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Speaker 3: It's time to refresh your yard during Spring Backyard Days

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Speaker 4: It's very difficult to keep the line between the past

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Speaker 4: and the price.

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Speaker 5: Who believe that someone out of the past can enter

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Speaker 5: and take possession of a living being.

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Speaker 3: We may be through with the past, but the past

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Speaker 3: is not through with us.

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Speaker 4: Welcome back to the Next Picture Show, a movie of

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Speaker 4: the week podcast devoted to a classic film and the

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Speaker 4: way it's shaped our thoughts on a recent release. I'm

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Speaker 4: Tasha Robinson here again with a full Next Picture Show

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Speaker 4: compliment for a change that.

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Speaker 2: Includes Keith Phipps, Scott Tobias, and Genevieve Kowski reporting for duty.

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Speaker 4: In our last episode, we discussed The Iron Giant and

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Speaker 4: the debut feature from Ratitui and The Incredibles director Brad

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Speaker 4: Bird semi adapting ted U's children's book The Iron Man

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Speaker 4: for the screen. That movie is an open and obvious

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Speaker 4: inspiration on the new DreamWorks feature The Wild Robot, another

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Speaker 4: children's book adaptation, this time about a perky, naive service

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Speaker 4: robot named Roz voiced by Lupido Yango who washes up

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Speaker 4: on an island after a storm and winds up raised

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Speaker 4: a local gosling after accidentally killing its mother. It's partially

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Speaker 4: a movie about how exhausting, complicated, and frustrating parenting is,

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Speaker 4: which seems like an odd topic for a movie. Aimed

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Speaker 4: largely at kids. It's partially about being part of a community,

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Speaker 4: about the joys of caring and sharing and helping other people.

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Speaker 4: But a big part of it is, as with The

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Speaker 4: Iron Giant, about not being a gun, or at least

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Speaker 4: not being what you were programmed to be. We'll jump

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Speaker 4: into all of that after this break.

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Speaker 6: I do not have the programming to be a mother.

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Speaker 1: They all need to eat, but yours needs to swim

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Speaker 1: and fly.

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Speaker 7: His chances aren't super good.

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Speaker 2: I will protect him. Find that inside.

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Speaker 8: You did your work on that.

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Speaker 4: Don't be afraid.

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Speaker 3: Ready, I could use a boost.

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Speaker 4: So what did everybody think of The Wild Robot?

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Speaker 8: Oh?

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Speaker 5: I really liked it though it was a really it's

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Speaker 5: I mean, it's a beautiful looking movie.

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Speaker 7: I was.

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Speaker 5: I was moved by it. I thought it was it

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Speaker 5: takes on a lot. There's I think a lot. It's

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Speaker 5: gonna be a good one to talk about it. I

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Speaker 5: think it's kind of a lot going on within this movie.

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Speaker 2: Yeah, I think if I were reviewing this on letterbox,

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Speaker 2: the thing I never do, but I would do it

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Speaker 2: as three and a half stars, but with a heart,

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Speaker 2: Like I really I really liked this movie and like

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Speaker 2: really felt it, but like there's still like a kind

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Speaker 2: of a lot of I guess, little flaws that like

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Speaker 2: I feel curmudgeonly like picking at I guess because I

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Speaker 2: did very much enjoy it as a movie going experience,

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Speaker 2: but as previously alluded to, like it packs in a

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Speaker 2: lot and not all of its elements work as well

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Speaker 2: as others do for me. And I'm excited to dig

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Speaker 2: into the elements that did work well for me, less

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Speaker 2: excited to nitpick about the things that I didn't love,

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Speaker 2: but you know, we'll probably do some of that too.

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Speaker 2: But yeah, I mean, it's a if nothing else, it's

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Speaker 2: a visually gorgeous film, Like I'm glad I got to

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Speaker 2: see it in the theater. I'm glad this wasn't like

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Speaker 2: an Iron Giant situation where it was gone from theaters

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Speaker 2: before you know, I got a chance to see it.

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Speaker 2: But it's a narrative isn't as air tight, I guess

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Speaker 2: as the Iron Giant, And you know, perhaps it's maybe

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Speaker 2: not fair to bring that comparison into the film, but

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Speaker 2: also that's what we do here. And I watched Iron

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Speaker 2: Giant literally the day before seeing this, so it was

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Speaker 2: impossible not to so but yeah, well, Scott, what about you.

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Speaker 8: Yeah, I'm sort of there too, maybe even slightly less

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Speaker 8: enchanted by the film. I just think there's a point

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Speaker 8: where it could have and should have ended, and it

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Speaker 8: kept going for a solid twenty minutes or so afterwards.

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Speaker 8: I think it could have had the Flyaway Home end again,

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Speaker 8: and then it just kept going and going. Generally, I

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Speaker 8: think it's a little bit too busy. It could stand

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Speaker 8: to be simpler because in its simpler moments, you know,

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Speaker 8: at the very core of the movie, you have a

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Speaker 8: lot of really beautiful stuff, a lot of really funny stuff.

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Speaker 8: You know. It is a film that overall I did like,

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Speaker 8: but it did sort of let me down towards the end.

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Speaker 8: I could feel like, if you talk about star ratings,

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Speaker 8: I could feel like a half a star or so

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Speaker 8: getting getting knocked off for the last twenty minutes or so.

