changed

452
00:24:17,680 --> 00:24:21,159
Speaker 1: the texture of my hair to straw. I don't know

453
00:24:21,200 --> 00:24:22,760
Speaker 1: why I'm going so hard on this man's hair.

454
00:24:22,960 --> 00:24:25,600
Speaker 2: No, no, no, I mean listen, this is part of

455
00:24:25,720 --> 00:24:29,359
Speaker 2: part of the you know, the discursive nature of the

456
00:24:29,440 --> 00:24:33,000
Speaker 2: FMK we're talking about this shit. Actually, there was a

457
00:24:33,040 --> 00:24:36,720
Speaker 2: period I think, where he had just long hair where

458
00:24:36,720 --> 00:24:37,760
Speaker 2: he looks fucking great.

459
00:24:38,440 --> 00:24:42,480
Speaker 1: Yeah, he just had like like an ombre going a Hopprey.

460
00:24:43,640 --> 00:24:46,760
Speaker 1: It looked good Rob Zombie and an Ombre yo and like.

461
00:24:46,720 --> 00:24:48,560
Speaker 2: The dark beard pretty good.

462
00:24:48,920 --> 00:24:50,800
Speaker 1: But can you get with that? If that was the

463
00:24:50,880 --> 00:24:54,480
Speaker 1: norm he'd be, I would boot whoever I needed to

464
00:24:54,520 --> 00:24:58,080
Speaker 1: boot to change this list to fuckable at least. Well.

465
00:24:58,119 --> 00:25:00,359
Speaker 2: And then but then there is he he's got a

466
00:25:00,359 --> 00:25:02,800
Speaker 2: gray beard, so this might be more current where it

467
00:25:02,880 --> 00:25:08,240
Speaker 2: is dreads. It looks like actual dreads so yikes. Yeah, okay,

468
00:25:08,400 --> 00:25:11,560
Speaker 2: well this is uh, this is all good intel for

469
00:25:11,680 --> 00:25:13,000
Speaker 2: made for my choices.

470
00:25:14,240 --> 00:25:15,920
Speaker 1: Yeah, that was that was easy for me. I'm also

471
00:25:15,960 --> 00:25:17,840
Speaker 1: looking at it at a picture of Rob Zombie with

472
00:25:18,080 --> 00:25:19,600
Speaker 1: dreads in a Trilby hat.

473
00:25:20,520 --> 00:25:21,200
Speaker 2: What's the trill?

474
00:25:21,920 --> 00:25:23,440
Speaker 1: Like, don't be getting Let me see if I could

475
00:25:23,600 --> 00:25:25,800
Speaker 1: put it in the chat, like, don't be getting all

476
00:25:26,000 --> 00:25:29,280
Speaker 1: fucking cute with your hats? Hang on, put this in

477
00:25:29,280 --> 00:25:30,880
Speaker 1: the chat. Yeah, you gotta see this.

478
00:25:31,000 --> 00:25:36,280
Speaker 2: We need like a chart of annoying men's rock and

479
00:25:36,359 --> 00:25:39,080
Speaker 2: roll hats because I don't know what to call them.

480
00:25:39,440 --> 00:25:42,080
Speaker 1: Here's the chart, all of them. Get on your head.

481
00:25:42,440 --> 00:25:45,439
Speaker 2: I don't know what the Jeff Aument hat was called.

482
00:25:45,480 --> 00:25:46,560
Speaker 2: I mean this is annoying.

483
00:25:46,600 --> 00:25:49,239
Speaker 1: I need the Jeff Ament hat was also like the

484
00:25:50,720 --> 00:25:55,240
Speaker 1: like the nineteen seventies what's happening rerun hat?

485
00:25:55,640 --> 00:25:59,200
Speaker 2: Yes, oh yeah, he looks like this is I think

486
00:25:59,200 --> 00:26:01,560
Speaker 2: he's wearing like a rostafarian's hat.

487
00:26:02,200 --> 00:26:04,720
Speaker 1: Why is he doing that? Yeah?

488
00:26:05,240 --> 00:26:10,200
Speaker 2: The fuzzy, the fuzzy caangle. There's a fuzzy caangle when

489
00:26:10,200 --> 00:26:11,080
Speaker 2: it comes to hats.

490
00:26:11,160 --> 00:26:13,160
Speaker 1: I think everyone should err on the try of Maybe

491
00:26:13,200 --> 00:26:13,879
Speaker 1: I won't try it.

492
00:26:17,080 --> 00:26:20,440
Speaker 2: I just wear what they call dad caps.

493
00:26:21,720 --> 00:26:24,000
Speaker 1: I'm cool with a dad cat at beanie, Like, I'm

494
00:26:24,000 --> 00:26:26,639
Speaker 1: actually cool with anything. I don't care what people choose

495
00:26:26,640 --> 00:26:30,760
Speaker 1: for themselves day to day, but I will judge it

496
00:26:30,760 --> 00:26:31,359
Speaker 1: in my head.

497
00:26:31,760 --> 00:26:34,520
Speaker 2: I like talking about it. I'm not saying i'm judging.

498
00:26:34,560 --> 00:26:38,400
Speaker 2: I just like the discourse. Oh I see, Yeah, it's

499
00:26:38,480 --> 00:26:42,840
Speaker 2: kind of like a Fedora with the Bill Flatten. Why

500
00:26:42,840 --> 00:26:43,600
Speaker 2: would he do that?

501
00:26:44,160 --> 00:26:49,080
Speaker 1: Also, his name is Robert Bartley Cummings. Of course it is,

502
00:26:49,800 --> 00:26:52,440
Speaker 1: that is and he's from Haverhill, Massachusetts.

503
00:26:53,160 --> 00:26:59,680
Speaker 2: Yeah yeah, Okay, well just to knock this, just to

504
00:26:59,720 --> 00:27:04,919
Speaker 2: knock this out finally with this FMK for our Halloween season.

505
00:27:05,000 --> 00:27:07,480
Speaker 1: And to get me off of this Rob Zombie image page.

506
00:27:07,760 --> 00:27:10,560
Speaker 2: No, because we're because we're about to return to it. Okay,

507
00:27:10,840 --> 00:27:14,520
Speaker 2: here are my answers. My answers are as follows for

508
00:27:14,560 --> 00:27:18,160
Speaker 2: this Halloween FMK. I am going to fuck Nick Cave,

509
00:27:18,880 --> 00:27:21,840
Speaker 2: I'm going to marry Peter Steele, and I am killing

510
00:27:21,920 --> 00:27:22,480
Speaker 2: Rob zon.

511
00:27:23,960 --> 00:27:25,080
Speaker 1: Asbie.

512
00:27:25,720 --> 00:27:29,399
Speaker 2: Sorry, I'll go in reverse order because we're already on

513
00:27:29,440 --> 00:27:32,280
Speaker 2: the subject. The reason why I'm killing Rob Zombie is

514
00:27:32,320 --> 00:27:38,680
Speaker 2: that I feel like we have We're very close in interests, right,

515
00:27:39,400 --> 00:27:41,840
Speaker 2: and as much as I was like, oh, I would

516
00:27:41,920 --> 00:27:45,680
Speaker 2: love to date a guy who like likes cult movies

517
00:27:45,720 --> 00:27:48,439
Speaker 2: and probably knows everything that I know, I can just

518
00:27:48,440 --> 00:27:51,120
Speaker 2: see it being a fight like, I can just see

519
00:27:51,160 --> 00:27:55,200
Speaker 2: him being like, actually, Barbara Steele wasn't in that movie.

520
00:27:55,280 --> 00:27:56,800
Speaker 2: She was in you know, and I'd just be like,

521
00:27:56,880 --> 00:27:59,960
Speaker 2: I'm gonna fucking punch you in the dreadlock.

522
00:28:01,440 --> 00:28:04,080
Speaker 1: So you have to kill Rob Zombie in the FMK

523
00:28:04,520 --> 00:28:06,560
Speaker 1: because if you were with Rom Zobbie in real life,

524
00:28:06,560 --> 00:28:07,720
Speaker 1: you would actually murder it.

525
00:28:08,200 --> 00:28:11,439
Speaker 2: Yes, because we're too similar, I think, is what would happen.

526
00:28:11,720 --> 00:28:14,080
Speaker 2: And I won't go beyond that. I mean, I've actually like,

527
00:28:14,480 --> 00:28:16,520
Speaker 2: I've been around him, I've worked with him before, and

528
00:28:17,080 --> 00:28:19,640
Speaker 2: we actually I know people that are friends with him.

529
00:28:20,000 --> 00:28:22,600
Speaker 2: It would just be like dating myself. And do I

530
00:28:22,640 --> 00:28:24,399
Speaker 2: really want to do that? I don't think so.

531
00:28:25,080 --> 00:28:27,159
Speaker 1: I don't think it's what it's cracked. Everyone points to

532
00:28:27,240 --> 00:28:29,520
Speaker 1: dating yourself as the mark of self esteem. I think

533
00:28:29,560 --> 00:28:30,520
Speaker 1: it's quite the opposite.

534
00:28:31,160 --> 00:28:33,920
Speaker 2: Well, I think instinctially you're like, oh, I just want

535
00:28:33,960 --> 00:28:36,600
Speaker 2: to date somebody that likes everything that I like. But

536
00:28:36,640 --> 00:28:38,640
Speaker 2: then you're like, but then you have to you know,

537
00:28:39,080 --> 00:28:41,920
Speaker 2: there's a power struggle, and what's that going to be like?

538
00:28:42,520 --> 00:28:45,960
Speaker 2: So that's that's what I'm killing. I am going to

539
00:28:46,560 --> 00:28:48,360
Speaker 2: actually I'm going to go in weird order. So I

540
00:28:48,480 --> 00:28:52,920
Speaker 2: killed Rom zombie. I'm gonna fuck Nick Cave because I

541
00:28:52,960 --> 00:28:58,680
Speaker 2: think ultimately the reason why I want to fuck him

542
00:28:58,760 --> 00:29:00,760
Speaker 2: is just really because I feel like it would just

543
00:29:00,760 --> 00:29:03,960
Speaker 2: be like a really romantic weekend, Like we could do

544
00:29:04,040 --> 00:29:07,880
Speaker 2: the thing where we're like in Romania and we have

545
00:29:08,000 --> 00:29:13,520
Speaker 2: this like wonderful, like wine infuse romantic weekend where we're

546
00:29:14,040 --> 00:29:19,080
Speaker 2: you know, hanging out in a castle and wearing velvet clothes.

547
00:29:19,600 --> 00:29:22,040
Speaker 1: If you're a fucking nick Kay for even one night,

548
00:29:22,080 --> 00:29:23,840
Speaker 1: you're absolutely going to a castle at some point.

549
00:29:24,240 --> 00:29:28,560
Speaker 2: Exactly. I just see it being a romantic weekend because

550
00:29:28,640 --> 00:29:32,000
Speaker 2: ultimately I want to marry Peter Steele because he is

551
00:29:32,400 --> 00:29:38,000
Speaker 2: probably my shitty little vampire. Like that's a good candidate

552
00:29:38,040 --> 00:29:39,200
Speaker 2: for my shitty little vampire.

553
00:29:39,200 --> 00:29:41,680
Speaker 1: We're good. He'd be in that bunker with you doing

554
00:29:41,680 --> 00:29:44,719
Speaker 1: some some spooky shit with like skull rings on.

555
00:29:45,360 --> 00:29:47,880
Speaker 2: Well, and like here here's the weird thing about him,

556
00:29:47,960 --> 00:29:49,880
Speaker 2: and I want to put this out here. I don't

557
00:29:49,960 --> 00:29:52,840
Speaker 2: know any of these men, okay, so like this is

558
00:29:52,880 --> 00:29:54,680
Speaker 2: just a game we play. We don't know who they

559
00:29:54,680 --> 00:29:57,880
Speaker 2: are in real life. When I was watching the interviews

560
00:29:58,120 --> 00:30:01,400
Speaker 2: with him in his Haydays, the Jerry Springer, I feel

561
00:30:01,440 --> 00:30:03,880
Speaker 2: like he was on Jenny Jones too or something like. Yeah,

562
00:30:04,640 --> 00:30:07,000
Speaker 2: he was doing like a whole talk short show tour.

563
00:30:07,920 --> 00:30:10,640
Speaker 2: Everybody was horny for him because he was in Playgirl,

564
00:30:11,000 --> 00:30:16,440
Speaker 2: right exactly. Yeah, I I never saw him in Playgirl.

565
00:30:17,200 --> 00:30:20,040
Speaker 2: I mean I've seen like pictures like online with like

566
00:30:20,400 --> 00:30:23,239
Speaker 2: something you know, glazed over the you know what, But

567
00:30:23,320 --> 00:30:25,920
Speaker 2: like that was his claim to fame for people who

568
00:30:26,000 --> 00:30:27,760
Speaker 2: don't even know who the fuck this guy is. He

569
00:30:27,800 --> 00:30:29,760
Speaker 2: was the least singer of a band called Typo Negative.

570
00:30:29,920 --> 00:30:35,560
Speaker 2: They actually rule Love Type, They're fucking great. But he

571
00:30:35,760 --> 00:30:39,840
Speaker 2: was like he was famous for being in Playgirl because

572
00:30:39,880 --> 00:30:41,840
Speaker 2: he had a big schlang and whatnot?

573
00:30:42,040 --> 00:30:46,800
Speaker 1: Do they show and they they show dog in Playgirl. Yes,

574
00:30:48,000 --> 00:30:49,600
Speaker 1: I guess that shouldn't be a surprise to me.

575
00:30:50,000 --> 00:30:52,120
Speaker 2: No, no, no, oh they do for sure.

576
00:30:52,400 --> 00:30:54,440
Speaker 1: Well he's like seven feet tall. Of course he got

577
00:30:54,440 --> 00:30:56,440
Speaker 1: a big dog. Woirl.

578
00:30:56,480 --> 00:30:58,520
Speaker 2: If he didn't, well, that's the thing is that, like

579
00:30:58,560 --> 00:31:00,880
Speaker 2: they probably would have put more famous people, and like

580
00:31:01,080 --> 00:31:06,040
Speaker 2: it felt like not a lot of famous people wanted

581
00:31:06,040 --> 00:31:06,880
Speaker 2: to do Playgirl.

582
00:31:08,920 --> 00:31:09,840
Speaker 1: I wonder why.

583
00:31:09,960 --> 00:31:12,440
Speaker 2: But so he was the one who was bold enough

584
00:31:12,480 --> 00:31:13,720
Speaker 2: to be like, yo, I'm gonna do it.

585
00:31:14,240 --> 00:31:19,520
Speaker 1: He's like because I can fuck off. Also, just for

586
00:31:19,560 --> 00:31:22,480
Speaker 1: everyone out there, I'm sure everyone knows this, or most

587
00:31:22,480 --> 00:31:24,800
Speaker 1: people do, but we weirdly have a lot of young listeners.

588
00:31:26,160 --> 00:31:28,120
Speaker 1: It ain't the size of the boat, it's the motion

589
00:31:28,240 --> 00:31:31,600
Speaker 1: of the ocean. Sometimes you don't need all that, you know,

590
00:31:32,120 --> 00:31:33,400
Speaker 1: it's literally too much.

591
00:31:34,400 --> 00:31:37,920
Speaker 2: You don't need all that. We're like, we're not. I

592
00:31:37,960 --> 00:31:40,120
Speaker 2: don't know. Maybe it's just says I'm old. I don't

593
00:31:40,120 --> 00:31:43,640
Speaker 2: care about anything. I care about little to nothing. At

594
00:31:43,640 --> 00:31:47,880
Speaker 2: this point, you could show up with god no rules.

595
00:31:49,160 --> 00:31:51,520
Speaker 1: You can show up, take off your pants, and I'm

596
00:31:51,560 --> 00:31:57,320
Speaker 1: just looking at like the fucking oracle it DELFI between

597
00:31:57,320 --> 00:32:03,280
Speaker 1: your legs. I don't care, like you drop trou and

598
00:32:03,320 --> 00:32:07,160
Speaker 1: it's just like a bunch of mice playing saxophone. I

599
00:32:07,160 --> 00:32:07,640
Speaker 1: don't care.

600
00:32:07,880 --> 00:32:12,960
Speaker 2: Yeah, yeah, I care about little to nothing. I want

601
00:32:12,960 --> 00:32:16,440
Speaker 2: to emphasize that. Come on, like we're too old to

602
00:32:16,480 --> 00:32:18,920
Speaker 2: be like Parsons shit like this out like Pete. But

603
00:32:19,400 --> 00:32:23,080
Speaker 2: I will say that Peter Steele, Pete Steel was like

604
00:32:23,600 --> 00:32:25,800
Speaker 2: that was his claim to fame, right even though his

605
00:32:25,960 --> 00:32:28,640
Speaker 2: band was great. And but here's what we'll say, and

606
00:32:28,680 --> 00:32:29,920
Speaker 2: this is the reason why I was like, I kind

607
00:32:29,960 --> 00:32:32,920
Speaker 2: of want to marry this guy. When I was watching

608
00:32:32,960 --> 00:32:37,240
Speaker 2: the interviews, Like many fucking dark goth guys, he was

609
00:32:37,320 --> 00:32:39,880
Speaker 2: kind of dorky, Like you can tell there was like

610
00:32:39,920 --> 00:32:45,000
Speaker 2: a thin veneer of dorkiness under his you know, I

611
00:32:45,040 --> 00:32:49,120
Speaker 2: don't know, like big dick energy. I suppose absolutely.

612
00:32:49,600 --> 00:32:53,840
Speaker 1: He's one of those goth guys that I absolutely live for,

613
00:32:54,960 --> 00:32:57,800
Speaker 1: where they present one way in a way that is

614
00:32:57,840 --> 00:33:01,280
Speaker 1: meant or was in the past, meant to discourage and

615
00:33:01,320 --> 00:33:05,600
Speaker 1: frighten most people. Yeah, and then underneath they are d

616
00:33:05,720 --> 00:33:08,760
Speaker 1: and D playing Rhodes scholars.

617
00:33:08,680 --> 00:33:13,200
Speaker 2: Yeah, and and puppy dogs like That's that's my thing.