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Speaker 5: I hear all that, but when I went to actually review,

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Speaker 5: I was like, I don't know, it is making me

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Speaker 5: kind of emotional thinking I have a soft touch, I

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Speaker 5: guess with kids movies sometimes.

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Speaker 2: But yeah, it's also funny Scott, because I think, like,

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Speaker 2: I mean, while I agree with you that like it

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Speaker 2: could have been trimmed by twenty minutes. Like I actually

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Speaker 2: found the back half of this movie more engaging than

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Speaker 2: the flyaway home in the narrative, like.

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Speaker 8: The stuff of the Gospel you like, you like less

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Speaker 8: than those stuff towards the.

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Speaker 2: End kind of yeah, Like the part of this movie

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Speaker 2: that really got me was the big snowstorm and her

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Speaker 2: like sort of the community aspect of this island and

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Speaker 2: her finding a sense of belonging there. And like that's

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Speaker 2: not to say the stuff with bright Bill wasn't affecting

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Speaker 2: in its own way. And of course I cried when

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Speaker 2: he flew for the first time, you know, But like

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Speaker 2: once bright Bill left the island, I just found myself

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Speaker 2: getting a little more engaged in the narrative because it

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Speaker 2: felt a little less expected to me. Maybe not expected

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Speaker 2: isn't the right word, but like I could the unexpected

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Speaker 2: parenthood narrative, like I could see where that was going,

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Speaker 2: Like I knew where the endpoint of that was, and

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Speaker 2: I wasn't necessarily expecting to have this other element of

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Speaker 2: the story fleshed out as much as it was. And

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Speaker 2: I liked how that part of the story was fleshed out,

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Speaker 2: this sort of island ecosystem coming together, and I think

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Speaker 2: it makes Roz's sacrifice at the end mean more than

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Speaker 2: if it was just about right Bill.

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Speaker 4: Yeah, I'm with Genevieve on this one. I feel like

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Speaker 4: the movie gets a lot more interesting when bright Bill

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Speaker 4: leaves and Roz has to figure out who she is.

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Speaker 4: You know, so much of the early going of the

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Speaker 4: movie is about kind of being saddled with this job,

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Speaker 4: this service that she doesn't feel equipped for and doesn't

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Speaker 4: have any rules for, and feels like she's maybe not

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Speaker 4: doing very well, and sometimes bright Bill feels like she's

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Speaker 4: not doing it very well. But then when he leaves

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Speaker 4: and she has to kind of define herself both around

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Speaker 4: his absence and around the success that his absence represents,

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Speaker 4: and she has to figure out what the next steps are,

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Speaker 4: and particularly her relationship with Fink as kind of semi

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Speaker 4: the sort of adoptive father that she's been raising this

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Speaker 4: kid with, but the two of them don't really have

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Speaker 4: an acknowledged relationship, they just have a sublimated relationship. And

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Speaker 4: watching him kind of edge around the degree to which

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Speaker 4: he's found belonging with her and her response to that, like,

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Speaker 4: all of that felt to me like a lot more

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Speaker 4: nuanced and interesting than the raising a Gosling story did

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Speaker 4: and maybe, as Genevieve says, just just less familiar, Like

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Speaker 4: at that point, I had less of a sense of,

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Speaker 4: like exactly beat for meat where the story was going

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Speaker 4: to go.

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Speaker 5: Yeah, I mean I felt like some of things you're

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Speaker 5: talking about, I felt like we're kind of positives. Actually,

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Speaker 5: how it was, it did kind of charge, you know,

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Speaker 5: change from one movie to another a few times throughout,

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Speaker 5: Like I did find I really enjoyed the early section

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Speaker 5: of her like trying to figure out how to exist

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Speaker 5: in this environment for which she was never programmed to exist.

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Speaker 5: And one of the things that really caught me early

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Speaker 5: on was was the was the where she shuts down

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Speaker 5: to learn she goes in a learning mode. Yeah, and

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Speaker 5: the scene, Yeah, they had those speeded up time passing

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Speaker 5: and things like that. It's just she always made sense

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Speaker 5: to me as a character and as a robot. I mean,

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Speaker 5: I I don't think that you know, robot would work

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Speaker 5: in quite a real robot work in quite the same way.

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Speaker 5: But there was a logic to her character in a

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Speaker 5: way that seemed consistent and to which you know, a

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Speaker 5: llah the I a giant. Not to get ahead of things,

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Speaker 5: but all of the I Giant when when she you know,

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Speaker 5: goes beyond what she's programmed to do and comes into

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Speaker 5: her own as a person, as a bean or whatever

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Speaker 5: you want to call her. I I found it really

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Speaker 5: moving artificial person, that's right. I think that is a

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Speaker 5: preferred term. Hold off on the angry emails. I'm just trying.

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Speaker 5: I'm trying to use a preferred terminology here. Yeah, and

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Speaker 5: I wasn't always sure you know what movie it was

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Speaker 5: going to be next day, And I do think some

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Speaker 5: of those movies were did work better than the other.

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Speaker 5: I don't know, you know that it felt like a

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Speaker 5: little bit like it's like kind of like, oh no,

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Speaker 5: we better put some action in this movie. He was

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Speaker 5: a little bit so you get the final show down

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Speaker 5: at the end. It was a little I think it worked,

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Speaker 5: but it felt a little less organic than the rest

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Speaker 5: of the film.

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Speaker 2: I liked it just because the gay payoff for Matt

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Speaker 2: Berry's character very delight throughout. But yeah, that scene you mentioned,

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Speaker 2: the language learning scene. I also loved its conception and

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Speaker 2: also its animation, like how the sort of the glyphs

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Speaker 2: turn into words. It's a very sort of like comic book,

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Speaker 2: ye sort of comic book lettering trick that I really liked,

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Speaker 2: and it also kind of speaks to the movie. Within

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Speaker 2: this movie that I really liked was Roz finding her

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Speaker 2: place in this new ecosystem. You know, it's before bright

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Speaker 2: Bill kind of enters the scene. And again I don't

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Speaker 2: dislike the bright Bill part of this movie. It just

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Speaker 2: is it felt less exciting to me than sort of

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Speaker 2: this community on the island and all the sort of

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Speaker 2: the characters that it included.

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Speaker 5: I will say you brought up Matt Barry's character, who

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Speaker 5: I loved. In terms of supporting characters, I do really

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Speaker 5: like Katherine O'Hara as the possum mother, who's liked exhausted

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Speaker 5: possum mother. But I love the cheerful, more bossing babies.

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Speaker 5: Those are my favorite supporting characters in the whole movie.

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Speaker 4: Yeah, the gag where they do the possum play dead thing,

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Speaker 4: but they also describe what they've just died of in

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Speaker 4: detail and then she kind of yells at them for it.

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Speaker 4: I think that's just like a great little bit of

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Speaker 4: humor in the smallest way. One of the things that

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Speaker 4: bothered me about that set of characters though, is the

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Speaker 4: reason she's characterized the way she is as like she

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Speaker 4: can't remember her kids' names and she's just very exhausted.

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Speaker 4: Is because possums can have up to four letters a year,

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Speaker 4: and yet we we track them for like literal years,

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Speaker 4: and all of those possum babies are still kids, Like

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Speaker 4: I feel like in the same way.

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Speaker 7: Characterization, do we know for sure they're the same kids.

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Speaker 4: I mean, I guess we don't get their names, but

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Speaker 4: the voices seem to be the same, and I don't.

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Speaker 2: Know they're they're interchangeable to hers.

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Speaker 4: Fair enough if you want to, if you want a

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Speaker 4: headcanon that it's just their com different possums every time

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Speaker 4: we see them.

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Speaker 2: That's fine.

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Speaker 4: I do being raised in the exact same way, so

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Speaker 4: they have a lot of similarities. But yeah, her unsentimental

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Speaker 4: view of parenting and the whole kind of messaging of

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Speaker 4: there's no manual for this, We don't know, nobody knows

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Speaker 4: what they're doing. They're making it all up. You're constantly

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Speaker 4: afraid that you're going to screw them up by making

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Speaker 4: the wrong choices. You don't know how much to hover,

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Speaker 4: you don't know how much to be present. Sometimes they

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Speaker 4: need you, and yet they don't want you because you know,

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Speaker 4: they're embarrassed about what their peers are going to think.

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Speaker 4: Like all of this stuff, I think is the things

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Speaker 4: I'm not used to seeing in a kid's movie, and

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Speaker 4: sort of curious what it would be like to see

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Speaker 4: this movie for the first time, Like, is I don't know,

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Speaker 4: a ten year old try to take in some of

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Speaker 4: these story beats. It's it's an unusual movie, I think

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Speaker 4: in terms of the narrative it's telling specifically kids.

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Speaker 8: I always wish it were more unusual in some respects.

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Speaker 8: I mean, I like that maybe the thing about the

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Speaker 8: community aspect of it for me was like again, I

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Speaker 8: responded to it quite a bit at the beginning, and

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Speaker 8: the conceit of it is so strong, this idea of

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Speaker 8: this robot having to justice so many unfamiliar things that

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Speaker 8: people who cannot communicate to it as as it expects,

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Speaker 8: and and having to adapt to nature. And then at

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Speaker 8: a certain point it becomes oh, okay, wait, this is

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Speaker 8: another talking animal movie. This is a bunch of talking

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Speaker 8: animals in this thing, and and and that to me,

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Speaker 8: that to me ends up feeling kind of overly familiar.

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Speaker 8: That I that that, you know, when it was at

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Speaker 8: its simplest when it was really connected to Roz trying

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Speaker 8: to figure things out a little bit more. I mean

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Speaker 8: that to me, the less less was more in this movie,

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Speaker 8: and I feel like the movie just kind of takes

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Speaker 8: on density and wait as it goes along.

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Speaker 2: Yeah, I mean it is kind of hard not to

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Speaker 2: think about, like the Wally version of this, you know

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Speaker 2: that that really commits to the lack of language for

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Speaker 2: longer than it does. And the first trailer for this

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Speaker 2: movie kind of like hinted or suggested that that might

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Speaker 2: be the case, although I think once you see the

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Speaker 2: voice cast, it's clear that that's not going to be

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Speaker 2: what happens. But there's so many, you know, different robot

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Speaker 2: movies percolating in here, and that opening is very Wally,

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Speaker 2: and actually kind of the very brief glimpses we get

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Speaker 2: of human civilization as it exists in this world are

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Speaker 2: also perhaps a little Wally as well. So you know,

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Speaker 2: it's again sort of an expectation that you maybe bring

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Speaker 2: into this movie that is not lived up to. But

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Speaker 2: as far as like it being a quote unquote talking

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Speaker 2: animal movie, it's like, yeah, welcome to the entire history

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Speaker 2: of anibition. I don't know what to tell you like

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Speaker 2: vam B was a talking animal movie, you know, like,

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Speaker 2: I don't know that's that's that's not quite a gotcha

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Speaker 2: for me here, But yeah, I was.