618
00:33:13,720 --> 00:33:15,720
Speaker 2: And that's why I love a shitty little vampire is

619
00:33:15,760 --> 00:33:17,480
Speaker 2: because I'm like, yo, you look like you're about to

620
00:33:18,080 --> 00:33:22,320
Speaker 2: kill somebody. But when when I know you, when we

621
00:33:22,360 --> 00:33:24,959
Speaker 2: go home, when you come off the set of Jerry Springer,

622
00:33:25,000 --> 00:33:30,080
Speaker 2: you're a huge fucking dork and you're sweet and nice

623
00:33:30,720 --> 00:33:34,920
Speaker 2: and and loyal and all of those things. So that's

624
00:33:34,960 --> 00:33:36,960
Speaker 2: that's what I mean. And that's why I thought, okay,

625
00:33:37,000 --> 00:33:39,720
Speaker 2: I would marry him, because I got a vibe that

626
00:33:39,880 --> 00:33:42,080
Speaker 2: he was kind of dork. And again, I don't know

627
00:33:42,160 --> 00:33:45,840
Speaker 2: him in real life. Don't send me your stories about

628
00:33:45,840 --> 00:33:47,760
Speaker 2: how you hung out with Pete Steel back in the

629
00:33:47,840 --> 00:33:49,040
Speaker 2: nineties and he was this and that.

630
00:33:49,680 --> 00:33:52,200
Speaker 1: No, and he's dead, so we don't need to go there, yeah,

631
00:33:52,240 --> 00:33:53,040
Speaker 1: because we'll never know.

632
00:33:53,560 --> 00:33:56,320
Speaker 2: But anyway, So that's my that's this is my list

633
00:33:56,360 --> 00:33:57,920
Speaker 2: for FMK this week. Oh my god.

634
00:33:58,200 --> 00:34:00,640
Speaker 1: I love this list. I love this list so much.

635
00:34:00,680 --> 00:34:03,720
Speaker 1: I love this email so much. Again, Chris S. You

636
00:34:03,760 --> 00:34:05,640
Speaker 1: don't have to write back in. I just love that

637
00:34:07,120 --> 00:34:10,560
Speaker 1: you have found some right films through the mayhem that

638
00:34:10,560 --> 00:34:14,320
Speaker 1: we have presented enough to give us this perfectly crafted FMK.

639
00:34:14,480 --> 00:34:15,000
Speaker 1: So thank you.

640
00:34:15,560 --> 00:34:19,080
Speaker 2: Yeah. I didn't think I liked any of these men

641
00:34:19,360 --> 00:34:20,399
Speaker 2: until you wrote in.

642
00:34:21,520 --> 00:34:23,880
Speaker 1: I thought I had zero thoughts about all these dudes

643
00:34:25,560 --> 00:34:27,759
Speaker 1: except Nick Cave. I'm like, yeah, listen Nick Cave all

644
00:34:27,760 --> 00:34:30,720
Speaker 1: the time. He's constantly on the rotage. He said, heavy rotage.

645
00:34:31,400 --> 00:34:34,240
Speaker 1: But I had no thoughts about fucking, marrying or killing

646
00:34:34,239 --> 00:34:35,160
Speaker 1: any of these guys.

647
00:34:35,520 --> 00:34:38,759
Speaker 2: Yes, So you changed our lives to Chris. We appreciate it.

648
00:34:38,840 --> 00:34:40,799
Speaker 1: I got to see a picture of Rob Zombie with

649
00:34:40,840 --> 00:34:46,880
Speaker 1: an ombre. I cannot point to anything that has changed

650
00:34:47,520 --> 00:34:54,799
Speaker 1: a facet of my existence more in the last five years.

651
00:34:56,920 --> 00:35:02,000
Speaker 2: So these films this week, Holy fucking shit.

652
00:35:02,520 --> 00:35:04,799
Speaker 1: Oh my God add to both of us.

653
00:35:04,880 --> 00:35:09,080
Speaker 2: To both of us, we always talk about how this

654
00:35:09,239 --> 00:35:11,279
Speaker 2: might be the most depressing week. This is the most

655
00:35:11,320 --> 00:35:14,719
Speaker 2: depressing double feature, this is this is pretty bad. This

656
00:35:14,880 --> 00:35:16,279
Speaker 2: is very depressing.

657
00:35:16,840 --> 00:35:19,040
Speaker 1: I will even go so far as to say that

658
00:35:19,600 --> 00:35:23,920
Speaker 1: your film, which I had never seen before, is easily

659
00:35:24,440 --> 00:35:29,400
Speaker 1: the most disturbing thing you have ever chosen for us

660
00:35:29,440 --> 00:35:29,920
Speaker 1: to watch.

661
00:35:30,360 --> 00:35:37,640
Speaker 2: Interesting. Interesting, you know. I wondered that when I chose it,

662
00:35:37,680 --> 00:35:41,760
Speaker 2: I was like, I wonder what people think about this movie.

663
00:35:41,680 --> 00:35:46,640
Speaker 1: So disturbing and in general the week, the movies this week,

664
00:35:47,400 --> 00:35:49,719
Speaker 1: I think put me in a particular place because it's

665
00:35:49,760 --> 00:35:53,880
Speaker 1: about people we used to be or could have been. Yeah,

666
00:35:54,480 --> 00:35:57,359
Speaker 1: so I'm just I'll tell you the theme just because, yes,

667
00:35:57,360 --> 00:35:59,719
Speaker 1: so we can really get into it. Our theme this

668
00:35:59,719 --> 00:36:05,040
Speaker 1: week is teenage girls trying to change their lives. That's right,

669
00:36:05,840 --> 00:36:09,919
Speaker 1: And oh my god, yeah, you're your movie. Your movie

670
00:36:10,000 --> 00:36:13,600
Speaker 1: is interesting too, because I went on one of these,

671
00:36:13,640 --> 00:36:16,560
Speaker 1: you know, a streaming service and bought it and then

672
00:36:16,600 --> 00:36:20,000
Speaker 1: it just was and it was a little expensive, because

673
00:36:20,000 --> 00:36:21,480
Speaker 1: I'm like, oh, maybe it's just because you know, it's

674
00:36:21,480 --> 00:36:24,759
Speaker 1: a hard to find film, a little expensive. Bought it

675
00:36:24,840 --> 00:36:28,680
Speaker 1: and it was the commentary someone doing full commentary over

676
00:36:28,719 --> 00:36:29,120
Speaker 1: the film.

677
00:36:29,320 --> 00:36:30,280
Speaker 2: Oh wow, weird.

678
00:36:30,280 --> 00:36:31,759
Speaker 1: So then I had to go and buy it or

679
00:36:31,840 --> 00:36:34,720
Speaker 1: you know, rent it again to see the actual film.

680
00:36:34,760 --> 00:36:36,360
Speaker 1: But then I went back and watched the one that

681
00:36:36,400 --> 00:36:39,120
Speaker 1: I first bought with the commentary, because after I watched

682
00:36:39,120 --> 00:36:41,960
Speaker 1: your movie, I was like, somebody got to bring me

683
00:36:42,000 --> 00:36:43,200
Speaker 1: down and explain this shit to me.

684
00:36:43,480 --> 00:36:46,880
Speaker 2: Yeah, yeah, yeah, who did the commentary? Do you remember?

685
00:36:47,200 --> 00:36:48,040
Speaker 1: I don't even remember.

686
00:36:48,280 --> 00:36:49,719
Speaker 2: Wow. Interesting.

687
00:36:50,200 --> 00:36:52,920
Speaker 1: I needed I needed help. I needed a handholding. I

688
00:36:52,960 --> 00:36:57,160
Speaker 1: needed you know, Carrot was not interested in shepherding me

689
00:36:57,200 --> 00:36:58,239
Speaker 1: through this experience.

690
00:36:59,280 --> 00:37:02,640
Speaker 2: Well that to say your film was a stone cold

691
00:37:02,680 --> 00:37:08,560
Speaker 2: bumber too. You think your film was fucking thirteen going

692
00:37:08,640 --> 00:37:12,200
Speaker 2: on thirty or some shit like, Man, I love a

693
00:37:12,239 --> 00:37:13,040
Speaker 2: stone cold bummer.

694
00:37:13,120 --> 00:37:14,680
Speaker 1: You know that I'm a dowur bitch.

695
00:37:14,880 --> 00:37:18,720
Speaker 2: I have not cracked this movie open since two thousand

696
00:37:18,760 --> 00:37:20,560
Speaker 2: and nine? Is that when it came out two thousand

697
00:37:20,560 --> 00:37:25,560
Speaker 2: and nine? Man, I was like, I A, there's one

698
00:37:25,600 --> 00:37:27,400
Speaker 2: scene where we were gonna talk about in just a second.

699
00:37:27,840 --> 00:37:31,759
Speaker 2: Well there's multiple scenes. But never have I been I

700
00:37:31,840 --> 00:37:33,960
Speaker 2: swear to god, I was thinking this as I was

701
00:37:34,000 --> 00:37:38,279
Speaker 2: rewatching it. I have never been more disappointed in a

702
00:37:38,280 --> 00:37:40,640
Speaker 2: male character ever.

703
00:37:40,840 --> 00:37:44,640
Speaker 1: Uh, Huh. This is the worst of what men have

704
00:37:44,719 --> 00:37:47,120
Speaker 1: to offer is on constant display in this movie.

705
00:37:47,400 --> 00:37:50,800
Speaker 2: And it happens to be an actor who I feel

706
00:37:50,880 --> 00:37:54,400
Speaker 2: affection for, and I'm trying to not let it ruin

707
00:37:55,920 --> 00:37:59,359
Speaker 2: my view of him, because he's also been in other

708
00:37:59,400 --> 00:38:02,759
Speaker 2: movies where he looked like shit and and felt like shit.

709
00:38:03,000 --> 00:38:05,360
Speaker 1: So movies that I've brought to this very podcast.

710
00:38:05,640 --> 00:38:08,360
Speaker 2: You love making this guy to a motherfucker.

711
00:38:08,640 --> 00:38:11,880
Speaker 1: This he loves it I am making for him. He

712
00:38:11,960 --> 00:38:15,799
Speaker 1: loves fucking on screen, and he loves disappointing the shit

713
00:38:15,880 --> 00:38:16,319
Speaker 1: oeud of you.

714
00:38:17,280 --> 00:38:19,520
Speaker 2: Is there, ever, Is there a movie that he's been

715
00:38:19,520 --> 00:38:21,920
Speaker 2: in where he's been like a fucking peach?

716
00:38:22,600 --> 00:38:25,720
Speaker 3: No, I don't think has He's always been a piece

717
00:38:25,760 --> 00:38:33,800
Speaker 3: of shit? Is this such a jectory of your fucking career.

718
00:38:34,560 --> 00:38:35,920
Speaker 3: I'm always need to be a little bit of a

719
00:38:35,960 --> 00:38:36,480
Speaker 3: piece of shit?

720
00:38:37,440 --> 00:38:37,920
Speaker 2: He was?

721
00:38:37,920 --> 00:38:38,520
Speaker 1: Was he okay?

722
00:38:38,560 --> 00:38:41,600
Speaker 2: And I glorious Bastard's got like give me something?

723
00:38:41,640 --> 00:38:44,279
Speaker 1: Nobody was okay in that movie. They were all fucking nightmares.

724
00:38:46,760 --> 00:38:49,160
Speaker 2: Well you're going first this week. I can't wait to

725
00:38:49,200 --> 00:38:51,480
Speaker 2: talk about this movie, because shit.

726
00:38:51,840 --> 00:38:54,880
Speaker 1: I sure the fuck am My movie, as Millie said,

727
00:38:54,920 --> 00:38:57,600
Speaker 1: was released in two thousand and nine. It was written

728
00:38:57,640 --> 00:39:00,640
Speaker 1: and directed by Andrea Arnold and my my film is

729
00:39:01,040 --> 00:39:06,480
Speaker 1: fish Tank, but you don't know nothing, So why should

730
00:39:06,520 --> 00:39:10,480
Speaker 1: always say? Is the first movie that I thought of

731
00:39:11,880 --> 00:39:17,040
Speaker 1: when you know, considering teenage girls who are you know,

732
00:39:17,080 --> 00:39:20,040
Speaker 1: trying to change their lives? And I really think the

733
00:39:20,040 --> 00:39:22,400
Speaker 1: theme was born out of my desire to bring this

734
00:39:22,480 --> 00:39:25,839
Speaker 1: film to the podcast because I just think it's fucking

735
00:39:25,840 --> 00:39:29,279
Speaker 1: phenomenal and from it's one of those movies. The first

736
00:39:29,280 --> 00:39:31,520
Speaker 1: time I saw it, it just stayed with me. It

737
00:39:31,600 --> 00:39:36,200
Speaker 1: felt like the most real portrayal of teen girled, modern

738
00:39:36,600 --> 00:39:38,960
Speaker 1: ish teen girldom that I'd seen in a long time

739
00:39:40,280 --> 00:39:45,600
Speaker 1: or ever. And I just fucking loved it. Yeah, I

740
00:39:45,680 --> 00:39:49,200
Speaker 1: just fucking loved it. So the movie is written and

741
00:39:49,239 --> 00:39:55,680
Speaker 1: directed by Andrea Arnold, who's fantastic total j She's you know,

742
00:39:55,719 --> 00:39:57,480
Speaker 1: gone to con Film Festival a lot, He's had a

743
00:39:57,480 --> 00:39:59,640
Speaker 1: lot of you know, she's done a lot of short

744
00:40:00,120 --> 00:40:04,520
Speaker 1: few short films, some TV, she directed some TV. She

745
00:40:04,920 --> 00:40:07,920
Speaker 1: actually directed a lot of big Little Lies, which I

746
00:40:07,920 --> 00:40:10,640
Speaker 1: thought was interesting because she has a good eye, like

747
00:40:10,680 --> 00:40:15,040
Speaker 1: she has such a fantastic eye. And then a lot

748
00:40:15,040 --> 00:40:17,759
Speaker 1: of films, so she's maybe you've seen American Honey, maybe

749
00:40:17,800 --> 00:40:21,040
Speaker 1: you've seen her version of Wuthering Heights, maybe you've seen

750
00:40:21,120 --> 00:40:24,799
Speaker 1: Red Road. She's just fantastic and she's you know, she's

751
00:40:24,840 --> 00:40:29,600
Speaker 1: just just this wonderful British director who I just have

752
00:40:29,760 --> 00:40:32,440
Speaker 1: always loved. This is not her first film, but it

753
00:40:32,480 --> 00:40:34,560
Speaker 1: was first film of hers that I saw, and I thought,

754
00:40:34,640 --> 00:40:37,840
Speaker 1: what a way to come out of the gate with

755
00:40:37,960 --> 00:40:40,560
Speaker 1: something so fantastic, And she's really cool. I watched a

756
00:40:40,560 --> 00:40:43,239
Speaker 1: lot of interviews about this film in particular, and she

757
00:40:44,160 --> 00:40:47,040
Speaker 1: loves dance in real life. Dance plays heavily into our film.

758
00:40:47,719 --> 00:40:50,759
Speaker 1: She loves dancing in real life. One thing I thought

759
00:40:50,760 --> 00:40:54,759
Speaker 1: was really interesting about this movie is that usually when

760
00:40:54,760 --> 00:40:59,480
Speaker 1: you're filming TV or film, you know TV or film,

761
00:41:00,000 --> 00:41:02,080
Speaker 1: you have a script that everyone gets and you just

762
00:41:02,600 --> 00:41:05,480
Speaker 1: give them the script and let them look at their parts.

763
00:41:06,000 --> 00:41:08,880
Speaker 1: On the day of filming, you might get something called sides,

764
00:41:09,239 --> 00:41:11,719
Speaker 1: which is where they'll print out scene by scene if

765
00:41:11,719 --> 00:41:13,480
Speaker 1: there are any changes, or you know, if you will

766
00:41:13,520 --> 00:41:15,279
Speaker 1: need to memorize something new, or if you just want

767
00:41:15,280 --> 00:41:18,120
Speaker 1: to focus on what's being done for that day, that

768
00:41:18,160 --> 00:41:20,880
Speaker 1: will be printed out and available to you. Andrew Arnold

769
00:41:20,880 --> 00:41:24,480
Speaker 1: did none of that. She did something filmed in a

770
00:41:24,760 --> 00:41:26,640
Speaker 1: way that was I think I believe is referred to

771
00:41:26,680 --> 00:41:32,759
Speaker 1: as continuity. So the actors who are not in a

772
00:41:32,800 --> 00:41:37,080
Speaker 1: scene didn't get to read those scenes they got so

773
00:41:37,120 --> 00:41:40,600
Speaker 1: they were their emotion for their characters and their character

774
00:41:40,760 --> 00:41:44,320
Speaker 1: thrust came from a lot of discussion with the director

775
00:41:44,320 --> 00:41:48,640
Speaker 1: and the writer. For example, there's a mom in this

776
00:41:48,680 --> 00:41:54,600
Speaker 1: film who's played by Kirsten Wearing, and she has an

777
00:41:54,600 --> 00:41:58,520
Speaker 1: interview where she was talking about how when she first

778
00:41:58,560 --> 00:42:01,520
Speaker 1: saw the film because of premier and when she first

779
00:42:01,520 --> 00:42:05,440
Speaker 1: saw the film, she didn't realize what was happening to

780
00:42:05,520 --> 00:42:09,640
Speaker 1: the girl and between the girl and Connor, essentially, she

781
00:42:09,680 --> 00:42:14,000
Speaker 1: was really surprised by that scene. Oh wow, yeah and yeah.

782
00:42:14,040 --> 00:42:16,840
Speaker 1: So there were just moments where if you're not in

783
00:42:16,920 --> 00:42:19,000
Speaker 1: the actual scene, a lot of the actors didn't know

784
00:42:19,000 --> 00:42:21,160
Speaker 1: what was going on with the rest of the film.

785
00:42:21,239 --> 00:42:24,160
Speaker 1: So it's an interesting way to direct, and I think

786
00:42:24,160 --> 00:42:27,239
Speaker 1: it brings a different emotion out of the story. But

787
00:42:27,280 --> 00:42:31,759
Speaker 1: it also is great for a director who wants who

788
00:42:31,840 --> 00:42:35,799
Speaker 1: wants to have that kind of deep connection to the

789
00:42:35,840 --> 00:42:39,160
Speaker 1: actors in their film because it is so conversational. It's

790
00:42:39,239 --> 00:42:41,680
Speaker 1: very much you know, oh, well, this scene is this

791
00:42:41,719 --> 00:42:43,040
Speaker 1: is how you should be feeling. This is how you

792
00:42:43,080 --> 00:42:44,920
Speaker 1: should be acting. Try it this way, try it that way.

793
00:42:45,040 --> 00:42:48,640
Speaker 1: Just gets a little bit more creativity and spontaneity to

794
00:42:49,120 --> 00:42:55,040
Speaker 1: these scenes. So my one sense. In synopsis A Fish Tank,

795
00:42:55,440 --> 00:42:59,360
Speaker 1: a volatle fifteen year old girl in English council housing

796
00:43:00,239 --> 00:43:03,360
Speaker 1: trying to use hip hop dancing as a way to

797
00:43:03,520 --> 00:43:09,160
Speaker 1: enhance her life, encounters the ultimate roadblock in her mom's

798
00:43:09,200 --> 00:43:09,840
Speaker 1: new boyfriend.

799
00:43:10,480 --> 00:43:12,320
Speaker 2: Yeah who.

800
00:43:12,760 --> 00:43:15,920
Speaker 1: So this film stars Katie Jarvis, who prior to this

801
00:43:16,000 --> 00:43:20,040
Speaker 1: had not acted before. The way that her audition came

802
00:43:20,040 --> 00:43:21,560
Speaker 1: about with the way that she got the role is

803
00:43:21,640 --> 00:43:24,200
Speaker 1: very funny. You should go look that up. Basically, it

804
00:43:24,239 --> 00:43:26,400
Speaker 1: was like Andrea Arnold kind of saw her and was like, hey,

805
00:43:26,440 --> 00:43:27,640
Speaker 1: do you want to be a movie in a movie?

806
00:43:27,640 --> 00:43:29,560
Speaker 1: And she was like yeah, fuck off. Like she basically

807
00:43:29,600 --> 00:43:31,360
Speaker 1: was like I want what are you talking again? In

808
00:43:31,400 --> 00:43:31,760
Speaker 1: my face?

809
00:43:32,960 --> 00:43:36,399
Speaker 2: Just like it's kind of like the Matt Dillon thing

810
00:43:36,880 --> 00:43:39,080
Speaker 2: when we talk about over the edges, like people just

811
00:43:39,120 --> 00:43:42,480
Speaker 2: like like kids walking around being bad kids and then

812
00:43:42,480 --> 00:43:44,040
Speaker 2: somebody's like, hey, you want to be in my movie.

813
00:43:44,680 --> 00:43:46,800
Speaker 2: I'm like, how came that ever happened to us?

814
00:43:47,080 --> 00:43:49,319
Speaker 1: We weren't bad enough Mellie, we were not bad enough.

815
00:43:49,480 --> 00:43:54,400
Speaker 2: I don't know, you seem bad. You've dated assassin assassins and.

816
00:43:55,800 --> 00:43:59,160
Speaker 1: Prisoners, and I was definitely a badass little kid in

817
00:43:59,200 --> 00:44:02,560
Speaker 1: a lot of ways, but not that not bad enough

818
00:44:02,600 --> 00:44:04,640
Speaker 1: to be like, huh, she's got something going on. I

819
00:44:04,719 --> 00:44:07,120
Speaker 1: was bad in a worrisome way, where like, what the

820
00:44:07,120 --> 00:44:09,000
Speaker 1: fuck is gonna happen to her if she doesn't straight

821
00:44:09,040 --> 00:44:09,839
Speaker 1: en up and fly right?

822
00:44:10,520 --> 00:44:13,440
Speaker 2: You weren't fucking like knocking girls in the nose with

823
00:44:13,560 --> 00:44:15,040
Speaker 2: your skull, is what you're saying.

824
00:44:15,480 --> 00:44:17,960
Speaker 1: Absolutely not headbutting anybody on purpose.

825
00:44:18,400 --> 00:44:20,879
Speaker 2: Okay, yeah, maybe a different than.

826
00:44:20,880 --> 00:44:23,120
Speaker 1: Also not having sex. I didn't not lose my virginity

827
00:44:23,200 --> 00:44:26,239
Speaker 1: until I was twenty one, right, so like I was,

828
00:44:26,360 --> 00:44:28,600
Speaker 1: I was, Which isn't to say that sex is bad.

829
00:44:28,640 --> 00:44:30,640
Speaker 1: I'm just saying that. I think a lot of the

830
00:44:30,680 --> 00:44:35,240
Speaker 1: reason people act poorly in their teen years is because

831
00:44:35,280 --> 00:44:38,480
Speaker 1: they are super hormonal and very horny, and they have

832
00:44:38,520 --> 00:44:43,880
Speaker 1: nowhere to put those emotions, so they end up acting out. Sure, Yeah,

833
00:44:43,920 --> 00:44:47,680
Speaker 1: whereas you know, I just wanted a boyfriend and couldn't

834
00:44:47,719 --> 00:44:48,880
Speaker 1: get one and just read books.

835
00:44:50,600 --> 00:44:55,759
Speaker 2: Me too, I just heart, That's all I did.

836
00:44:56,239 --> 00:44:59,560
Speaker 1: So that that prevented me from becoming a straight up sociopath.

837
00:45:01,600 --> 00:45:03,160
Speaker 1: I was pretty bad, though. You're right, I was a

838
00:45:03,200 --> 00:45:05,799
Speaker 1: pretty bad little kid in a lot of ways. I

839
00:45:05,840 --> 00:45:08,640
Speaker 1: was put it this way. I was a reckless adventurous child.

840
00:45:08,880 --> 00:45:11,520
Speaker 2: That's what I think it's more about. It's really just

841
00:45:11,560 --> 00:45:14,080
Speaker 2: like a maybe it's more of a Jois de vivra.

842
00:45:15,040 --> 00:45:18,440
Speaker 2: You weren't like a juvenile delinquent necessarily.

843
00:45:19,000 --> 00:45:23,160
Speaker 1: I was a reckless adventurous child who became a terrible

844
00:45:23,200 --> 00:45:26,200
Speaker 1: adult at a certain point in my life. I saved

845
00:45:26,200 --> 00:45:28,680
Speaker 1: my badghit for my twenties, where I did, in fact

846
00:45:28,760 --> 00:45:32,640
Speaker 1: date men with John Wick assassin level tattoos.

847
00:45:33,200 --> 00:45:34,320
Speaker 2: You dated a murderer.

848
00:45:34,400 --> 00:45:37,200
Speaker 1: We know that I dated an actual murderer, someone who

849
00:45:37,360 --> 00:45:43,680
Speaker 1: went on to kill someone jumping off speaker stacks. Yeah,

850
00:45:43,719 --> 00:45:46,840
Speaker 1: I dated a Scottish guy who jizzed in my fucking eyeball.

851
00:45:48,600 --> 00:45:52,239
Speaker 1: Like it was. It was bad.

852
00:45:54,600 --> 00:45:57,520
Speaker 2: I just scared my dog screaming hot that.

853
00:46:01,120 --> 00:46:17,960
Speaker 1: I had some experiences, yo, yo, I had some experiences, man, recover.

854
00:46:18,360 --> 00:46:21,719
Speaker 1: I don't know what else I should reveal you. I mean,

855
00:46:22,640 --> 00:46:24,440
Speaker 1: if you can handle what else I after reveal.

856
00:46:24,719 --> 00:46:28,319
Speaker 2: I don't know. That felt like a big piece of information.

857
00:46:28,880 --> 00:46:32,800
Speaker 2: I think you're I think you've really showed yourself.

858
00:46:33,840 --> 00:46:37,680
Speaker 1: Happened one time? He swore it was by accident, and

859
00:46:37,760 --> 00:46:40,160
Speaker 1: I genuinely wanted to rip his dick off his body,

860
00:46:41,640 --> 00:46:44,160
Speaker 1: like the feminism that came out of me in that moment.

861
00:46:45,280 --> 00:46:47,960
Speaker 1: It was like, what what kind of depraved the fuck?

862
00:46:48,680 --> 00:46:52,080
Speaker 1: This was an undisgusted This is not like a king?

863
00:46:52,239 --> 00:46:55,040
Speaker 1: What the fuck are you doing? You can't just go

864
00:46:55,160 --> 00:46:59,000
Speaker 1: from zero to jizzy in someone's eyeball with no conversation

865
00:46:59,160 --> 00:46:59,680
Speaker 1: in between.

866
00:47:00,760 --> 00:47:02,439
Speaker 2: Holy fucking chick.

867
00:47:03,080 --> 00:47:06,120
Speaker 1: Also, it's like, do I now have to worry about

868
00:47:06,160 --> 00:47:10,279
Speaker 1: ocular STIs? It is the fucking nineties, Like we are

869
00:47:10,280 --> 00:47:14,160
Speaker 1: a condom happy relationship and you're doing that shit.

870
00:47:14,640 --> 00:47:16,840
Speaker 2: Yo, My mind is blown.

871
00:47:17,239 --> 00:47:20,960
Speaker 1: Change my life, Change my fucking life. I was like,

872
00:47:21,000 --> 00:47:22,640
Speaker 1: I need to straighten up and fly right. I got

873
00:47:22,640 --> 00:47:24,239
Speaker 1: married a couple of years later. I couldn't handle it

874
00:47:24,600 --> 00:47:27,800
Speaker 1: right right, But yeah, I was. I was a reckless

875
00:47:27,840 --> 00:47:32,759
Speaker 1: and adventurous child who became a bad twenty year old.

876
00:47:33,200 --> 00:47:37,080
Speaker 1: Yeah for a while, and then yeah, but I could

877
00:47:37,080 --> 00:47:41,200
Speaker 1: have been mia Ynia is our main character in this film,

878
00:47:41,760 --> 00:47:45,600
Speaker 1: and she has it real fucking rough. I was. I

879
00:47:45,680 --> 00:47:48,160
Speaker 1: think that was kind of This connective point that I

880
00:47:48,239 --> 00:47:52,440
Speaker 1: felt with her too, is that when you're watching this film,

881
00:47:52,840 --> 00:47:56,239
Speaker 1: you're watching someone trying to access hope. There is no

882
00:47:56,280 --> 00:47:59,160
Speaker 1: hope in her life, yeah, and she's fighting so hard

883
00:47:59,200 --> 00:48:03,759
Speaker 1: to access these tiny glimpses of hope that she could

884
00:48:03,840 --> 00:48:06,640
Speaker 1: have a different life. And that was me to a

885
00:48:06,680 --> 00:48:08,600
Speaker 1: fucking tea where I'm like, what is it that's going

886
00:48:08,640 --> 00:48:13,440
Speaker 1: to get me out of this situation, this feeling, this family,

887
00:48:13,480 --> 00:48:16,520
Speaker 1: like whatever it is. I feel like, yeah, I felt

888
00:48:16,520 --> 00:48:18,000
Speaker 1: that as a kid, and I'd never seen that so

889
00:48:19,440 --> 00:48:22,320
Speaker 1: effortlessly represented on film.

890
00:48:22,480 --> 00:48:31,040
Speaker 2: Yeah. Yeah, there's this kind of running storyline of she

891
00:48:31,320 --> 00:48:36,520
Speaker 2: sees this horse that's in like a parking lot, basically

892
00:48:37,200 --> 00:48:40,520
Speaker 2: tied up with a chain to you know, some concrete

893
00:48:40,640 --> 00:48:44,880
Speaker 2: little post or whatever. And I always thought, you know,

894
00:48:45,520 --> 00:48:48,400
Speaker 2: I mean, it's obvious. It's not I'm like a genius

895
00:48:48,440 --> 00:48:51,239
Speaker 2: for figuring this out, but it's like, you know, sort

896
00:48:51,239 --> 00:48:54,440
Speaker 2: of an allegory for her. It's like she is trying.

897
00:48:54,640 --> 00:48:57,360
Speaker 2: She just jumps the fence. She sees this horse, and

898
00:48:57,400 --> 00:48:59,279
Speaker 2: she's like, why is this horse tied up? So she

899
00:48:59,600 --> 00:49:02,239
Speaker 2: just wants to free this horse, and so she does

900
00:49:02,280 --> 00:49:04,640
Speaker 2: it the first time. She just tries to like bash

901
00:49:04,680 --> 00:49:06,680
Speaker 2: the chain with a rock, but then she comes back

902
00:49:06,719 --> 00:49:09,000
Speaker 2: every so often and she's like, it's still tied up,

903
00:49:09,000 --> 00:49:10,360
Speaker 2: it's still tight up. I want to free it. I

904
00:49:10,360 --> 00:49:12,200
Speaker 2: want to free it. And then she realizes that it

905
00:49:12,239 --> 00:49:15,239
Speaker 2: does have owners, and it's like some guys that are

906
00:49:15,280 --> 00:49:17,560
Speaker 2: like kind of living I don't know, like they're kind

907
00:49:17,560 --> 00:49:21,560
Speaker 2: of in living in these kind of like trailers and

908
00:49:21,640 --> 00:49:24,360
Speaker 2: they own the horse technically. But I think that's the

909
00:49:24,400 --> 00:49:27,440
Speaker 2: thing is that I think that is like the story.

910
00:49:27,719 --> 00:49:29,880
Speaker 2: The part of the story that reminds you of like

911
00:49:29,960 --> 00:49:32,520
Speaker 2: what she actually wants is that she wants freedom, and

912
00:49:32,560 --> 00:49:35,359
Speaker 2: she wants to get away from this existence.

913
00:49:35,000 --> 00:49:37,600
Speaker 1: Right absolutely, And in order for her to keep going

914
00:49:37,680 --> 00:49:41,440
Speaker 1: back and trying to free this horse, she puts herself

915
00:49:41,440 --> 00:49:45,600
Speaker 1: in more precarious and dangerous situations every time. Right, So

916
00:49:46,160 --> 00:49:50,640
Speaker 1: even the act of trying to access freedom is dangerous

917
00:49:50,680 --> 00:49:53,359
Speaker 1: and could have severe consequences for her, right right.

918
00:49:53,640 --> 00:49:53,960
Speaker 2: M hm.

919
00:49:54,440 --> 00:49:57,920
Speaker 1: So it's very interesting. And she lives in English council housing,

920
00:49:58,719 --> 00:50:01,439
Speaker 1: which is the American version of the American version would

921
00:50:01,440 --> 00:50:05,279
Speaker 1: be the projects essentially, and so she's living with a

922
00:50:05,280 --> 00:50:08,520
Speaker 1: single mom. She has a dog that she loves. His

923
00:50:08,600 --> 00:50:12,880
Speaker 1: name is Tenants. Which I love t an ts and

924
00:50:12,920 --> 00:50:17,160
Speaker 1: she has a little sister, Tyler, but it's clear from

925
00:50:17,239 --> 00:50:21,719
Speaker 1: her living situation that she doesn't receive a lot of

926
00:50:21,760 --> 00:50:24,279
Speaker 1: care or attention. And when we first meet her in

927
00:50:24,320 --> 00:50:28,760
Speaker 1: the film, she's already had a fight with her best friend, Kiely,

928
00:50:29,640 --> 00:50:33,959
Speaker 1: who is a piece of work. To see Keelly again

929
00:50:34,040 --> 00:50:37,840
Speaker 1: represented on stage, excuse me on screen, so interesting to

930
00:50:37,840 --> 00:50:41,080
Speaker 1: see how a small thing, a minor shift of we

931
00:50:41,160 --> 00:50:43,560
Speaker 1: got into a fight and now you're literally never going

932
00:50:43,640 --> 00:50:45,600
Speaker 1: to be my friend again. Like when we meet Keely,

933
00:50:45,680 --> 00:50:47,759
Speaker 1: she has moved on with another group of friends, a

934
00:50:47,800 --> 00:50:52,160
Speaker 1: whole different group of girls, and has essentially left Mia alone.

935
00:50:52,239 --> 00:50:56,719
Speaker 1: That loneliness that Mia is feeling is so palpable from

936
00:50:56,719 --> 00:51:00,320
Speaker 1: the minute the movie starts, and she's not going gently

937
00:51:00,320 --> 00:51:02,560
Speaker 1: into that good night, She's not accepting it lying down.

938
00:51:02,600 --> 00:51:06,239
Speaker 1: She is a fucking fighter, so she's definitely you know,

939
00:51:06,320 --> 00:51:09,880
Speaker 1: giving people money to buy or booze. She's getting in

940
00:51:09,960 --> 00:51:12,719
Speaker 1: fights with the girls. When she first encounters Kihi and

941
00:51:12,840 --> 00:51:14,359
Speaker 1: is like, what the fuck's going on? While are hanging

942
00:51:14,360 --> 00:51:17,360
Speaker 1: out with these girls, they start fighting and she headbuts

943
00:51:17,360 --> 00:51:21,120
Speaker 1: a girl in the fucking face. She's she's a scrapper,

944
00:51:21,480 --> 00:51:23,840
Speaker 1: she's gonna fight for kind of what she believes in,

945
00:51:23,960 --> 00:51:27,040
Speaker 1: even if it's misguided, and even if it doesn't ultimately

946
00:51:27,080 --> 00:51:29,799
Speaker 1: give her what she wants. But even just looking at

947
00:51:29,800 --> 00:51:32,920
Speaker 1: the way that she is like that those first couple

948
00:51:32,920 --> 00:51:36,080
Speaker 1: of opening scenes, and there's something that Andrew Arnold does

949
00:51:36,120 --> 00:51:38,600
Speaker 1: which I love, where there's it's not exactly like a

950
00:51:38,640 --> 00:51:43,200
Speaker 1: soft gaze lens, but it's the way that she films

951
00:51:43,239 --> 00:51:46,400
Speaker 1: sometimes it's truly beautiful. There's a Christmas to how she

952
00:51:46,440 --> 00:51:49,920
Speaker 1: focuses in on people and tries to kind of blend

953
00:51:50,000 --> 00:51:53,360
Speaker 1: out the background so that you can really focus on

954
00:51:53,400 --> 00:51:57,520
Speaker 1: the characters. But then there is the background is also

955
00:51:57,560 --> 00:52:01,200
Speaker 1: such a part of who the characters are and how

956
00:52:01,200 --> 00:52:03,560
Speaker 1: they move through the world. So it's kind of an interesting,

957
00:52:03,680 --> 00:52:07,360
Speaker 1: kind of gentle, almost merchant ivory look at the world.