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Speaker 5: Really fascinated by the climpses we did get of the

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Speaker 5: outside world, which you know, seem to be on the

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Speaker 5: other end of some kind of environmental catastrophe. We see

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Speaker 5: the Golden Gate Bridge under you know, underwater. Yeah, and

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Speaker 5: there are people, but there aren't a lot of people,

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Speaker 5: it seems like. But I think this movie is subtle

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Speaker 5: in some really interesting ways too. It was only when

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Speaker 5: I you know, it's on the way home as a

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Speaker 5: way Homer, that you know, the animals dealing with this

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Speaker 5: storm they've never dealt with before. I mean we're talking

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Speaker 5: about it's a climate change story in some ways. And

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Speaker 5: the fact that this island filled with creatures we associate

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Speaker 5: was like sort of the North North American Woods. It's

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Speaker 5: an island now. I mean that's something there too as well.

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Speaker 5: I mean, you know, it doesn't the film doesn't like

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Speaker 5: really you know, come out in say these things, but

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Speaker 5: they're they're there, just like the the Bright Belt story.

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Speaker 5: Like it only really occurred to me when I was

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Speaker 5: thinking about the film that that it's it's kind of

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Speaker 5: a story about dealing with the special needs child in

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Speaker 5: many ways as well, and and and all that stuff,

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Speaker 5: you know, And again, all that stuff's kind of in

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Speaker 5: the mix. It's not necessarily, you know, anything trumpeting these

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Speaker 5: are as what the film's about. But but it's all

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Speaker 5: in there. Perhaps there's too my there, but it is

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Speaker 5: all in there.

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Speaker 4: So speaking of stuff that's all in there, I mean, yes,

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Speaker 4: it does feel a little bit like a special news

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Speaker 4: child story, which I mean, some of that just comes

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Speaker 4: directly from the book, but the way it's evoked here

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Speaker 4: feels like the certain aspects of finding Nemo the forest Fire,

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Speaker 4: and a lot of the characterizations of the animals and

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Speaker 4: how they interact is both visually and narratively reminiscent of

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Speaker 4: Bambi the robot itself very visually and physically reminiscent of

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Speaker 4: the Iron Giant, and kind of talks in catchphrases that like,

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Speaker 4: roughly every ten minutes or so, she would throw out

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Speaker 4: an overly emphasized line that sounded like, you know, the

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Speaker 4: equivalent like trying to make a You don't have to

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Speaker 4: be what they say you are. You can be whatever

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Speaker 4: you choose. To be kind of moment and she would

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Speaker 4: just like declare an aphorism that felt like it was

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Speaker 4: going destined for t shirts. She has a lot of

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Speaker 4: in common with Bamax, She has a lot of in

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Speaker 4: with Wally, the society has a lot of common with

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Speaker 4: with Wally. Just like, over and over and over, I

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Speaker 4: kept seeing like echoes of other very very familiar like

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Speaker 4: iconic films and projects. And you could say that that's

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Speaker 4: all very deliberate, but I don't know. To me, it

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Speaker 4: felt sometimes a little bit too much like Disney's wish

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Speaker 4: in terms of whoa kind of throwing all of these

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Speaker 4: things into a blender and coming out with a very

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Speaker 4: visually pretty but still maybe overly calculated. Yes, how how

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Speaker 4: do we make this feel like all of the moments

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Speaker 4: in animation that you've ever loved? Kind of kind of

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Speaker 4: way to me just doesn't feel like a natural and

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Speaker 4: serviceable story. It feels like it was it was spat

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Speaker 4: out by an algorithm. So I'm curious if any of

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Speaker 4: the rest of you felt that.

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Speaker 7: So mean to this nice movie, Tasha.

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Speaker 2: Now, the word calculated definitely came to mind for me too,

350
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Speaker 2: But again, like with a with an affection, you know,

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Speaker 2: like like it's it's still worked. You know, it did

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Speaker 2: what it's set out to do and I and it

353
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Speaker 2: worked on me while I was watching it. But I

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Speaker 2: think that calculated feel is what keeps it from feeling

355
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Speaker 2: like a classic or a new favorite or one that

356
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Speaker 2: I'm going to want to revisit again and again, the

357
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Speaker 2: way that I have with Iron Giant, because as you say,

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Speaker 2: like it's evoking all these other arguably much better movies

359
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Speaker 2: while except for Wish, but you know that that it's

360
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Speaker 2: like a maybe I'll just watch Wally again, you know.

361
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Speaker 8: Yeah, But I guess if you want to look at it,

362
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Speaker 8: do it as sort of a glass half full version

363
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Speaker 8: of that. It's like, at least they have the this

364
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Speaker 8: is a film with a good taste to emulate, Yes, right,

365
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Speaker 8: the right movies, you know, because I think you can

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Speaker 8: if you can kind of go by the animated trends

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Speaker 8: of the day or something like that and try to

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Speaker 8: make a movie calculated to that effect. But if you're

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Speaker 8: making a movie that's calculated to evoke films like Wally

370
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Speaker 8: or The Iron Giant or Flyway Home or whatever, that's

371
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Speaker 8: you know, a positive thing overall. Even if this is

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Speaker 8: kind of a somewhat fainter echo of all of these classics.