958
00:52:08,320 --> 00:52:12,000
Speaker 1: But it's modern, so it feels kind of delicate and

959
00:52:12,600 --> 00:52:16,960
Speaker 1: harsh at the same time. I love it. So we're

960
00:52:16,960 --> 00:52:21,920
Speaker 1: seeing these girls and they congregate around dancing. So it's

961
00:52:21,920 --> 00:52:25,120
Speaker 1: set in a time where hip hop reigned supreme right

962
00:52:25,800 --> 00:52:32,320
Speaker 1: and Mia especially it's trying to use dance as a

963
00:52:32,360 --> 00:52:34,799
Speaker 1: way to kind of deal with her emotional life but

964
00:52:34,840 --> 00:52:38,680
Speaker 1: also to connect with people. Now, when you first meet

965
00:52:39,040 --> 00:52:42,800
Speaker 1: Kihly and her new friends, they are clearly dancing for

966
00:52:43,440 --> 00:52:46,879
Speaker 1: the male gaze, right, They're dancing to be seen. They're

967
00:52:46,960 --> 00:52:53,440
Speaker 1: dancing to kind of promote their nascent sexuality. They're feeling themselves,

968
00:52:54,400 --> 00:52:59,440
Speaker 1: but also it's very performative. Whereas for Mia, who's wearing conversely,

969
00:52:59,560 --> 00:53:02,680
Speaker 1: you know, not wearing what these other group of girls

970
00:53:02,680 --> 00:53:09,560
Speaker 1: are wearing. Me is wearing sweatpants, big hoodies, oversized stuff. Yeah,

971
00:53:09,920 --> 00:53:14,520
Speaker 1: not trying to be seen. Genuinely loves dancing as a

972
00:53:14,560 --> 00:53:18,160
Speaker 1: way to perform for herself. So she kind of like

973
00:53:18,280 --> 00:53:21,600
Speaker 1: goes into an abandoned apartment where her speaker and her

974
00:53:21,640 --> 00:53:24,920
Speaker 1: you know, she dances even when no one else is watching.

975
00:53:25,480 --> 00:53:27,640
Speaker 2: Yeah, she wants to be more of like a be

976
00:53:27,880 --> 00:53:31,400
Speaker 2: girl or something, versus like her friends who want to

977
00:53:31,440 --> 00:53:32,919
Speaker 2: be like the Spice.

978
00:53:32,600 --> 00:53:37,760
Speaker 1: Girls or something completely completely and so there's this real

979
00:53:39,000 --> 00:53:41,839
Speaker 1: disconnect for her because again, like you said, she's she's

980
00:53:41,880 --> 00:53:46,319
Speaker 1: seeing that freedom and care and attention and in a

981
00:53:46,320 --> 00:53:49,400
Speaker 1: lot of ways love is not accessible to her. But

982
00:53:49,480 --> 00:53:51,279
Speaker 1: she has something that she loves as she puts so

983
00:53:51,360 --> 00:53:55,720
Speaker 1: much effort into as a way to give her again

984
00:53:55,760 --> 00:53:58,960
Speaker 1: that hope that is just not guaranteed, or there's not

985
00:53:59,120 --> 00:54:02,879
Speaker 1: that implicit assumption that her life will get better than

986
00:54:02,880 --> 00:54:05,319
Speaker 1: what it is right at that moment. I also really

987
00:54:05,360 --> 00:54:07,720
Speaker 1: love Andrew Arnold does this this thing in this film

988
00:54:07,760 --> 00:54:12,600
Speaker 1: where you usually see Mia from a she's looking down

989
00:54:12,640 --> 00:54:15,120
Speaker 1: on people, so she's usually on a higher plane looking

990
00:54:15,200 --> 00:54:19,799
Speaker 1: down at the world, And I think that metaphorically, it's

991
00:54:19,800 --> 00:54:23,640
Speaker 1: not meant to It's not meant to insinuate that Mia

992
00:54:23,920 --> 00:54:28,719
Speaker 1: is contemptuous of the people she sees, and not in

993
00:54:28,920 --> 00:54:31,880
Speaker 1: an uptight way, but just that she is above the

994
00:54:31,920 --> 00:54:34,799
Speaker 1: fray and does not want she It's a way of

995
00:54:34,840 --> 00:54:38,200
Speaker 1: kind of displacing her and indicating that she doesn't really

996
00:54:38,200 --> 00:54:40,839
Speaker 1: belong in her world, like when you see her on

997
00:54:40,880 --> 00:54:43,480
Speaker 1: the same level as everyone that is in her world.

998
00:54:43,920 --> 00:54:47,000
Speaker 1: It's a really fraught experience for her, and the only

999
00:54:47,080 --> 00:54:50,799
Speaker 1: time she gets peace is when she's above it and

1000
00:54:50,840 --> 00:54:53,080
Speaker 1: she's elevated, when she's looking at it from the outside

1001
00:54:53,080 --> 00:54:55,440
Speaker 1: in So I just again, Andrew Arnold is just such

1002
00:54:55,760 --> 00:54:58,960
Speaker 1: fascinating director to me in that way. But yeah, MIAs

1003
00:54:58,960 --> 00:55:02,160
Speaker 1: a fucking a character I've never seen before. And she

1004
00:55:02,280 --> 00:55:05,000
Speaker 1: also has a really fraught relationship with her mother, So

1005
00:55:05,040 --> 00:55:09,600
Speaker 1: at first it kind of feels like typical mom daughter,

1006
00:55:10,000 --> 00:55:14,440
Speaker 1: teenager acting out shit, but there's something really deep happening

1007
00:55:14,719 --> 00:55:18,800
Speaker 1: in the small moves that you're seeing in this relationship.

1008
00:55:19,239 --> 00:55:23,839
Speaker 1: One is that it becomes obvious very early on that

1009
00:55:24,400 --> 00:55:27,000
Speaker 1: MIA's mom is very young, So MEA's mom is fifteen,

1010
00:55:27,840 --> 00:55:29,759
Speaker 1: and you get the feeling that her mom had her

1011
00:55:29,840 --> 00:55:32,640
Speaker 1: when she was around the same age, that she and

1012
00:55:32,680 --> 00:55:35,400
Speaker 1: her sister have different fathers, that again they're living in

1013
00:55:35,400 --> 00:55:39,000
Speaker 1: council housing, that she doesn't seem to work, her mom

1014
00:55:39,040 --> 00:55:41,839
Speaker 1: doesn't seem to go out and work. But her mom

1015
00:55:41,880 --> 00:55:46,760
Speaker 1: is also very pretty, and so there's this competitiveness coming

1016
00:55:46,840 --> 00:55:49,600
Speaker 1: from the mother. From this, you know, this character of

1017
00:55:49,680 --> 00:55:56,360
Speaker 1: Joanne that Mia feels and is trying to rail against

1018
00:55:56,760 --> 00:56:00,920
Speaker 1: and push back on but doesn't quite understan stand because

1019
00:56:01,000 --> 00:56:04,520
Speaker 1: she wants her mother's love. She clearly needs her guidance.

1020
00:56:04,640 --> 00:56:09,200
Speaker 1: But then the more you realize this relationship, it's clear

1021
00:56:09,280 --> 00:56:13,440
Speaker 1: also that MIA's mother is very immature and sees her

1022
00:56:13,520 --> 00:56:16,719
Speaker 1: as competition in a lot of ways. She's competing with

1023
00:56:16,760 --> 00:56:18,400
Speaker 1: me in a way that Mia is never going to

1024
00:56:18,440 --> 00:56:21,319
Speaker 1: compete with her mother and doesn't even want to that

1025
00:56:21,400 --> 00:56:26,040
Speaker 1: she's kind of it's that interesting It's a very interesting

1026
00:56:28,120 --> 00:56:32,600
Speaker 1: angle to play for a woman who possibly had children

1027
00:56:32,680 --> 00:56:36,200
Speaker 1: young and didn't get to fully live out her teenage

1028
00:56:36,280 --> 00:56:39,400
Speaker 1: dreams or access that hope or access what Mia is

1029
00:56:39,400 --> 00:56:43,600
Speaker 1: trying to access. So instead of encouraging her children towards

1030
00:56:43,600 --> 00:56:48,560
Speaker 1: the thing that she is missing, she's deeply resentful of

1031
00:56:48,600 --> 00:56:51,160
Speaker 1: the fact that Mia gets to be a teenage girl

1032
00:56:51,440 --> 00:56:54,480
Speaker 1: and the way that she never was. But there's also

1033
00:56:54,520 --> 00:56:57,960
Speaker 1: something at play there about femininity, because it's clear throughout

1034
00:56:58,000 --> 00:57:04,400
Speaker 1: the film that Mia is starting to explore sexuality and

1035
00:57:04,480 --> 00:57:09,320
Speaker 1: explore femininity and is not sure how to access things

1036
00:57:09,400 --> 00:57:14,040
Speaker 1: like wearing makeup and dancing. There's a really, really beautiful

1037
00:57:14,080 --> 00:57:18,040
Speaker 1: and interesting scene where Mea is dancing in the kitchen

1038
00:57:18,040 --> 00:57:23,680
Speaker 1: making breakfast. She meets Connor, who is her mother's soon

1039
00:57:23,720 --> 00:57:25,400
Speaker 1: to be boyfriend, but at the time it's just like

1040
00:57:25,480 --> 00:57:29,320
Speaker 1: kind of a one night stand played by Michael Fasbender,

1041
00:57:29,440 --> 00:57:31,840
Speaker 1: and he comes downstairs and he sees me A dancing,

1042
00:57:31,880 --> 00:57:35,040
Speaker 1: and she's again not used to being viewed by men

1043
00:57:35,280 --> 00:57:38,240
Speaker 1: seen by men. The only example we've had up to

1044
00:57:38,240 --> 00:57:39,920
Speaker 1: this point is when she tries to set the horse

1045
00:57:39,960 --> 00:57:44,480
Speaker 1: free and a couple of the young boys, the teenage

1046
00:57:44,520 --> 00:57:48,280
Speaker 1: boys that live there are joking around about sexually assaulting her,

1047
00:57:48,400 --> 00:57:49,760
Speaker 1: like they're kind of holding her and trying to pull

1048
00:57:49,760 --> 00:57:52,800
Speaker 1: her pants off and she breaks free. But there's a

1049
00:57:52,840 --> 00:57:56,960
Speaker 1: real threat to being seen by men and boys up

1050
00:57:56,960 --> 00:57:59,640
Speaker 1: to that point. So when Connor's looking at her, she's

1051
00:57:59,640 --> 00:58:03,720
Speaker 1: in beare not just because she's you know, has been

1052
00:58:03,760 --> 00:58:08,200
Speaker 1: caught in a private moment, but she thinks he's kind

1053
00:58:08,200 --> 00:58:09,840
Speaker 1: of cute. You can tell right away she thinks she's

1054
00:58:09,880 --> 00:58:13,160
Speaker 1: kind he's kind of cute, and he's looking at her

1055
00:58:14,280 --> 00:58:18,320
Speaker 1: in a very adult way, which is where the problems

1056
00:58:18,360 --> 00:58:23,240
Speaker 1: of this film begin. But then there's again the comparative

1057
00:58:23,280 --> 00:58:26,200
Speaker 1: scene is that shortly after when Connor leaves and her

1058
00:58:26,200 --> 00:58:29,800
Speaker 1: mom comes downstairs. Her mom is dancing in the kitchen

1059
00:58:29,920 --> 00:58:33,400
Speaker 1: and she's just got this real ease to her sexuality

1060
00:58:33,560 --> 00:58:35,320
Speaker 1: in the way that she dances, and Me is kind

1061
00:58:35,320 --> 00:58:39,680
Speaker 1: of watching her, and you can tell she's wondering, like

1062
00:58:39,720 --> 00:58:41,560
Speaker 1: how do I do that? Like how do I get

1063
00:58:41,600 --> 00:58:45,800
Speaker 1: to that place where I can my body and mind

1064
00:58:45,920 --> 00:58:50,600
Speaker 1: are aligned and how I'm presenting myself to people very

1065
00:58:50,680 --> 00:58:53,640
Speaker 1: very fascinating. But yeah, there's just there's there's a lot

1066
00:58:53,720 --> 00:58:57,000
Speaker 1: going on with the mother daughter relationship in this movie

1067
00:58:57,000 --> 00:59:00,360
Speaker 1: that I just again have not really seen for trade,

1068
00:59:00,480 --> 00:59:03,720
Speaker 1: so it seems effortless. It absolutely is not, but just

1069
00:59:03,760 --> 00:59:07,200
Speaker 1: so in a way that feels so real, like that

1070
00:59:07,280 --> 00:59:08,960
Speaker 1: I've either seen in my own life or seen in

1071
00:59:09,480 --> 00:59:12,200
Speaker 1: the lives of people that are close to me. And Tyler,

1072
00:59:12,280 --> 00:59:14,880
Speaker 1: this little sister. If you think me and her mom

1073
00:59:14,920 --> 00:59:20,480
Speaker 1: are having problems, Tyler is the most ragged little sister

1074
00:59:20,560 --> 00:59:26,640
Speaker 1: I've ever seen. Tyler is a fucking beast. She's got

1075
00:59:26,640 --> 00:59:30,200
Speaker 1: to be around seven years old. She does not give

1076
00:59:30,400 --> 00:59:36,440
Speaker 1: a single fuck about anyone. She is just pure active ego,

1077
00:59:37,880 --> 00:59:43,040
Speaker 1: just NonStop id. She is just says whatever comes to

1078
00:59:43,040 --> 00:59:47,560
Speaker 1: her fucking mind. Right. At one point, her mom tries

1079
00:59:47,560 --> 00:59:49,640
Speaker 1: to get her out of the kitchen, and she's because

1080
00:59:49,680 --> 00:59:52,040
Speaker 1: she's like her. When her mom comes downstairs in her

1081
00:59:52,080 --> 00:59:56,200
Speaker 1: underwear and is dancing, MIA's watching her, but Tyler is

1082
00:59:56,240 --> 00:59:58,280
Speaker 1: standing right next to her and says, you look like

1083
00:59:58,320 --> 01:00:00,560
Speaker 1: a tramp. And then when she puts shoes her out

1084
01:00:00,560 --> 01:00:03,280
Speaker 1: of the kitchen, She's like, you fucking badge, like she

1085
01:00:03,720 --> 01:00:08,600
Speaker 1: shouts at this woman and then stomps up, sting she is.

1086
01:00:08,720 --> 01:00:11,720
Speaker 1: There's a scene where she and me are in or

1087
01:00:11,760 --> 01:00:14,800
Speaker 1: they're in MEA's room. Tyler is watching TV on the

1088
01:00:14,800 --> 01:00:16,800
Speaker 1: floor with one of her friends and they're smoking a

1089
01:00:16,840 --> 01:00:20,200
Speaker 1: cigarette and drinking a beer. She's seven years old, crazy,

1090
01:00:20,280 --> 01:00:22,400
Speaker 1: and then they're yelling at the TV like, look at

1091
01:00:22,400 --> 01:00:24,160
Speaker 1: this bitch, and look at it like this as a

1092
01:00:24,320 --> 01:00:29,560
Speaker 1: feral child. God, this child is fucking feral. At one point,

1093
01:00:29,600 --> 01:00:33,040
Speaker 1: she's talking to Connor and she's and he says, you know,

1094
01:00:33,080 --> 01:00:36,120
Speaker 1: they're having this little funny exchange about her pretending to

1095
01:00:36,120 --> 01:00:37,640
Speaker 1: be a gate and not letting him out of the

1096
01:00:37,680 --> 01:00:40,040
Speaker 1: front door, and then she looks at him and she says,

1097
01:00:40,080 --> 01:00:42,160
Speaker 1: I like you, I'll let you live, and you kind

1098
01:00:42,160 --> 01:00:44,200
Speaker 1: of fucking believe her, Like, has this seven year old

1099
01:00:44,240 --> 01:00:48,040
Speaker 1: committed felonious assault at this I would believe it if

1100
01:00:48,080 --> 01:00:50,280
Speaker 1: you told me that. But in the same way, she's

1101
01:00:50,320 --> 01:00:53,200
Speaker 1: a little kid, like she has not been protected enough

1102
01:00:53,240 --> 01:00:55,920
Speaker 1: to learn that there are other ways to be in

1103
01:00:55,960 --> 01:01:01,400
Speaker 1: the world besides ravenously feral way to protect yourself, and

1104
01:01:01,440 --> 01:01:04,280
Speaker 1: she hasn't really learned how to express herself outside of that,

1105
01:01:04,560 --> 01:01:06,680
Speaker 1: or to tame that side of herself. So there's just

1106
01:01:06,760 --> 01:01:09,960
Speaker 1: no there's no care. You don't see the mother like

1107
01:01:10,040 --> 01:01:14,480
Speaker 1: Joanne doesn't hug them or care for them or clean

1108
01:01:14,720 --> 01:01:16,440
Speaker 1: or any She just kind of always pushes them to

1109
01:01:16,480 --> 01:01:19,360
Speaker 1: the side. The house is always you know, dirty plates

1110
01:01:19,400 --> 01:01:21,440
Speaker 1: are everywhere, and everything's kind of all over the place.

1111
01:01:22,720 --> 01:01:32,400
Speaker 1: So then enter Connor. Connor is dubious from jump. He's

1112
01:01:32,440 --> 01:01:36,320
Speaker 1: this hot little guy, Michael Fastpenner who shows up one night,

1113
01:01:36,920 --> 01:01:39,960
Speaker 1: comes back to party a couple of times, and then

1114
01:01:40,040 --> 01:01:47,320
Speaker 1: just moves the fucking right. He doesn't mind the presence

1115
01:01:47,320 --> 01:01:51,520
Speaker 1: of the children. He's really tender to them. Like at

1116
01:01:51,520 --> 01:01:55,439
Speaker 1: one point, MIA's been you know, both of the girls

1117
01:01:55,440 --> 01:01:56,920
Speaker 1: have been pushed to their rooms or her mom can

1118
01:01:57,000 --> 01:01:59,880
Speaker 1: have a party where their friends downstairs. Mia falls asleep

1119
01:01:59,880 --> 01:02:03,360
Speaker 1: by her mom's bed, and Connor very tenderly kind of

1120
01:02:03,360 --> 01:02:05,880
Speaker 1: picks pikes up this fifteen year old girl and carries

1121
01:02:05,920 --> 01:02:09,560
Speaker 1: her to bed. So it's kind of introduced as a

1122
01:02:09,600 --> 01:02:12,760
Speaker 1: mark of a sign of tenderness. But she's also way

1123
01:02:12,800 --> 01:02:17,000
Speaker 1: too old for this kind of tenderness, which is exacerbated

1124
01:02:17,080 --> 01:02:20,880
Speaker 1: when he takes off her shoes and her pants before

1125
01:02:20,920 --> 01:02:24,040
Speaker 1: covering her up with a sheet. And like, Mia pretends

1126
01:02:24,080 --> 01:02:28,080
Speaker 1: to be asleep during this, but it's hard to imagine

1127
01:02:28,400 --> 01:02:31,919
Speaker 1: that he does not know this is not right.