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Speaker 4: The Late Breaking Villain also very much like visually and

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Speaker 4: in terms of characterization, reminded me of the Late Breaking

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Speaker 4: Villain and Wally. It just seemed like a smaller echo

376
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Speaker 4: in a kind of disappointing way. But you know what

377
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Speaker 4: this movie had that I found fun and startling and

378
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Speaker 4: surprising that I cannot point to and in really any

379
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Speaker 4: of those other movies is animal death in surprisingly large quantities.

380
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Speaker 4: Like it feels like towards the end of the movie,

381
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Speaker 4: they've gone into this place of like I don't know,

382
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Speaker 4: I think, I guess that bear is just going to

383
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Speaker 4: eat like grass, maybe fish, for the rest of its life,

384
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Speaker 4: because it's decided that everybody else is a friend and

385
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Speaker 4: a community member. But in the early going, as Rouse

386
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Speaker 4: is trying to navigate the island and things are just

387
00:19:58,560 --> 00:20:02,399
Speaker 4: eating other things all the time, Like that, for me

388
00:20:02,560 --> 00:20:05,639
Speaker 4: is a gag that rarely gets old. For some reason,

389
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Speaker 4: I think of the first Trolls movie and the lethality

390
00:20:08,960 --> 00:20:12,040
Speaker 4: of that environment and just how like cute adorable things

391
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Speaker 4: either keep destroying and eating other cute adorable things, or

392
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Speaker 4: you know, keep revealing themselves as not cute or adorable,

393
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Speaker 4: and there's a little bit of that here. The fact

394
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Speaker 4: that Roz literally does fall on bright Bill's mother and

395
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Speaker 4: crush her to death is that's like, that's a dark

396
00:20:32,320 --> 00:20:38,159
Speaker 4: beat that's going beyond like Bambi's mother dying because people

397
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Speaker 4: are awful and well into life is fragile, and sometimes

398
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Speaker 4: you have horrible consequences without ever meaning to. Like sometimes

399
00:20:47,600 --> 00:20:50,359
Speaker 4: despite the best of your abilities, terrible things happen. But

400
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Speaker 4: like crushing a cute animal to death and orphaning another animal,

401
00:20:54,960 --> 00:20:57,159
Speaker 4: that's like, I don't know, Disney kind of did it

402
00:20:57,200 --> 00:20:59,440
Speaker 4: a little bit with Brother Bear, but again, that was

403
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Speaker 4: a people or awful story. So I'm struggling to think

404
00:21:02,440 --> 00:21:05,040
Speaker 4: of any previous like Kids animated movie that I've ever

405
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Speaker 4: seen dealing with the story beat of, Oh, I accidentally

406
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Speaker 4: killed your mother and that's why you don't have a mother,

407
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Speaker 4: so now I have to make sure you don't die.

408
00:21:13,280 --> 00:21:16,960
Speaker 4: Even the kind of gags built around like Roz trying

409
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Speaker 4: to keep a bright Bill from dying and talking about

410
00:21:20,520 --> 00:21:23,400
Speaker 4: the likelihood of him dying and all the other creatures

411
00:21:23,400 --> 00:21:26,119
Speaker 4: on the island saying, yeah, he's a runt. If you

412
00:21:26,200 --> 00:21:28,600
Speaker 4: weren't here, he would have died even if his mother

413
00:21:28,680 --> 00:21:31,080
Speaker 4: hadn't died. It's just there's a lot of death in

414
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Speaker 4: this movie.

415
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Speaker 5: We were I saw this movie with my kid, and

416
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Speaker 5: I know my kid, I know how she thinks. And

417
00:21:37,160 --> 00:21:39,480
Speaker 5: on the way home, she's like, I really liked it.

418
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Speaker 5: There's just there's just this one thing I go and

419
00:21:42,119 --> 00:21:44,720
Speaker 5: it's it's what you brought on, Tasha. I said, I

420
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Speaker 5: know what you're going to say. Well, he said, I

421
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Speaker 5: was going to eat Now.

422
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Speaker 2: There are all pescatarians now. The answer is, they're all

423
00:21:53,040 --> 00:21:56,280
Speaker 2: pescatarians now because there are no like we see we

424
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Speaker 2: see the bear eating fish at one point, there are

425
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Speaker 2: no and then we see the think eating like little

426
00:22:01,320 --> 00:22:04,760
Speaker 2: muscles at some point. So the fish and the sea

427
00:22:04,800 --> 00:22:07,800
Speaker 2: life are left out of this little community. So it

428
00:22:07,960 --> 00:22:11,399
Speaker 2: just all it all trickles down. That's the new prey order,

429
00:22:11,800 --> 00:22:13,159
Speaker 2: is the sea life.

430
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Speaker 4: Well, thank god Roz didn't plant herself in learning mode,

431
00:22:16,480 --> 00:22:18,200
Speaker 4: like right now, too close to a river or the

432
00:22:18,280 --> 00:22:21,400
Speaker 4: shore and find out like that fish also speak language.

433
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Speaker 2: Don't show ros finding Nemo.

434
00:22:25,000 --> 00:22:28,120
Speaker 4: You know, we should warn people about spoilers at this point.

435
00:22:28,200 --> 00:22:30,520
Speaker 4: We did kind of allude to the end of this movie.