1128
01:02:32,920 --> 01:02:36,720
Speaker 2: Yeah, Oh my god. I mean, this is like what

1129
01:02:36,920 --> 01:02:38,680
Speaker 2: I was going back and forth about again when I

1130
01:02:38,680 --> 01:02:41,720
Speaker 2: was watching this movie. It's like it's hard to tell,

1131
01:02:41,800 --> 01:02:46,400
Speaker 2: like whose perspective we're seeing this from, right, right, because

1132
01:02:46,400 --> 01:02:52,840
Speaker 2: you've got this girl fifteen years old, no dad. She

1133
01:02:53,840 --> 01:02:59,880
Speaker 2: experiences little to no tenderness or niceness in her life, honestly,

1134
01:03:01,160 --> 01:03:05,640
Speaker 2: and then she's kind of being taken care of by

1135
01:03:05,720 --> 01:03:10,280
Speaker 2: this new boyfriend of her mom's. And there's like two

1136
01:03:10,280 --> 01:03:18,360
Speaker 2: things going on. So there's her wanting parental tenderness, but

1137
01:03:18,400 --> 01:03:22,400
Speaker 2: then also she's sort of you know, trying to figure

1138
01:03:22,400 --> 01:03:26,680
Speaker 2: out boys too, and here's this boy in her life.

1139
01:03:26,920 --> 01:03:28,520
Speaker 2: I mean, he's not a boy as a man, let's

1140
01:03:28,520 --> 01:03:30,680
Speaker 2: get serious. But like it's so it's kind of that

1141
01:03:30,840 --> 01:03:35,120
Speaker 2: double sided thing of like I need a parent and

1142
01:03:35,120 --> 01:03:39,600
Speaker 2: I need a boyfriend, right, But then you're not really

1143
01:03:39,720 --> 01:03:46,120
Speaker 2: sure whose perspective it's from because then from the other

1144
01:03:46,160 --> 01:03:48,320
Speaker 2: side of it, Because this is again I think why

1145
01:03:48,360 --> 01:03:52,680
Speaker 2: I felt so disappointed by because I was giving him

1146
01:03:52,720 --> 01:03:56,040
Speaker 2: the benefit of the doubt for the first like big

1147
01:03:56,120 --> 01:03:59,240
Speaker 2: chunk of the film, Like you want to believe right

1148
01:03:59,320 --> 01:04:03,440
Speaker 2: that he's going to be this parent, and he's encouraging

1149
01:04:03,480 --> 01:04:07,280
Speaker 2: her to do dancing, and he's supportive and all this stuff,

1150
01:04:07,560 --> 01:04:10,760
Speaker 2: and that these like moments where it maybe flirts with

1151
01:04:10,880 --> 01:04:16,920
Speaker 2: like an inappropriateness, maybe is actually just him, you know,

1152
01:04:17,040 --> 01:04:22,200
Speaker 2: being a young person expressing love for a platonic love, right, Right,

1153
01:04:22,400 --> 01:04:25,240
Speaker 2: But so it's really hard because you're just like, are

1154
01:04:25,240 --> 01:04:27,680
Speaker 2: we thinking about her or we think about him? What

1155
01:04:27,880 --> 01:04:30,520
Speaker 2: is he thinking? What is she thinking? Because there's it's

1156
01:04:30,680 --> 01:04:33,800
Speaker 2: very layered, and I mean that's part of why this

1157
01:04:33,840 --> 01:04:36,040
Speaker 2: film is so brilliant, but also it's very hard to

1158
01:04:36,080 --> 01:04:37,640
Speaker 2: watch as a viewer. You're like, I don't know what

1159
01:04:37,720 --> 01:04:38,680
Speaker 2: to think about any of this.

1160
01:04:39,280 --> 01:04:42,040
Speaker 1: Yeah, And it's again that what you just mentioned is

1161
01:04:42,040 --> 01:04:46,960
Speaker 1: that point of confusion that Mia feels that we as

1162
01:04:46,960 --> 01:04:51,520
Speaker 1: the viewer also feel because we know she hasn't ever

1163
01:04:51,560 --> 01:04:54,600
Speaker 1: really experienced care before, right, so she must be so

1164
01:04:54,680 --> 01:04:57,720
Speaker 1: confused about is this the kind of care and attention

1165
01:04:57,760 --> 01:05:01,640
Speaker 1: a parent would show or is this my burgeoning sexuality

1166
01:05:02,040 --> 01:05:08,400
Speaker 1: exactly perfect? Yeah, And it's so devastating and scary to

1167
01:05:08,480 --> 01:05:10,800
Speaker 1: see how quickly she can go from a place of

1168
01:05:10,840 --> 01:05:14,400
Speaker 1: care to a place of harm. Yes, because she doesn't

1169
01:05:14,400 --> 01:05:16,200
Speaker 1: know where that line is. So she's trying to figure

1170
01:05:16,200 --> 01:05:19,440
Speaker 1: out where that line is at the same time, and

1171
01:05:19,760 --> 01:05:22,480
Speaker 1: one of the ways that she's doing that, aside from Connor,

1172
01:05:22,560 --> 01:05:25,400
Speaker 1: she kind of meets this this guy. So, one of

1173
01:05:25,440 --> 01:05:28,160
Speaker 1: the guys who owns the horse, these you know, younger

1174
01:05:29,040 --> 01:05:32,560
Speaker 1: teen dudes, is named Billy, and she comes back to

1175
01:05:32,560 --> 01:05:34,760
Speaker 1: get her stuff because she at one point runs away

1176
01:05:34,920 --> 01:05:36,800
Speaker 1: and leaves her bag with her speaker and all of

1177
01:05:36,800 --> 01:05:39,320
Speaker 1: her CDs in it to kind of save her own life.

1178
01:05:39,760 --> 01:05:42,480
Speaker 1: But she comes back and she wants her shit, and

1179
01:05:42,520 --> 01:05:45,040
Speaker 1: she kind of sparks up this relationship with Billy, who,

1180
01:05:45,080 --> 01:05:48,960
Speaker 1: by the way, is also the actor who played the

1181
01:05:49,000 --> 01:05:50,800
Speaker 1: superstoned guy and attacked the block.

1182
01:05:51,360 --> 01:05:52,320
Speaker 2: Oh wow, funny.

1183
01:05:52,960 --> 01:05:56,520
Speaker 1: So she comes back and they start kind of hanging

1184
01:05:56,560 --> 01:05:59,800
Speaker 1: out and it's a true teenage relationship and that it's

1185
01:05:59,840 --> 01:06:04,680
Speaker 1: not overtly sexual right away. They're not explicitly dating, but

1186
01:06:04,960 --> 01:06:07,040
Speaker 1: she likes being around him. This is the first guy

1187
01:06:07,360 --> 01:06:10,560
Speaker 1: that she kind of has chosen to be around that

1188
01:06:10,600 --> 01:06:14,439
Speaker 1: she likes, and it seems less harmful than the other

1189
01:06:14,840 --> 01:06:17,480
Speaker 1: boys and men and men in her life right, and

1190
01:06:17,720 --> 01:06:20,400
Speaker 1: far less harmful than actual boys to men the group.

1191
01:06:22,400 --> 01:06:25,400
Speaker 1: So Billy kind of enters her life in a way

1192
01:06:25,440 --> 01:06:29,200
Speaker 1: that allows her to play out her feelings and what

1193
01:06:29,240 --> 01:06:33,360
Speaker 1: would be considered a traditional or normal relationship. But she's

1194
01:06:33,400 --> 01:06:35,000
Speaker 1: not as interested in him. You can see it on

1195
01:06:35,000 --> 01:06:37,080
Speaker 1: her face. She's not as interested in him as she

1196
01:06:37,160 --> 01:06:40,480
Speaker 1: is in Connor. So at the same time, she sees

1197
01:06:40,520 --> 01:06:44,400
Speaker 1: this flyer for female dancers, which she again in her

1198
01:06:44,440 --> 01:06:47,520
Speaker 1: mind takes as hip hop crew, like a b girl,

1199
01:06:48,840 --> 01:06:50,840
Speaker 1: and she's thinking, well, this is a way out I

1200
01:06:50,880 --> 01:06:53,280
Speaker 1: can get this job. She's been kicked out of school,

1201
01:06:54,480 --> 01:06:59,440
Speaker 1: she has been sent to like there's a social worker

1202
01:06:59,440 --> 01:07:03,000
Speaker 1: that comes to the house at one point, and she's

1203
01:07:03,040 --> 01:07:06,480
Speaker 1: being sent to this referral unit, which in the UK

1204
01:07:06,640 --> 01:07:09,720
Speaker 1: is kind of an all education program, and she gets

1205
01:07:09,720 --> 01:07:11,880
Speaker 1: to live there, but she doesn't want to go. She's like,

1206
01:07:11,920 --> 01:07:14,640
Speaker 1: this is not my fucking Why am I being sent away?

1207
01:07:15,360 --> 01:07:18,160
Speaker 1: So she's looking for pathways to her own success and

1208
01:07:18,200 --> 01:07:21,240
Speaker 1: thinks that this dance job could be one of them. So,

1209
01:07:21,280 --> 01:07:25,960
Speaker 1: as she's preparing her routine, as she's in this burgeoning

1210
01:07:26,000 --> 01:07:30,920
Speaker 1: relationship with Billy, as her mom is pushing her further

1211
01:07:30,960 --> 01:07:35,880
Speaker 1: and further away emotionally, and with this introduction of this

1212
01:07:36,480 --> 01:07:40,000
Speaker 1: reform school essentially literally pushing her further and further away,

1213
01:07:41,200 --> 01:07:44,120
Speaker 1: she has a night where she's at home. Her mom

1214
01:07:44,160 --> 01:07:48,960
Speaker 1: comes home super drunk, Connor less, so Connor puts her

1215
01:07:48,960 --> 01:07:54,560
Speaker 1: mom to bed, he hangs out downstairs on the couch drinking,

1216
01:07:55,680 --> 01:07:59,520
Speaker 1: and Mia comes downstairs to spend some time with Connor

1217
01:08:00,520 --> 01:08:05,040
Speaker 1: and they're sharing alcohol and she's still fifteen the whole time,

1218
01:08:05,520 --> 01:08:07,800
Speaker 1: and he wants to see her routine, so she shows

1219
01:08:07,880 --> 01:08:12,560
Speaker 1: him and he calls her over next to him and

1220
01:08:12,640 --> 01:08:16,639
Speaker 1: gives her a hug, which again very paternal at first,

1221
01:08:17,560 --> 01:08:21,679
Speaker 1: but then he starts kissing her and then they have sex.

1222
01:08:24,080 --> 01:08:28,240
Speaker 1: And I almost didn't want to explain that part. I

1223
01:08:28,240 --> 01:08:31,599
Speaker 1: didn't want to reveal that, but so much more happens

1224
01:08:31,640 --> 01:08:34,800
Speaker 1: in the film after this that I won't reveal. And

1225
01:08:34,840 --> 01:08:37,599
Speaker 1: this is a crucial point of understanding for this film

1226
01:08:37,920 --> 01:08:41,559
Speaker 1: that again Andrew Arnold is walking this line very well,

1227
01:08:42,400 --> 01:08:48,160
Speaker 1: because it is definitely consensual, even though this girl is underage.

1228
01:08:48,200 --> 01:08:50,240
Speaker 1: And I know that, you know, the party line is

1229
01:08:50,320 --> 01:08:54,599
Speaker 1: kind of if you're underage, you can't consent, But at

1230
01:08:54,640 --> 01:08:57,280
Speaker 1: the time this film was made, that was not even

1231
01:08:57,439 --> 01:09:01,439
Speaker 1: part of social discussion, and she's really playing with the

1232
01:09:01,479 --> 01:09:04,759
Speaker 1: idea that this is a young girl who has chosen

1233
01:09:04,800 --> 01:09:11,280
Speaker 1: to have a sexual experience a very a very awful, inappropriate,

1234
01:09:12,160 --> 01:09:15,519
Speaker 1: deeply harmful sexual experience. But the sex is not the

1235
01:09:15,600 --> 01:09:21,400
Speaker 1: harm for her, for Mia and my experience, in my viewing,

1236
01:09:22,560 --> 01:09:26,080
Speaker 1: the harmfulness is all with Connor, who was saying some

1237
01:09:26,160 --> 01:09:29,960
Speaker 1: of the wildest shit while they are having sex that

1238
01:09:30,120 --> 01:09:33,040
Speaker 1: indicates his jealousy of Billy.

1239
01:09:33,560 --> 01:09:34,759
Speaker 2: Yes, Oh my god.

1240
01:09:35,000 --> 01:09:37,479
Speaker 1: So you're like, wait, has he been planning this? Has

1241
01:09:37,520 --> 01:09:43,559
Speaker 1: he been this lecherous ghoul thus whole time? Like he's

1242
01:09:43,600 --> 01:09:46,280
Speaker 1: been inappropriate with her. We've seen it, we know that,

1243
01:09:46,400 --> 01:09:50,000
Speaker 1: but it was put in such a framing of paternalism, yes,

1244
01:09:51,040 --> 01:09:52,840
Speaker 1: that it was easy to want to give him the

1245
01:09:52,880 --> 01:09:58,360
Speaker 1: benefit of the doubt until this happens. Yes, and you're like,

1246
01:10:00,360 --> 01:10:03,280
Speaker 1: to your fucking core, And again, it's not her, she's

1247
01:10:03,320 --> 01:10:06,760
Speaker 1: not being harmed by this experience, but it's her first

1248
01:10:06,800 --> 01:10:10,799
Speaker 1: sexual experience. Yeah, and she's having sex with her mother's

1249
01:10:10,840 --> 01:10:16,720
Speaker 1: boyfriend who has been kind of grooming her. Yeah. To

1250
01:10:16,800 --> 01:10:18,880
Speaker 1: this point is that's what I realized in this scene.

1251
01:10:18,920 --> 01:10:21,120
Speaker 1: It's like, oh, he has been grooming her this whole time.

1252
01:10:21,720 --> 01:10:24,360
Speaker 2: Yeah, And that's the thing that's so hard because you're

1253
01:10:24,439 --> 01:10:28,000
Speaker 2: just like, God, you just really wanted it to not happen,

1254
01:10:28,200 --> 01:10:30,439
Speaker 2: Like you're just in my mind, I was like, God,

1255
01:10:30,560 --> 01:10:34,120
Speaker 2: can he just like be like kind of a father

1256
01:10:34,240 --> 01:10:41,320
Speaker 2: figure and be cool? Please don't do this, Please don't

1257
01:10:41,320 --> 01:10:42,040
Speaker 2: go here.

1258
01:10:42,320 --> 01:10:47,320
Speaker 1: And yet, but that's just it, Like he's you want

1259
01:10:47,360 --> 01:10:51,320
Speaker 1: it to be. You're in me A's point of view,

1260
01:10:51,360 --> 01:10:54,920
Speaker 1: fully in that moment, in a way that again, to me,

1261
01:10:55,080 --> 01:10:59,479
Speaker 1: is a masterful way of writing and directing. Yeah, because

1262
01:10:59,479 --> 01:11:02,000
Speaker 1: you're fully in me A's point of view at that

1263
01:11:02,000 --> 01:11:04,439
Speaker 1: point where oh I didn't want it. It's not that

1264
01:11:04,479 --> 01:11:07,479
Speaker 1: she didn't want to have sex with him, she wasn't

1265
01:11:07,479 --> 01:11:09,599
Speaker 1: sure whether she wanted him to be a father figure

1266
01:11:09,840 --> 01:11:14,240
Speaker 1: or a romantic figure. Yeah, and now there's no turning back.

1267
01:11:14,280 --> 01:11:17,760
Speaker 1: Now you're in it. There's no turning back, and you

1268
01:11:17,800 --> 01:11:20,679
Speaker 1: as a viewer are put exactly in that space. And again,

1269
01:11:21,520 --> 01:11:25,679
Speaker 1: I wish that there was more, because there's a lot

1270
01:11:25,720 --> 01:11:28,519
Speaker 1: more that happens that I will not ruin. After this,

1271
01:11:28,680 --> 01:11:33,160
Speaker 1: it goes to wild places. I wanted to see more

1272
01:11:33,320 --> 01:11:38,160
Speaker 1: of her reaction to this, because after this happens literally

1273
01:11:38,200 --> 01:11:41,759
Speaker 1: the next morning, so after they have sex on the couch,

1274
01:11:41,840 --> 01:11:44,680
Speaker 1: Connor pretends he's been drunk, Like, oh my god, I

1275
01:11:44,680 --> 01:11:48,240
Speaker 1: can't believe I did that. I'm so wasted right, and

1276
01:11:48,320 --> 01:11:50,599
Speaker 1: even though she's not upset, is wrong on so many

1277
01:11:50,680 --> 01:11:54,040
Speaker 1: levels for this to have happened. Literally the next morning,

1278
01:11:54,720 --> 01:11:57,840
Speaker 1: Connor leaves, he has moved out, and her mom is

1279
01:11:57,920 --> 01:12:03,800
Speaker 1: like depressed and devastated. She doesn't know why he's left.