436
00:22:30,760 --> 00:22:32,840
Speaker 4: So I'm going to bring up the end of this

437
00:22:32,960 --> 00:22:37,240
Speaker 4: movie because that is the maybe the beat that I'm

438
00:22:37,240 --> 00:22:38,960
Speaker 4: not going to say surprised to me most, but that

439
00:22:39,720 --> 00:22:42,879
Speaker 4: kind of like sat a little uncomfortably with me in

440
00:22:43,000 --> 00:22:45,560
Speaker 4: terms of do I know what this movie is ultimately

441
00:22:45,600 --> 00:22:49,239
Speaker 4: trying to do. And you know, there's a kind of

442
00:22:50,200 --> 00:22:52,879
Speaker 4: certainly a parallel with Iron Giant we can talk about

443
00:22:52,960 --> 00:22:54,720
Speaker 4: in that case when it comes to connections, but in

444
00:22:54,800 --> 00:22:58,520
Speaker 4: terms of what this movie specifically is doing, the idea

445
00:22:58,680 --> 00:23:02,240
Speaker 4: of her going back to the human world the way

446
00:23:02,280 --> 00:23:04,639
Speaker 4: she does, how did that sit with you?

447
00:23:04,920 --> 00:23:07,840
Speaker 2: Well, I think I already alluded to it before that.

448
00:23:07,920 --> 00:23:14,239
Speaker 2: I think it is made richer by the connection formed of,

449
00:23:14,520 --> 00:23:17,879
Speaker 2: you know, to this this island more broadly, and you know,

450
00:23:18,000 --> 00:23:21,199
Speaker 2: she does it in order to you know, because as

451
00:23:21,200 --> 00:23:23,639
Speaker 2: she says, they'll they'll just keep coming back for me.

452
00:23:23,760 --> 00:23:27,399
Speaker 2: And I think like she probably sees it as fault

453
00:23:27,400 --> 00:23:29,640
Speaker 2: that they're coming in the first place, because she sent

454
00:23:29,720 --> 00:23:33,720
Speaker 2: off her little transponder or whatever. So like I think,

455
00:23:33,840 --> 00:23:38,000
Speaker 2: just very surface level, it's just an act of saviorism,

456
00:23:38,200 --> 00:23:42,600
Speaker 2: you know. And I didn't really read more into it

457
00:23:42,680 --> 00:23:45,200
Speaker 2: than that, but I am getting the sense that maybe

458
00:23:45,240 --> 00:23:45,960
Speaker 2: you did, Tasha.

459
00:23:46,400 --> 00:23:48,960
Speaker 4: It just didn't quite work for me as a narrative point,

460
00:23:49,160 --> 00:23:53,680
Speaker 4: because there is a sense that I wonder whether somebody said, well,

461
00:23:53,760 --> 00:23:55,760
Speaker 4: she's got to sacrifice herself in the end for everybody

462
00:23:55,800 --> 00:23:57,920
Speaker 4: else is good, because that's how the Range Giant ends,

463
00:23:58,119 --> 00:23:59,920
Speaker 4: and that's one of the big things we're trying to

464
00:24:00,000 --> 00:24:03,600
Speaker 4: emulate here. I got the book the first book there's

465
00:24:03,600 --> 00:24:05,679
Speaker 4: a series of I want to say, five out of

466
00:24:05,680 --> 00:24:08,040
Speaker 4: the library and read about the first half of it

467
00:24:08,119 --> 00:24:10,359
Speaker 4: and couldn't finish it before it needed to go back.

468
00:24:11,280 --> 00:24:14,040
Speaker 4: Was It wasn't a bad book, it just wasn't the

469
00:24:14,200 --> 00:24:16,360
Speaker 4: kind of kid's book that I think an adult can

470
00:24:16,400 --> 00:24:17,320
Speaker 4: fall into readily.

471
00:24:17,440 --> 00:24:17,600
Speaker 8: You know.

472
00:24:17,640 --> 00:24:19,320
Speaker 4: It's one of those books where I felt like this

473
00:24:19,400 --> 00:24:21,080
Speaker 4: might have been my favorite book if i'd discovered it

474
00:24:21,080 --> 00:24:23,280
Speaker 4: when I was eight, But it's just very hard to

475
00:24:23,600 --> 00:24:26,160
Speaker 4: maintain interest in it as an adult. So I don't

476
00:24:26,160 --> 00:24:28,760
Speaker 4: know if this ending comes directly from the book. I

477
00:24:28,760 --> 00:24:31,600
Speaker 4: didn't see a ton of similarity apart from kind of

478
00:24:31,600 --> 00:24:35,320
Speaker 4: the broad setup angle between the book and the movie,

479
00:24:35,960 --> 00:24:38,040
Speaker 4: at least as far as the part that I read.

480
00:24:38,240 --> 00:24:41,000
Speaker 4: But you know, it is possible that if they end

481
00:24:41,040 --> 00:24:43,520
Speaker 4: in similar ways, the fact that there are four more

482
00:24:43,560 --> 00:24:46,840
Speaker 4: of these books, you know, indicate what Roz's future is

483
00:24:47,080 --> 00:24:50,119
Speaker 4: on the island and in terms of these animals, or

484
00:24:50,160 --> 00:24:51,920
Speaker 4: there may be a whole lot more there. I don't know.