1280
01:12:04,280 --> 01:12:06,080
Speaker 1: You have a feeling that Tyler knows why, because they

1281
01:12:06,120 --> 01:12:07,840
Speaker 1: heard a little creek on the steps at one point,

1282
01:12:08,520 --> 01:12:10,240
Speaker 1: and you're like, oh, Tyler might know what's going on,

1283
01:12:10,960 --> 01:12:14,120
Speaker 1: but he's gone, He's out of her life. So the

1284
01:12:14,120 --> 01:12:17,600
Speaker 1: rest of the film is this kind of his exploration

1285
01:12:17,640 --> 01:12:19,639
Speaker 1: of her looking for him, not knowing if she wants

1286
01:12:19,680 --> 01:12:22,960
Speaker 1: to find him, does she find him? What happens if

1287
01:12:22,960 --> 01:12:28,120
Speaker 1: she finds him? A lot happens. A lot happens after

1288
01:12:28,160 --> 01:12:31,880
Speaker 1: this moment. So this is a jarring point in this

1289
01:12:31,960 --> 01:12:35,559
Speaker 1: two hour film, but so much more happens after it

1290
01:12:35,640 --> 01:12:42,200
Speaker 1: that really makes you feel simultaneously awful for me but

1291
01:12:42,320 --> 01:12:46,800
Speaker 1: also a little bit upset with her. She does things

1292
01:12:46,840 --> 01:12:51,800
Speaker 1: that make me, as a viewer, really scared for her

1293
01:12:51,880 --> 01:12:55,360
Speaker 1: and question what kind of person is she going to

1294
01:12:55,360 --> 01:12:57,840
Speaker 1: become as a result of this experience. Has it made

1295
01:12:57,920 --> 01:13:00,880
Speaker 1: her softer? Has it made her harder? Has it made

1296
01:13:00,880 --> 01:13:06,960
Speaker 1: her crueler? So a lot happens after this, but I

1297
01:13:06,960 --> 01:13:12,439
Speaker 1: think it's just it's a truly wonderful movie in that

1298
01:13:12,560 --> 01:13:19,160
Speaker 1: it is surprising and shocking, and we'll have you tapping

1299
01:13:19,200 --> 01:13:24,240
Speaker 1: into emotions that you thought were dormant for a long

1300
01:13:24,320 --> 01:13:28,519
Speaker 1: time about growing up and trying to become a person. Yeah,

1301
01:13:28,800 --> 01:13:31,320
Speaker 1: I think the ending a lot of what I've read,

1302
01:13:31,400 --> 01:13:33,639
Speaker 1: and you know, at the time I saw it, talked

1303
01:13:33,640 --> 01:13:36,719
Speaker 1: about with friends, and a lot of people were very

1304
01:13:37,720 --> 01:13:41,640
Speaker 1: saw the ending of the film is very hopeful. I

1305
01:13:41,680 --> 01:13:44,160
Speaker 1: have never thought that. I think the ending feels a

1306
01:13:44,200 --> 01:13:48,360
Speaker 1: little bit more fraud to me and much scarier to

1307
01:13:48,479 --> 01:13:53,000
Speaker 1: me in terms of what's going to happen to me. Also,

1308
01:13:53,160 --> 01:13:55,960
Speaker 1: she's kind of set up to replicate a lot of

1309
01:13:55,960 --> 01:14:02,800
Speaker 1: family patterns. Yes, I'll leave it at that, but there's

1310
01:14:02,840 --> 01:14:05,600
Speaker 1: a there is a moment where towards the end of

1311
01:14:05,640 --> 01:14:07,679
Speaker 1: the film you get to see a glimpse of Joanne

1312
01:14:07,680 --> 01:14:11,320
Speaker 1: as a different person her mother in two different ways.

1313
01:14:11,360 --> 01:14:16,519
Speaker 1: One is slightly more loving. One is Joanne saying, you know,

1314
01:14:16,560 --> 01:14:19,320
Speaker 1: I almost had you aborted. I made the appointment and everything.

1315
01:14:20,280 --> 01:14:24,200
Speaker 1: So there's I don't know, there's just there's there's not

1316
01:14:24,400 --> 01:14:26,200
Speaker 1: for me, a hopefulness at the end of this movie,

1317
01:14:26,280 --> 01:14:29,320
Speaker 1: the way that is built into other people's viewing of

1318
01:14:29,400 --> 01:14:32,640
Speaker 1: this film, I want there to be I want to

1319
01:14:32,680 --> 01:14:37,040
Speaker 1: feel hopeful for this, for this girl. Yeah, but I'm

1320
01:14:37,280 --> 01:14:39,240
Speaker 1: really scared. I'm at the end of this film very

1321
01:14:39,240 --> 01:14:41,840
Speaker 1: scared for her, more scared than I am hopeful, which

1322
01:14:41,880 --> 01:14:45,200
Speaker 1: again is her own experience of her own life. So

1323
01:14:45,920 --> 01:14:49,960
Speaker 1: masterfully done. Andrew Arnold is the best at this. Uh.

1324
01:14:50,000 --> 01:14:52,840
Speaker 1: And I just highly recommend if you can stomach it

1325
01:14:53,000 --> 01:14:54,080
Speaker 1: watching this film.

1326
01:14:54,360 --> 01:14:58,960
Speaker 2: Yeah. Yeah, it's I mean, no doubt, it's bleak, no doubt,

1327
01:14:59,479 --> 01:15:03,439
Speaker 2: But I also specialty. Yeah, your specialty, and I love

1328
01:15:03,760 --> 01:15:05,960
Speaker 2: I love a bleak film too. I mean it's no

1329
01:15:06,439 --> 01:15:10,320
Speaker 2: doubt about that. I mean, my this is why I think,

1330
01:15:10,600 --> 01:15:14,479
Speaker 2: maybe potentially why we sometimes do themes like this about

1331
01:15:14,479 --> 01:15:18,040
Speaker 2: teenage girls, like movies about teenage girls, uh, in this way,

1332
01:15:18,479 --> 01:15:22,880
Speaker 2: because I feel, like, you know, I I think part

1333
01:15:22,960 --> 01:15:25,800
Speaker 2: of like the reality of teenagers is that, you know,

1334
01:15:26,120 --> 01:15:28,719
Speaker 2: especially with teenage girls, it's like a lot of times

1335
01:15:28,720 --> 01:15:31,200
Speaker 2: you don't see them in these in like in films.

1336
01:15:31,439 --> 01:15:34,599
Speaker 2: I mean, you just don't really see them much in

1337
01:15:34,640 --> 01:15:40,479
Speaker 2: these situations where they're in peril and they are self

1338
01:15:40,520 --> 01:15:46,599
Speaker 2: sabotaging right, because you know, Hollywood is much more interested

1339
01:15:46,640 --> 01:15:50,400
Speaker 2: in like making them into little princesses and shit. You know,

1340
01:15:50,920 --> 01:15:53,160
Speaker 2: I think anytime you do have a film where this happens,

1341
01:15:53,160 --> 01:15:56,200
Speaker 2: and there is a lot now there has been many

1342
01:15:56,479 --> 01:16:00,519
Speaker 2: more complicated portrayals of teenage girls, but it's hard to

1343
01:16:00,560 --> 01:16:03,800
Speaker 2: watch because you do in like a lot of just

1344
01:16:03,800 --> 01:16:05,920
Speaker 2: like you, I start thinking about the things that I

1345
01:16:05,960 --> 01:16:10,440
Speaker 2: have done and I was never in her economic situation,

1346
01:16:11,200 --> 01:16:14,280
Speaker 2: gratefully for that, but it's that thing of like, oh

1347
01:16:14,280 --> 01:16:16,120
Speaker 2: my god, like what is she going to do? Like

1348
01:16:16,439 --> 01:16:18,920
Speaker 2: is she making the right decisions? You really want her

1349
01:16:18,960 --> 01:16:22,200
Speaker 2: to succeed, But then also you know, I don't think

1350
01:16:22,240 --> 01:16:23,080
Speaker 2: she even knows.

1351
01:16:22,920 --> 01:16:26,120
Speaker 1: How exactly she has no map, no model.

1352
01:16:26,240 --> 01:16:29,599
Speaker 2: Yeah, but that's what makes it bleak is that you're

1353
01:16:29,680 --> 01:16:31,759
Speaker 2: just like, Okay, these are people who are up against

1354
01:16:31,760 --> 01:16:34,439
Speaker 2: the wall and this is all they know and you

1355
01:16:34,760 --> 01:16:37,559
Speaker 2: hope for the best, but it's it's really tough, and

1356
01:16:37,600 --> 01:16:40,200
Speaker 2: that's you know, it's weird. Like I feel like our

1357
01:16:40,240 --> 01:16:44,240
Speaker 2: movies are very similar in that way. Like I gotta say,

1358
01:16:44,280 --> 01:16:46,439
Speaker 2: I think our movies are a lot more similar than

1359
01:16:46,479 --> 01:16:50,200
Speaker 2: I even thought before pick them. I think that they

1360
01:16:50,479 --> 01:16:56,840
Speaker 2: end differently though, right, there's like your way, and then

1361
01:16:56,840 --> 01:17:00,479
Speaker 2: there's my way. So it's either like yeah, a little

1362
01:17:00,520 --> 01:17:03,960
Speaker 2: bit vague as to what will happen, and then there's

1363
01:17:04,000 --> 01:17:06,360
Speaker 2: the nuclear option exactly.

1364
01:17:06,840 --> 01:17:10,280
Speaker 1: But it's also it's very interesting that in both of

1365
01:17:10,320 --> 01:17:18,240
Speaker 1: our films, class structure play so heavily into the options

1366
01:17:18,400 --> 01:17:21,240
Speaker 1: that these girls have or think that they have, and

1367
01:17:21,280 --> 01:17:26,360
Speaker 1: how the class structure that they live in dictates who

1368
01:17:26,400 --> 01:17:28,679
Speaker 1: they are to people before they even open their mouths.

1369
01:17:28,720 --> 01:17:31,840
Speaker 1: But then they also very much live up to those

1370
01:17:32,560 --> 01:17:38,040
Speaker 1: those preposterous stereotypes sometimes because they feel like, well, fuck it,

1371
01:17:38,080 --> 01:17:39,800
Speaker 1: if you already think this way about me, why not

1372
01:17:39,880 --> 01:17:44,080
Speaker 1: do it in that teenage way. So yeah, I just

1373
01:17:44,080 --> 01:17:46,920
Speaker 1: just yeah, love this movie. I really love this movie.

1374
01:17:47,000 --> 01:17:50,479
Speaker 1: I think that it's it speaks to me on a

1375
01:17:50,520 --> 01:17:54,960
Speaker 1: personal level in so many ways just have not just

1376
01:17:55,000 --> 01:17:58,000
Speaker 1: in terms of how this particular teen girl is represented

1377
01:17:58,280 --> 01:18:02,479
Speaker 1: and the the horrors that are facing her in her life.

1378
01:18:03,400 --> 01:18:05,840
Speaker 1: But you're a movie who let's get into it.

1379
01:18:12,000 --> 01:18:16,040
Speaker 2: So my movie for the theme teenage girls trying to

1380
01:18:16,080 --> 01:18:21,360
Speaker 2: change their lives or are they? It is from nineteen eighty.

1381
01:18:21,760 --> 01:18:26,639
Speaker 2: It was written by Leonard Yakir and Brenda Nielsen, directed

1382
01:18:26,680 --> 01:18:28,840
Speaker 2: by Dennis Hopper, and it's called out of the Blue.

1383
01:18:29,280 --> 01:18:32,800
Speaker 1: Why do you make things so difficult for yourself my life?

1384
01:18:32,880 --> 01:18:35,559
Speaker 2: I could do what I want with you. Just give

1385
01:18:35,640 --> 01:18:39,599
Speaker 2: a tiny bit of background information about this movie. So

1386
01:18:39,800 --> 01:18:45,679
Speaker 2: this was the first film that Dennis Hopper, the actor

1387
01:18:45,760 --> 01:18:52,480
Speaker 2: slash director Dennis Hopper directed since his movie The Last Movie,

1388
01:18:52,720 --> 01:18:58,519
Speaker 2: which is from nineteen seventy one. Now, the trajectory of

1389
01:18:59,040 --> 01:19:02,000
Speaker 2: these films sort of happened like this. So you know,

1390
01:19:02,040 --> 01:19:05,639
Speaker 2: you've got easy writer, which we've discussed on this podcast.

1391
01:19:05,720 --> 01:19:07,960
Speaker 2: Go back and listen to that episode. You know, Dennis

1392
01:19:08,000 --> 01:19:11,360
Speaker 2: Hopper became this like countercultural hero for that movie, right,

1393
01:19:11,640 --> 01:19:16,639
Speaker 2: Like the thing was like a huge success, changed Hollywood, changed,

1394
01:19:16,680 --> 01:19:20,439
Speaker 2: you know, the public consciousness about hippies and counterculture all

1395
01:19:20,479 --> 01:19:25,120
Speaker 2: that stuff. Right, So of course this movie was popular

1396
01:19:25,240 --> 01:19:27,519
Speaker 2: enough to where they said, hey, you want to make

1397
01:19:27,520 --> 01:19:30,559
Speaker 2: another movie. So Dennis Hopper decides then to make this

1398
01:19:30,600 --> 01:19:34,400
Speaker 2: movie called The Last Movie. Looks fantastic, by the way,

1399
01:19:34,479 --> 01:19:36,479
Speaker 2: I don't know if you've seen the new restoration of

1400
01:19:36,520 --> 01:19:39,759
Speaker 2: the Last Movie that came out like fairly recently. But man,

1401
01:19:40,160 --> 01:19:47,320
Speaker 2: super weird and artsy. Okay, Like Dennis Hopper was definitely

1402
01:19:47,360 --> 01:19:49,800
Speaker 2: on drugs when he made it like.

1403
01:19:51,360 --> 01:19:52,120
Speaker 1: To a fault.

1404
01:19:52,160 --> 01:19:54,920
Speaker 2: I think I think it's suffered a lot because of it.

1405
01:19:55,439 --> 01:19:58,800
Speaker 2: But that was it, so basically as easy writer. Then

1406
01:19:58,800 --> 01:20:01,000
Speaker 2: he makes the last movie and then Hollywood was like, okay,

1407
01:20:03,240 --> 01:20:07,240
Speaker 2: this enough of this, so we're like, you made this

1408
01:20:07,280 --> 01:20:09,760
Speaker 2: one thing that we really like and we thought we

1409
01:20:09,760 --> 01:20:11,479
Speaker 2: could make more money off of. But then then he

1410
01:20:11,560 --> 01:20:14,240
Speaker 2: went and made the weirdest movie possible after so.

1411
01:20:14,720 --> 01:20:16,760
Speaker 1: And that was his own freak. Yeah.

1412
01:20:16,840 --> 01:20:19,760
Speaker 2: Yeah, yeah. Actually, it's kind of my favorite thing that

1413
01:20:19,840 --> 01:20:23,200
Speaker 2: happens sometimes in Hollywood, where Hollywood decides to give it

1414
01:20:23,240 --> 01:20:25,800
Speaker 2: outsider somebody like a chance to make a movie. They

1415
01:20:25,800 --> 01:20:27,720
Speaker 2: make a hugely popular movie and then they're like, you

1416
01:20:27,720 --> 01:20:29,640
Speaker 2: want some more money, and they're like, well, let me

1417
01:20:29,680 --> 01:20:31,360
Speaker 2: tell you how weird I actually am.

1418
01:20:31,680 --> 01:20:34,479
Speaker 1: I'm thinking instantly of Boots Riley for example.

1419
01:20:34,680 --> 01:20:37,760
Speaker 2: Yeah, exactly. I mean it's happened so many times, right.

1420
01:20:38,360 --> 01:20:40,360
Speaker 2: I think it's kind of fucking punk rock. I love it.

1421
01:20:40,439 --> 01:20:43,040
Speaker 1: Yeah, it's great, it's so fucking punk. I love it

1422
01:20:43,160 --> 01:20:43,679
Speaker 1: so much.

1423
01:20:44,160 --> 01:20:47,679
Speaker 2: So so speaking of punk, so essentially, the last movie

1424
01:20:47,880 --> 01:20:49,920
Speaker 2: was the last movie that Dennis Hopper had made until

1425
01:20:49,960 --> 01:20:53,000
Speaker 2: this movie, and he was actually hired as an actor

1426
01:20:53,200 --> 01:20:56,200
Speaker 2: for out of the blue. Initially he was he had

1427
01:20:56,439 --> 01:20:59,360
Speaker 2: he wasn't hired to direct it. He ended up stepping

1428
01:20:59,400 --> 01:21:02,800
Speaker 2: in at the last minute because I believe the one

1429
01:21:02,840 --> 01:21:06,479
Speaker 2: of this screenwriters, Leonard Yaker, I think that's how you

1430
01:21:06,479 --> 01:21:08,479
Speaker 2: say his name. He was going to direct it, but

1431
01:21:08,520 --> 01:21:11,160
Speaker 2: then at last minute they swapped him out with Dennis Hopper. Now,

1432
01:21:11,400 --> 01:21:15,080
Speaker 2: from what I've read, initially the movie was supposed to

1433
01:21:15,120 --> 01:21:17,519
Speaker 2: be a little bit more of like an after school

1434
01:21:17,560 --> 01:21:21,280
Speaker 2: special type of thing, like it was essentially about a

1435
01:21:21,320 --> 01:21:25,680
Speaker 2: psychologist who was sort of working with like a troubled

1436
01:21:25,840 --> 01:21:28,960
Speaker 2: young girl, I'm assuming, kind of in the vein of

1437
01:21:29,000 --> 01:21:31,040
Speaker 2: like ordinary people or something.

1438
01:21:31,720 --> 01:21:31,920
Speaker 1: You know.

1439
01:21:32,080 --> 01:21:37,280
Speaker 2: Raymond Burr plays the psychologist in the film, and I

1440
01:21:37,280 --> 01:21:39,080
Speaker 2: think it was more about that. It was supposed to

1441
01:21:39,080 --> 01:21:41,360
Speaker 2: be more of kind of like a character study drama,

1442
01:21:41,520 --> 01:21:44,479
Speaker 2: teen drama. But then, of course, when Dennis Hopper got involved,

1443
01:21:45,080 --> 01:21:46,719
Speaker 2: it became much darker.

1444
01:21:47,720 --> 01:21:51,439
Speaker 1: You know, have you ever seen that that that video

1445
01:21:51,479 --> 01:21:55,400
Speaker 1: where somebody takes the Shining trailer and sets it to

1446
01:21:55,479 --> 01:21:58,360
Speaker 1: Salisbury Hill. Oh, of course, of course, I feel like

1447
01:21:58,560 --> 01:22:00,920
Speaker 1: that's what the movie was supposed to be, the Salisbury

1448
01:22:01,000 --> 01:22:05,680
Speaker 1: Hill version, And then the actual Shining came out of it.

1449
01:22:06,000 --> 01:22:09,519
Speaker 2: Yeah, it was like I'm assuming that, like, you know,

1450
01:22:09,560 --> 01:22:12,160
Speaker 2: the Linda mans character was supposed to look like Ali

1451
01:22:12,320 --> 01:22:15,040
Speaker 2: McGraw Love Story, with like her knee high socks and

1452
01:22:15,080 --> 01:22:18,599
Speaker 2: her fucking like you know, peacoat and then they just

1453
01:22:19,120 --> 01:22:20,439
Speaker 2: took a sharp turn.

1454
01:22:20,800 --> 01:22:22,559
Speaker 1: They're like, you remember you don't ever see led Me

1455
01:22:22,560 --> 01:22:25,640
Speaker 1: from Motorhead, Let's do the the teen girl version of that.

1456
01:22:26,280 --> 01:22:31,880
Speaker 2: God be still my beating heart. Well, and like, I

1457
01:22:31,880 --> 01:22:34,160
Speaker 2: want to talk about Linda Mans because I think she

1458
01:22:34,320 --> 01:22:36,800
Speaker 2: I mean, first of all, she's a cinematic hero of mine.

1459
01:22:36,840 --> 01:22:41,519
Speaker 2: For sure. She passed away well a few years ago now,

1460
01:22:42,040 --> 01:22:46,200
Speaker 2: but you know, she was hired to do this movie

1461
01:22:46,880 --> 01:22:50,840
Speaker 2: because Dennis Hopper was like really into the idea that

1462
01:22:50,840 --> 01:22:52,400
Speaker 2: she was in a punk rock and again, this is

1463
01:22:52,439 --> 01:22:55,519
Speaker 2: like late seventies early eighties is like the absolute era

1464
01:22:55,720 --> 01:23:00,280
Speaker 2: for it. So she So Linda Man's made her her

1465
01:23:00,439 --> 01:23:03,920
Speaker 2: feature film debut when she was only fifteen years old.

1466
01:23:04,000 --> 01:23:07,599
Speaker 2: She was in Days of Heaven by Terrence Malick, which

1467
01:23:07,800 --> 01:23:10,360
Speaker 2: had only come out a few years prior. So that

1468
01:23:10,439 --> 01:23:12,519
Speaker 2: was kind of her first film. And in that movie,

1469
01:23:12,600 --> 01:23:15,360
Speaker 2: she's very memorable. She does the voiceover for it, and

1470
01:23:15,439 --> 01:23:18,120
Speaker 2: she's just kind of like, but this is her vibe

1471
01:23:18,160 --> 01:23:21,000
Speaker 2: and this is like why I love Linda Mans is

1472
01:23:21,000 --> 01:23:25,240
Speaker 2: that she's sort of in line with all the like

1473
01:23:25,360 --> 01:23:29,200
Speaker 2: little tough girls that I loved in movies, right, like

1474
01:23:29,439 --> 01:23:33,120
Speaker 2: Robin Johnson in Times Square, which we've also talked about

1475
01:23:33,160 --> 01:23:36,760
Speaker 2: on the podcast Christy McNichol, and Little Darlings, which we've

1476
01:23:36,760 --> 01:23:41,200
Speaker 2: talked about, like these kind of tough, street wise, cigarette

1477
01:23:41,240 --> 01:23:44,720
Speaker 2: smoking teen girls obsessed, Like how could you not be

1478
01:23:44,760 --> 01:23:48,960
Speaker 2: obsessed with them? They're so cool, and like that's who

1479
01:23:49,000 --> 01:23:52,200
Speaker 2: Linda Mans was at this time, you know, on screen.

1480
01:23:53,240 --> 01:23:56,000
Speaker 2: And then at some point in the eighties, after she

1481
01:23:56,080 --> 01:23:58,559
Speaker 2: had made a few films, she decided to leave the

1482
01:23:58,600 --> 01:24:01,240
Speaker 2: business and she wanted to like her kids and get married.

1483
01:24:01,920 --> 01:24:05,280
Speaker 2: And then the next time, at least the next time

1484
01:24:05,360 --> 01:24:09,280
Speaker 2: I saw her was when she was in Gummo, the

1485
01:24:09,320 --> 01:24:13,280
Speaker 2: Harmony Kren film, and she was the mom of the

1486
01:24:13,320 --> 01:24:15,920
Speaker 2: little kids Solomon, you know, the kid that eats spaghetti

1487
01:24:15,920 --> 01:24:16,519
Speaker 2: in the bathtub.

1488
01:24:16,960 --> 01:24:18,799
Speaker 1: How can you fucking forget Solomon?

1489
01:24:19,080 --> 01:24:21,680
Speaker 2: How could you forget? And like the scene that but

1490
01:24:21,800 --> 01:24:25,360
Speaker 2: I remember her in the most was when Solomon is

1491
01:24:25,400 --> 01:24:28,040
Speaker 2: in the basement and do you remember he's like shirtless,

1492
01:24:28,080 --> 01:24:30,400
Speaker 2: he's working out in front of a mirror, and he's

1493
01:24:30,439 --> 01:24:35,120
Speaker 2: got two handfuls of silverware that he's taped up and

1494
01:24:35,120 --> 01:24:39,599
Speaker 2: he's using them as like hand weights. Yes, And then

1495
01:24:39,640 --> 01:24:42,360
Speaker 2: she comes down and pulls out a like starts tap dancing.

1496
01:24:42,439 --> 01:24:44,160
Speaker 2: She pulls out a pair of tap shoes and starts

1497
01:24:44,200 --> 01:24:47,639
Speaker 2: like performing. It's like such a such a wild scene.

1498
01:24:48,280 --> 01:24:51,080
Speaker 2: But that is like what when I was like, oh,

1499
01:24:51,080 --> 01:24:53,880
Speaker 2: that's the little girl from Days of Heaven or Out

1500
01:24:53,880 --> 01:24:56,120
Speaker 2: of the Blue, you know, so it was a long

1501
01:24:56,200 --> 01:24:57,599
Speaker 2: time between those two things.

1502
01:24:58,080 --> 01:25:01,360
Speaker 1: She's got this like New York thick New York accent.

1503
01:25:01,640 --> 01:25:04,880
Speaker 2: Yeah, she's from New York for sure, but and just yeah,

1504
01:25:05,280 --> 01:25:09,800
Speaker 2: very you know that kind of gruff like knows a

1505
01:25:09,840 --> 01:25:13,439
Speaker 2: thing or two little girl, which is so I mean

1506
01:25:13,439 --> 01:25:16,360
Speaker 2: to me again, like I just like gravitated towards those

1507
01:25:16,400 --> 01:25:20,680
Speaker 2: types of characters and films. So once I did synopsis

1508
01:25:20,680 --> 01:25:24,080
Speaker 2: ab out of the Blue a teenage girl living in

1509
01:25:24,120 --> 01:25:28,959
Speaker 2: the Pacific Northwest who is obsessed with punk rock and Elvis.

1510
01:25:29,040 --> 01:25:36,799
Speaker 2: Presley struggles to find normalcy within her broken, addicted family.

1511
01:25:38,200 --> 01:25:42,719
Speaker 2: So this movie was shot in Vancouver, so yeah, very

1512
01:25:43,280 --> 01:25:49,120
Speaker 2: Pacific Northwest e like flannels and you know, trees out

1513
01:25:49,160 --> 01:25:52,960
Speaker 2: a lot of outdoorsy stuff. The title of this movie

1514
01:25:53,080 --> 01:25:56,320
Speaker 2: comes from a Neil Young song, which they actually play

1515
01:25:56,479 --> 01:25:59,479
Speaker 2: multiple times in the film, So there's kind of that vibe,

1516
01:25:59,680 --> 01:26:04,240
Speaker 2: like the Young vibe. So this movie is about Linda

1517
01:26:04,280 --> 01:26:08,799
Speaker 2: Manns plays this girl named Cindy who is called Sebee.

1518
01:26:09,880 --> 01:26:13,120
Speaker 2: She is, you know, like again kind of like a

1519
01:26:13,200 --> 01:26:16,519
Speaker 2: tough fact in tom boyish character, wears a lot of

1520
01:26:16,560 --> 01:26:20,080
Speaker 2: like denim and that kind of stuff, smoking cigarettes. She's

1521
01:26:20,120 --> 01:26:23,880
Speaker 2: being raised by her single mom who's named Kathy Uh

1522
01:26:23,960 --> 01:26:27,680
Speaker 2: and she played by Sharon Farrell. And here's this the

1523
01:26:27,760 --> 01:26:30,760
Speaker 2: general gist of the story because just really like it's

1524
01:26:30,800 --> 01:26:34,439
Speaker 2: really like not there's things happening, but it's really more

1525
01:26:34,479 --> 01:26:36,400
Speaker 2: of like a slice of life type of film at

1526
01:26:36,400 --> 01:26:40,559
Speaker 2: the end of the day. So Seebee's father, Dawn, who

1527
01:26:40,680 --> 01:26:45,439
Speaker 2: was played by Dennis Hopper. He at the beginning of

1528
01:26:45,439 --> 01:26:51,400
Speaker 2: the film, they show this horrific accident right where Sebee

1529
01:26:51,439 --> 01:26:55,280
Speaker 2: and her father are driving around in his semi truck.

1530
01:26:55,800 --> 01:27:02,200
Speaker 2: He's drunk, right, and then they basically crash into a

1531
01:27:02,240 --> 01:27:08,120
Speaker 2: school bus full of kids. It's crazy when they show it.

1532
01:27:08,280 --> 01:27:10,679
Speaker 2: I mean there's a couple of I mean you see

1533
01:27:10,680 --> 01:27:13,519
Speaker 2: a couple of like, you know, kind of bad props

1534
01:27:13,560 --> 01:27:15,760
Speaker 2: floating around, but it's like they show it. I mean,

1535
01:27:15,800 --> 01:27:19,760
Speaker 2: they show the action of it, and it's really really disturbing.

1536
01:27:19,800 --> 01:27:24,080
Speaker 2: And then this becomes the flashpoint for the rest of

1537
01:27:24,080 --> 01:27:27,320
Speaker 2: the film, which is that Dawn, her father goes to

1538
01:27:27,400 --> 01:27:30,639
Speaker 2: jail because of it. You know, she is sort of

1539
01:27:30,720 --> 01:27:34,160
Speaker 2: like constantly reminded of it. She's got a scar on

1540
01:27:34,200 --> 01:27:37,720
Speaker 2: her face from the event. And then the truck, the

1541
01:27:37,800 --> 01:27:41,200
Speaker 2: cab of the truck is now in their front yard

1542
01:27:41,920 --> 01:27:45,080
Speaker 2: and is like grown over, you know, trees and branches

1543
01:27:45,080 --> 01:27:46,960
Speaker 2: and stuff. And then this is like a place where

1544
01:27:46,960 --> 01:27:47,559
Speaker 2: she sits.

1545
01:27:48,680 --> 01:27:50,559
Speaker 1: She hangs like a hay out, like a fort for her.

1546
01:27:50,880 --> 01:27:53,360
Speaker 2: It's like a fort. And this is like the sight

1547
01:27:53,520 --> 01:27:58,280
Speaker 2: of one of the most tragic accidents you can even imagine, right,

1548
01:27:59,479 --> 01:28:01,240
Speaker 2: So it's that up in this way where it's just

1549
01:28:01,280 --> 01:28:03,360
Speaker 2: sort of like, yeah, the dad's in jail, you know.

1550
01:28:03,840 --> 01:28:08,040
Speaker 2: Her mom, meanwhile, has been having an affair with like

1551
01:28:08,080 --> 01:28:10,679
Speaker 2: I guess, the owner of the diner where she works.

1552
01:28:11,520 --> 01:28:16,120
Speaker 2: And she is a heroin addict and will do heroin

1553
01:28:16,240 --> 01:28:20,439
Speaker 2: with Don's best friend Charlie, who is a total fucking

1554
01:28:20,520 --> 01:28:25,960
Speaker 2: creep from the and I was creepy, guys, that hang

1555
01:28:25,960 --> 01:28:26,920
Speaker 2: out at Bowling Alley's.

1556
01:28:28,400 --> 01:28:32,360
Speaker 1: This is the worst character I've ever seen on film

1557
01:28:32,439 --> 01:28:34,759
Speaker 1: in so many ways. He's so bad news.

1558
01:28:35,400 --> 01:28:41,360
Speaker 2: Yes, like just a fucking creep letch, like you know again,

1559
01:28:41,520 --> 01:28:45,120
Speaker 2: like sort of this is Don's best friend on the outside,

1560
01:28:45,120 --> 01:28:47,680
Speaker 2: and he's just sort of like trying to you know,

1561
01:28:47,800 --> 01:28:50,400
Speaker 2: have sex with the mom and with Cbe at one

1562
01:28:50,439 --> 01:28:53,479
Speaker 2: point and is just sort of like, you know, not

1563
01:28:53,520 --> 01:28:57,839
Speaker 2: a good not a good guy. So essentially, if you

1564
01:28:57,880 --> 01:28:59,920
Speaker 2: as you can imagine so much traum and Seb's like

1565
01:29:00,040 --> 01:29:02,320
Speaker 2: she's trying to find escapism, and this is the way

1566
01:29:02,360 --> 01:29:05,080
Speaker 2: she does it is through music, right, I think that's

1567
01:29:05,080 --> 01:29:07,080
Speaker 2: a very common thing. I mean it certainly was for me.

1568
01:29:07,200 --> 01:29:10,200
Speaker 2: And like I used music as an escape as a teenager,

1569
01:29:10,240 --> 01:29:13,559
Speaker 2: like you wouldn't believe and still do still do. I

1570
01:29:13,560 --> 01:29:17,360
Speaker 2: mean again, I did not have anything close to the

1571
01:29:17,400 --> 01:29:20,600
Speaker 2: scenarios that Seebee was going through in this film, but

1572
01:29:20,720 --> 01:29:24,639
Speaker 2: like this, like I idolized musicians in the same way

1573
01:29:24,680 --> 01:29:26,479
Speaker 2: that she did. And this is what she does is

1574
01:29:26,520 --> 01:29:29,160
Speaker 2: that she like loves punk rock, She loves sid Vicious

1575
01:29:29,200 --> 01:29:32,280
Speaker 2: and Johnny Rotten from the Sex Pistols, and she fucking

1576
01:29:32,400 --> 01:29:36,840
Speaker 2: loves Elvis and she uses Elvis as a way to

1577
01:29:36,920 --> 01:29:40,080
Speaker 2: kind of escape herself. There are times in the movie

1578
01:29:40,120 --> 01:29:44,120
Speaker 2: where she starts to dress like him and she sings

1579
01:29:44,160 --> 01:29:46,920
Speaker 2: like is it teddy Bear? I think it's the song

1580
01:29:47,000 --> 01:29:49,920
Speaker 2: teddy Bear? And it always feels like she's singing that

1581
01:29:50,000 --> 01:29:51,800
Speaker 2: song when something bad is about.

1582
01:29:51,520 --> 01:29:57,320
Speaker 1: To happen, absolutely right. And she's also like just such

1583
01:29:57,360 --> 01:29:59,800
Speaker 1: a little kid. Still, there's so many moments where she's

1584
01:30:00,640 --> 01:30:03,400
Speaker 1: you know, in the fetal position, sucking her thumb yep

1585
01:30:03,840 --> 01:30:06,200
Speaker 1: and like holding a teddy bear, holding an actual teddy Bear.

1586
01:30:06,280 --> 01:30:08,760
Speaker 1: So like when she sings that song and then you

1587
01:30:08,800 --> 01:30:11,320
Speaker 1: see her in these moments, it's just that juxtaposition is

1588
01:30:11,360 --> 01:30:13,120
Speaker 1: insanely poignant.

1589
01:30:13,640 --> 01:30:19,520
Speaker 2: Yeah, And just like Mia in Fish Tank in your film,

1590
01:30:20,000 --> 01:30:24,280
Speaker 2: like CB, is that she's you know, basically like asserting

1591
01:30:24,320 --> 01:30:27,599
Speaker 2: her dominance over like her like the kids in her school.

1592
01:30:27,640 --> 01:30:30,080
Speaker 2: She doesn't even like going to school. She's got like

1593
01:30:30,080 --> 01:30:32,000
Speaker 2: a couple of girlfriends and they just kind of hang out.

1594
01:30:32,040 --> 01:30:34,360
Speaker 2: But you know, she's like a tough, a tough chick.

1595
01:30:34,479 --> 01:30:38,120
Speaker 2: She's you know, basically mea They're very very similar in

1596
01:30:38,160 --> 01:30:41,040
Speaker 2: that way, meaning that they get into fights with other girls,

1597
01:30:41,720 --> 01:30:45,760
Speaker 2: which I never did. I always avoided physical conflict if

1598
01:30:45,920 --> 01:30:46,639
Speaker 2: at all possible.

1599
01:30:47,920 --> 01:30:55,120
Speaker 1: But although I will say my former best friend, I

1600
01:30:55,160 --> 01:30:57,040
Speaker 1: write about this in my book, but my former best

1601
01:30:57,120 --> 01:31:00,720
Speaker 1: friend used to constantly want to physically fight me as

1602
01:31:00,760 --> 01:31:03,600
Speaker 1: like a show of her own strength Jesus. And so

1603
01:31:03,720 --> 01:31:07,040
Speaker 1: I charged her. We're playing kickball one day in my backyard,

1604
01:31:07,040 --> 01:31:09,640
Speaker 1: and she kept changing all the rules, oh boy, to

1605
01:31:09,680 --> 01:31:11,920
Speaker 1: benefit her in her team. And I charged the mound

1606
01:31:11,960 --> 01:31:14,320
Speaker 1: and popped her in the face and her nose started bleeding,

1607
01:31:14,360 --> 01:31:16,160
Speaker 1: and I ran into my house crying.

1608
01:31:16,120 --> 01:31:16,840
Speaker 2: Oh my god.

1609
01:31:17,080 --> 01:31:20,120
Speaker 1: Yeah, like I'm not in that moment. I was like,

1610
01:31:20,200 --> 01:31:22,160
Speaker 1: I'm not this. I don't want to fight. I'm not

1611
01:31:22,240 --> 01:31:24,559
Speaker 1: this bitch. I can't do it. It was too tender.

1612
01:31:24,600 --> 01:31:26,280
Speaker 1: It was too devastating for me.