485
00:24:52,320 --> 00:24:54,160
Speaker 4: When I have more time on my hands, I still

486
00:24:54,160 --> 00:24:56,040
Speaker 4: want to kind of go back finish that book and

487
00:24:56,359 --> 00:24:58,600
Speaker 4: just sort of see what the direction of the overall

488
00:24:58,640 --> 00:25:02,919
Speaker 4: series is. There's a capper to the story that this

489
00:25:03,080 --> 00:25:06,399
Speaker 4: movie seemed to be telling the idea that she would

490
00:25:07,080 --> 00:25:10,120
Speaker 4: for the good of the island, like leave her community behind,

491
00:25:10,600 --> 00:25:13,640
Speaker 4: repudiate that I am a wild robot. Line that's meant

492
00:25:13,680 --> 00:25:15,920
Speaker 4: to be like the emotional heart of the film and

493
00:25:16,280 --> 00:25:20,840
Speaker 4: just go become like a placid cow like corn waterer

494
00:25:21,960 --> 00:25:24,639
Speaker 4: just really didn't sit for me. You know. There's so

495
00:25:24,680 --> 00:25:29,240
Speaker 4: many like purposefully big, climactic, triumphant moments in this movie,

496
00:25:29,600 --> 00:25:32,840
Speaker 4: and you know, I give given that when they first

497
00:25:32,840 --> 00:25:36,080
Speaker 4: had their hands on her, their idea was to drain

498
00:25:36,160 --> 00:25:39,240
Speaker 4: her and tear her apart. I don't quite understand why

499
00:25:39,520 --> 00:25:41,719
Speaker 4: she felt that they would reclaim her and turn her

500
00:25:41,760 --> 00:25:44,920
Speaker 4: into a gardener. I'm not sure why they actually did it,

501
00:25:45,000 --> 00:25:46,600
Speaker 4: and I'm not sure where that ending leaves us. I

502
00:25:46,640 --> 00:25:48,679
Speaker 4: just I found the whole thing very strange as a beat.

503
00:25:48,880 --> 00:25:50,600
Speaker 5: I mean, yeah, I feel like at least leaves the

504
00:25:50,640 --> 00:25:53,520
Speaker 5: door open. Allah, actually one of the parts of binding

505
00:25:53,560 --> 00:25:56,240
Speaker 5: most of the Iron Giant because not again we're getting

506
00:25:56,240 --> 00:25:58,200
Speaker 5: ahead of it, but at least loves a door open

507
00:25:58,320 --> 00:26:02,159
Speaker 5: for some sort of your return or change or some

508
00:26:02,240 --> 00:26:04,359
Speaker 5: possibly you know, some future between her.

509
00:26:04,320 --> 00:26:07,600
Speaker 2: Wild Robot returns coming in eight.

510
00:26:09,240 --> 00:26:10,880
Speaker 4: Well, this is a DreamWorks movie.

511
00:26:11,240 --> 00:26:14,320
Speaker 8: We already know that Roz goes on to produce Frasier's

512
00:26:14,600 --> 00:26:15,240
Speaker 8: radio show.

513
00:26:15,320 --> 00:26:23,119
Speaker 4: So Ghostcott, oh boy, Okay. Well, as always, when we

514
00:26:23,600 --> 00:26:26,679
Speaker 4: devolve into total nonsense, and by that I mean when

515
00:26:26,720 --> 00:26:29,479
Speaker 4: Scott devolves into total nonsense, we know it's time to

516
00:26:29,600 --> 00:26:32,520
Speaker 4: change the channel and move on to connections. So we'll

517
00:26:32,560 --> 00:26:35,159
Speaker 4: be right back to talk about the connections between the

518
00:26:35,200 --> 00:26:37,000
Speaker 4: Iron Giant and the Wild Robot.

519
00:26:43,040 --> 00:26:44,120
Speaker 3: So what are you gonna name them?

520
00:26:44,600 --> 00:26:48,320
Speaker 6: I assigned to you gospling zero zero zero one.

521
00:26:48,760 --> 00:26:56,640
Speaker 2: Okay, that sucked. S Oh yeah, gotta learn to make

522
00:26:56,720 --> 00:27:03,640
Speaker 2: stuff up. Come on, find that inside you searching? Ah

523
00:27:07,400 --> 00:27:11,760
Speaker 2: anything yet? No, just have a little fun for once.

524
00:27:13,280 --> 00:27:17,960
Speaker 6: Gossling zero one eighty six. There you see what I did.

525
00:27:18,240 --> 00:27:20,200
Speaker 6: His numbering is out of sequence.

526
00:27:21,880 --> 00:27:23,760
Speaker 4: Now it's time for connections. When we bring these two

527
00:27:23,800 --> 00:27:25,879
Speaker 4: films together and talk about all the things they have

528
00:27:26,000 --> 00:27:28,840
Speaker 4: in common. The thing that we were transitioning out of

529
00:27:29,160 --> 00:27:31,760
Speaker 4: when we when we went off to Fraser Land suddenly

530
00:27:32,040 --> 00:27:34,520
Speaker 4: was the idea of that both of these movies and

531
00:27:35,240 --> 00:27:38,280
Speaker 4: with kind of a teased future for the protagonists. You know,

532
00:27:38,320 --> 00:27:42,520
Speaker 4: they've they've made their big sacrifice on behalf of everybody's good,

533
00:27:43,000 --> 00:27:46,240
Speaker 4: but we've got to kind of hint at the possibility

534
00:27:46,240 --> 00:27:49,600
Speaker 4: of them coming back, reclaiming themselves, getting back to the

535
00:27:49,640 --> 00:27:52,639
Speaker 4: people they care about, And both those endings feel like,

536
00:27:52,800 --> 00:27:54,800
Speaker 4: you know, upbeat to me in a in a very

537
00:27:54,840 --> 00:27:58,440
Speaker 4: small way, you know, because the titular robots are very

538
00:27:58,520 --> 00:28:01,280
Speaker 4: far away from the people that they care about, and

539
00:28:01,320 --> 00:28:04,159
Speaker 4: there's still just sort of a sense of like a

540
00:28:04,200 --> 00:28:07,119
Speaker 4: lot needs to be done before they could return, and

541
00:28:07,119 --> 00:28:09,680
Speaker 4: then they would kind of return to an uncertain future.