1613
01:31:26,880 --> 01:31:29,760
Speaker 2: Yeah. But so basically, you know, Stebee's trying to just

1614
01:31:29,880 --> 01:31:33,680
Speaker 2: like escape this shitty life of hers, and you know

1615
01:31:33,760 --> 01:31:37,160
Speaker 2: she loves punk rock. There's this really really great scene

1616
01:31:37,200 --> 01:31:39,280
Speaker 2: where she goes into the city and she sees this

1617
01:31:39,439 --> 01:31:42,400
Speaker 2: band and there's actually like a real band at the time,

1618
01:31:42,640 --> 01:31:46,519
Speaker 2: they were called Pointed Sticks, and she goes to see

1619
01:31:46,560 --> 01:31:49,519
Speaker 2: their show and she like meets the band backstage, and

1620
01:31:49,520 --> 01:31:51,920
Speaker 2: then the drummer kind of comes along and takes her

1621
01:31:52,040 --> 01:31:53,840
Speaker 2: under his wing and like allows her to get on

1622
01:31:53,880 --> 01:31:56,439
Speaker 2: stage and drum for a song. It's so cute, like

1623
01:31:56,520 --> 01:31:57,000
Speaker 2: so cute.

1624
01:31:57,320 --> 01:31:58,400
Speaker 1: She's real so happy.

1625
01:31:58,880 --> 01:32:01,800
Speaker 2: Yeah, she's so happy. She's like totally in her own

1626
01:32:01,960 --> 01:32:05,200
Speaker 2: world there and loves it. And you know, this movie

1627
01:32:05,280 --> 01:32:07,680
Speaker 2: again gets really really dark at times. I mean, I

1628
01:32:07,720 --> 01:32:11,519
Speaker 2: won't I don't feel like giving these moments away because

1629
01:32:11,520 --> 01:32:13,240
Speaker 2: again I feel like it contributes to the end of

1630
01:32:13,240 --> 01:32:17,000
Speaker 2: the story, which is very shocking, but it deals with

1631
01:32:17,040 --> 01:32:20,479
Speaker 2: like addiction and sexual abuse and poverty, and it's just dark.

1632
01:32:20,520 --> 01:32:25,240
Speaker 2: It's another bleak film. And the thing that I think

1633
01:32:25,320 --> 01:32:28,640
Speaker 2: is really interesting about this era too, is like in

1634
01:32:28,720 --> 01:32:32,439
Speaker 2: the like Out of the Blue is a huge cult

1635
01:32:32,520 --> 01:32:34,360
Speaker 2: film at this point. I think a lot of people,

1636
01:32:35,400 --> 01:32:38,400
Speaker 2: you know, it was basically restored in I think it

1637
01:32:38,439 --> 01:32:42,679
Speaker 2: was like twenty eighteen or twenty nineteen by Natasha Leone

1638
01:32:42,720 --> 01:32:46,720
Speaker 2: and Chloe seventy. Weirdly enough, they were huge fans of

1639
01:32:46,760 --> 01:32:49,559
Speaker 2: the film and they helped, you know, organize a kind

1640
01:32:49,600 --> 01:32:53,200
Speaker 2: of fundraiser to restore it. And that's the version I

1641
01:32:53,240 --> 01:32:56,559
Speaker 2: think that we saw for this episode. So there's a

1642
01:32:56,640 --> 01:32:59,559
Speaker 2: huge cult following for this film. Obviously, Linda Manns is

1643
01:33:00,040 --> 01:33:02,280
Speaker 2: absolutely part of it, you know, but then there's also

1644
01:33:02,320 --> 01:33:05,880
Speaker 2: the Dennis Hopper mythology. Generally, I feel like in the

1645
01:33:05,960 --> 01:33:09,479
Speaker 2: in the early eighties, there were movies again, like I

1646
01:33:09,560 --> 01:33:14,800
Speaker 2: talked about like Times Square, Little Darlings, stuff like Christian

1647
01:33:15,120 --> 01:33:17,080
Speaker 2: f which if you've never seen as a movie from

1648
01:33:17,160 --> 01:33:21,200
Speaker 2: nineteen eighty one, but also like Foxes with joduh Foster

1649
01:33:21,320 --> 01:33:27,320
Speaker 2: from nineteen eighty Like these are dark, very real depictions

1650
01:33:27,320 --> 01:33:29,920
Speaker 2: of teenage girls and they're smoking, and they're drinking, and

1651
01:33:29,920 --> 01:33:32,840
Speaker 2: they're having sex, and they're street wise, and you know,

1652
01:33:33,800 --> 01:33:38,519
Speaker 2: this is like pre Molly Ringwald, pre even like Ali

1653
01:33:38,600 --> 01:33:40,600
Speaker 2: Sheety in The Breakfast Club where it was kind of

1654
01:33:40,640 --> 01:33:44,760
Speaker 2: this like you've got this like the you know, the

1655
01:33:44,760 --> 01:33:48,280
Speaker 2: weird Girl, the Ali Sheety and Breakfast Club Girl, where

1656
01:33:48,400 --> 01:33:50,200
Speaker 2: you know she was kind of seen as a bad

1657
01:33:50,439 --> 01:33:55,080
Speaker 2: kid right and then. But yet prior to these films,

1658
01:33:55,120 --> 01:33:59,519
Speaker 2: I mean, you got these really really dark teenage films

1659
01:34:00,240 --> 01:34:03,439
Speaker 2: and Over the Edge again like another movie we've talked about,

1660
01:34:03,720 --> 01:34:07,840
Speaker 2: or I'm just like even before the John Hugheser there

1661
01:34:08,400 --> 01:34:11,400
Speaker 2: was there were some bold teenage films well.

1662
01:34:11,400 --> 01:34:13,839
Speaker 1: And I also wonder how much of that was fueled

1663
01:34:13,840 --> 01:34:18,560
Speaker 1: by you know, satanic panic and parents just really or

1664
01:34:18,600 --> 01:34:25,639
Speaker 1: people really needing to place teenagers or preteens as dangerous

1665
01:34:25,640 --> 01:34:29,080
Speaker 1: people in society if left unchecked, because it was a

1666
01:34:29,080 --> 01:34:33,519
Speaker 1: part of being a teenager that no one had seen

1667
01:34:33,560 --> 01:34:38,120
Speaker 1: that level of you know, violence and wandering and just

1668
01:34:38,200 --> 01:34:41,160
Speaker 1: kind of you know, drugs and you know, you know,

1669
01:34:41,240 --> 01:34:43,559
Speaker 1: post sixties. I think that it was just scary for

1670
01:34:43,560 --> 01:34:44,840
Speaker 1: a lot of people, and they were trying to make

1671
01:34:44,840 --> 01:34:46,640
Speaker 1: people scared, and their films it is like, look, this

1672
01:34:46,680 --> 01:34:48,360
Speaker 1: is what they really like or I just wonder how

1673
01:34:48,439 --> 01:34:49,519
Speaker 1: much of that was a part of it?

1674
01:34:49,600 --> 01:34:50,160
Speaker 2: Is that right?

1675
01:34:50,720 --> 01:34:50,920
Speaker 1: Oh?

1676
01:34:51,120 --> 01:34:54,000
Speaker 2: Absolutely? I mean you have to think I mean you

1677
01:34:54,080 --> 01:34:56,560
Speaker 2: have to think that that like the PRMC and the

1678
01:34:56,600 --> 01:34:59,080
Speaker 2: Satanic Panicle, that stuff that came later in the eighties.

1679
01:34:59,320 --> 01:35:02,720
Speaker 2: I mean, part of me wonders if it was informed

1680
01:35:02,760 --> 01:35:05,320
Speaker 2: a little bit about this era, which to me, it

1681
01:35:05,400 --> 01:35:08,360
Speaker 2: feels like these early eighties teenage films were very much

1682
01:35:08,600 --> 01:35:10,639
Speaker 2: more informed by seventies than eighties.

1683
01:35:11,200 --> 01:35:11,360
Speaker 1: Yea.

1684
01:35:11,920 --> 01:35:13,640
Speaker 2: And then you know, of course again you get the

1685
01:35:14,120 --> 01:35:17,000
Speaker 2: John Hughes films where it's more about suburban kids, less

1686
01:35:17,040 --> 01:35:20,000
Speaker 2: about kind of city wise, street wise or even like

1687
01:35:20,160 --> 01:35:24,920
Speaker 2: rural kids. Okay, So at the end of the day,

1688
01:35:25,000 --> 01:35:29,120
Speaker 2: though this film takes a very dark turn, even darker

1689
01:35:29,160 --> 01:35:35,400
Speaker 2: than anything that we've discussed. There are moments where the

1690
01:35:35,439 --> 01:35:38,760
Speaker 2: information is revealed that will make you you're gonna have

1691
01:35:38,760 --> 01:35:41,479
Speaker 2: the same feeling as you had about Michael Fassbender. You're

1692
01:35:41,520 --> 01:35:44,599
Speaker 2: just gonna be like, why is this happening? And then

1693
01:35:44,760 --> 01:35:47,479
Speaker 2: it kind of ends in a much different way than

1694
01:35:47,520 --> 01:35:50,240
Speaker 2: I think your film does as I alluded to, and

1695
01:35:50,280 --> 01:35:53,840
Speaker 2: like it really is sort of like a a desperation

1696
01:35:54,200 --> 01:35:56,800
Speaker 2: or just a perhaps like like a nihilism, like a

1697
01:35:56,840 --> 01:36:00,400
Speaker 2: punk nihilism or something that happens, and I don't know,

1698
01:36:00,920 --> 01:36:03,559
Speaker 2: it doesn't feel good, Like this movie doesn't feel good either.

1699
01:36:03,720 --> 01:36:07,800
Speaker 2: Both these movies are bleak this bleak week here. But

1700
01:36:08,439 --> 01:36:12,280
Speaker 2: I do think what's what I love about these films

1701
01:36:12,320 --> 01:36:15,160
Speaker 2: is that again it is not these like perfect portrayals

1702
01:36:15,240 --> 01:36:20,439
Speaker 2: of teenage girls. They are, you know, making bad choices

1703
01:36:20,479 --> 01:36:24,040
Speaker 2: for themselves, but they're also trying to escape their situations

1704
01:36:24,040 --> 01:36:26,800
Speaker 2: in their own ways that they can. They just don't

1705
01:36:26,800 --> 01:36:33,000
Speaker 2: have the resources to leave bad scenarios right, and they're

1706
01:36:33,040 --> 01:36:36,960
Speaker 2: trying their best. They're they're young, they're you know, they

1707
01:36:36,960 --> 01:36:39,680
Speaker 2: don't have good role models, and then they're just like

1708
01:36:40,320 --> 01:36:45,720
Speaker 2: economically barren, so it's like they are trying the best

1709
01:36:45,720 --> 01:36:47,599
Speaker 2: that they can, I think at the end of the day.

1710
01:36:48,040 --> 01:36:50,959
Speaker 1: And that's almost more interesting to me is to explore

1711
01:36:51,240 --> 01:36:55,040
Speaker 1: when people explore that that time of life when you

1712
01:36:55,160 --> 01:36:58,880
Speaker 1: are too young to do anything about your situation even

1713
01:36:58,960 --> 01:37:02,519
Speaker 1: as you're living it. So we're seeing a lot of

1714
01:37:02,560 --> 01:37:08,120
Speaker 1: that desperation and that clawing nature come out of you know,

1715
01:37:08,160 --> 01:37:11,840
Speaker 1: the almost feral nature come out because they literally can't

1716
01:37:11,880 --> 01:37:13,559
Speaker 1: do anything about what's happening to them.

1717
01:37:13,960 --> 01:37:17,600
Speaker 2: Yeah, yeah, for sure. And and even in spite of

1718
01:37:17,640 --> 01:37:19,679
Speaker 2: the darkness of my movie this week, I mean, there's

1719
01:37:19,720 --> 01:37:22,120
Speaker 2: a couple of amazing scenes, like the seed of Dennis

1720
01:37:22,120 --> 01:37:25,280
Speaker 2: Hopper in the landfill with all the birds everywhere. I mean,

1721
01:37:25,280 --> 01:37:28,920
Speaker 2: that's a great looking scene. And then my favorite is

1722
01:37:29,040 --> 01:37:31,679
Speaker 2: really really short and kind of almost like a throwaway scene,

1723
01:37:31,680 --> 01:37:34,160
Speaker 2: but there's a there's one where Ceab's on the street

1724
01:37:34,160 --> 01:37:35,960
Speaker 2: and she's kind of like walking down the street and

1725
01:37:36,000 --> 01:37:38,120
Speaker 2: there's a street performer. It's kind of a guy who's

1726
01:37:38,120 --> 01:37:40,679
Speaker 2: just singing, and it sort of breaks the fourth wall,

1727
01:37:40,760 --> 01:37:44,400
Speaker 2: like you can tell that they edited in you know,

1728
01:37:44,520 --> 01:37:47,040
Speaker 2: basically the filming of it, so that you know you

1729
01:37:47,120 --> 01:37:49,720
Speaker 2: hear people in the background going thank you. We appreciate it.

1730
01:37:49,760 --> 01:37:51,720
Speaker 2: This kind of stuff. I love that it kind of

1731
01:37:51,760 --> 01:37:54,280
Speaker 2: takes you out of the intensity for just a brief

1732
01:37:54,360 --> 01:37:56,960
Speaker 2: moment and it kind of reminds you. It's like they're

1733
01:37:57,000 --> 01:37:58,719
Speaker 2: making a movie, you know, it.

1734
01:37:58,640 --> 01:38:00,799
Speaker 1: Introduces the possibility some levity.

1735
01:38:01,240 --> 01:38:06,800
Speaker 2: Yes, agreed, because it is it is really hardcore. But

1736
01:38:06,800 --> 01:38:09,200
Speaker 2: but yeah, this movie is a gem. I mean, it

1737
01:38:09,320 --> 01:38:12,520
Speaker 2: is hard to watch, but honestly, like Linda Mans is incredible.

1738
01:38:13,960 --> 01:38:16,840
Speaker 2: It looks great. The restoration that they did was great too.

1739
01:38:16,920 --> 01:38:20,719
Speaker 2: So yeah, that's it. That's my movie.

1740
01:38:20,880 --> 01:38:23,200
Speaker 1: Hoo what a week. And with that, go have a

1741
01:38:23,200 --> 01:38:27,800
Speaker 1: happy Halloween. Know we're kidding, happy moming. Yeah.

1742
01:38:27,840 --> 01:38:31,080
Speaker 2: So okay, if you want to email us, we are

1743
01:38:31,120 --> 01:38:33,120
Speaker 2: at I Saw What You Did pot at gmail dot com.

1744
01:38:33,640 --> 01:38:36,240
Speaker 2: Send us questions for bonus episodes, of course, and we

1745
01:38:36,280 --> 01:38:38,280
Speaker 2: also have that PO box if you want to write to.

1746
01:38:38,280 --> 01:38:41,160
Speaker 1: Us, and you can send us things at our PO box,

1747
01:38:41,320 --> 01:38:45,120
Speaker 1: the address of which is on our social media. You

1748
01:38:45,160 --> 01:38:48,200
Speaker 1: can find us at I Sawpod on Instagram, Blue Sky,

1749
01:38:48,280 --> 01:38:51,040
Speaker 1: and Twitter, and you can always also leave us a voicemail.

1750
01:38:51,080 --> 01:38:52,920
Speaker 1: To play on the show, all you have to do

1751
01:38:52,960 --> 01:38:55,320
Speaker 1: is record a voice memo on your phone and email

1752
01:38:55,360 --> 01:38:57,000
Speaker 1: it to I saw what you did pot at gmail

1753
01:38:57,040 --> 01:38:59,960
Speaker 1: dot com. Make it sixty seconds or less and record

1754
01:39:00,080 --> 01:39:01,280
Speaker 1: it in a quiet space.

1755
01:39:02,479 --> 01:39:04,720
Speaker 2: That's right. And if you want merch, we have it

1756
01:39:04,760 --> 01:39:06,679
Speaker 2: at exactly right store dot com.

1757
01:39:07,080 --> 01:39:09,040
Speaker 1: And we have bonus episodes that drop on the main

1758
01:39:09,120 --> 01:39:14,160
Speaker 1: feed every third Thursday of the month. Millie, Yes, do

1759
01:39:14,160 --> 01:39:16,120
Speaker 1: you want to tell them our movies for next week?

1760
01:39:16,520 --> 01:39:19,360
Speaker 2: Hell yeah? Hell yeah? Okay, So our movies for next

1761
01:39:19,400 --> 01:39:22,760
Speaker 2: week are Away from Her from two thousand and seven

1762
01:39:22,960 --> 01:39:26,240
Speaker 2: and Only Lovers Left Alive from twenty thirteen.

1763
01:39:26,840 --> 01:39:31,559
Speaker 1: Oh, try to guess the theme. I apologize for everything

1764
01:39:31,600 --> 01:39:32,679
Speaker 1: I revealed this week.

1765
01:39:33,960 --> 01:39:38,080
Speaker 2: Listen as always as a fucking pleasure to do in

1766
01:39:38,160 --> 01:39:39,200
Speaker 2: this podcast with you.

1767
01:39:40,680 --> 01:39:42,920
Speaker 1: Always, I apologize for it. But what are you gonna do?

1768
01:39:43,080 --> 01:39:46,160
Speaker 1: That's I'm just like this. This is how I am.

1769
01:39:45,600 --> 01:39:46,840
Speaker 2: I'm a fan.

1770
01:39:47,120 --> 01:39:58,639
Speaker 1: Don't worry, bye, guy By. This has been an exactly

1771
01:39:58,720 --> 01:40:02,040
Speaker 1: right production. Our senior our producer is Casey O'Brien. Episode

1772
01:40:02,040 --> 01:40:05,880
Speaker 1: mixing and theme music by Tom Bryfogel, artwork by Garrett Ross.

1773
01:40:06,200 --> 01:40:09,200
Speaker 1: Our executive producers are Georgia Hartstart Caring, Til Gareff, and

1774
01:40:09,280 --> 01:40:12,320
Speaker 1: Daniel Kramer. You can follow us on Instagram and Twitter

1775
01:40:12,360 --> 01:40:15,000
Speaker 1: at I saw pod, and you can email us at

1776
01:40:15,080 --> 01:40:16,960
Speaker 1: I saw what you did POD at gmail,