542
00:28:10,040 --> 00:28:12,359
Speaker 4: But ending on that note of hope, I think is

543
00:28:12,359 --> 00:28:15,760
Speaker 4: something these movies have in common. It's just for me,

544
00:28:16,000 --> 00:28:18,400
Speaker 4: the moment of hope in The Iron Giant feels maybe

545
00:28:18,480 --> 00:28:21,160
Speaker 4: a little more believable, a little more earned, a little

546
00:28:21,200 --> 00:28:23,840
Speaker 4: more set up, in part because of, you know, just

547
00:28:23,880 --> 00:28:26,720
Speaker 4: the foreshadowing of watching The Iron Giant reassemble himself in

548
00:28:26,720 --> 00:28:30,240
Speaker 4: a previous scene, but also an understanding that you know,

549
00:28:30,320 --> 00:28:34,080
Speaker 4: at this point the government has the evidence of what

550
00:28:34,240 --> 00:28:37,359
Speaker 4: he is, and maybe they won't be quite so quick

551
00:28:37,400 --> 00:28:39,400
Speaker 4: to try to destroy him. Although if there was an

552
00:28:39,440 --> 00:28:41,720
Speaker 4: Iron Giant too, it would probably be about the military

553
00:28:41,800 --> 00:28:43,360
Speaker 4: trying to get their hands on him in dissecthim in

554
00:28:43,440 --> 00:28:46,040
Speaker 4: order to make better guns. With the wild roboty, it

555
00:28:46,120 --> 00:28:48,600
Speaker 4: just seems like that future is far more uncertain than

556
00:28:48,640 --> 00:28:52,280
Speaker 4: it just it depends on much too much on ros

557
00:28:52,280 --> 00:28:54,160
Speaker 4: having to do like too many things to get away.

558
00:28:54,400 --> 00:28:55,680
Speaker 4: But I don't know.

559
00:28:56,200 --> 00:28:59,360
Speaker 8: Four more books, did you see Paul Riser doing one

560
00:28:59,360 --> 00:29:02,960
Speaker 8: of the voices into Iron Giant too, trying to weaponize

561
00:29:03,760 --> 00:29:07,120
Speaker 8: weaponize the Giant? Yeah, I don't know. I mean it

562
00:29:07,200 --> 00:29:09,400
Speaker 8: kind of gets to me thinking in terms of helpfulness

563
00:29:09,400 --> 00:29:11,720
Speaker 8: of just like what a More sends you in you know,

564
00:29:11,840 --> 00:29:17,080
Speaker 8: sensitive Robot that it's rebelling against its programming want eternal life?

565
00:29:17,280 --> 00:29:20,480
Speaker 8: Do we want them to continue to be repairrable? Is

566
00:29:20,480 --> 00:29:22,720
Speaker 8: the random thought I had, just kind of like he's

567
00:29:22,760 --> 00:29:25,440
Speaker 8: going to see Hogarth grow up and die, you know,

568
00:29:26,400 --> 00:29:28,320
Speaker 8: you know what I'm saying. Maybe that's not something you

569
00:29:28,360 --> 00:29:30,880
Speaker 8: think about when you watch the very end of Iron Giant,

570
00:29:30,920 --> 00:29:33,800
Speaker 8: But it is something I thought I think about. You

571
00:29:33,800 --> 00:29:36,520
Speaker 8: know what, when you if you learn to be you know,

572
00:29:36,560 --> 00:29:39,200
Speaker 8: more human like, then you've got another dilemma on your

573
00:29:39,200 --> 00:29:42,280
Speaker 8: hands in terms of you know what your relationship is

574
00:29:42,280 --> 00:29:45,560
Speaker 8: going to be going off into the decades in centuries.

575
00:29:45,960 --> 00:29:48,600
Speaker 4: Well, I mean, yes, you could certainly think about it

576
00:29:48,640 --> 00:29:52,040
Speaker 4: in terms of the Iron Giant is functionally immortal and

577
00:29:52,160 --> 00:29:55,160
Speaker 4: hog Earth isn't. But you know, you have that touching

578
00:29:55,200 --> 00:29:57,160
Speaker 4: scene that we we kind of said we're going to

579
00:29:57,240 --> 00:30:00,760
Speaker 4: discuss in connections. Un Thus we didn't need to jump

580
00:30:00,760 --> 00:30:02,960
Speaker 4: into it in the first half, but we really did

581
00:30:02,960 --> 00:30:06,720
Speaker 4: not talk about the scene where the Iron Giant learns

582
00:30:06,800 --> 00:30:10,360
Speaker 4: about things dying, and then almost in the next breath,

583
00:30:10,360 --> 00:30:12,880
Speaker 4: Hogarth is explaining to him the concept of a soul

584
00:30:13,480 --> 00:30:17,320
Speaker 4: and the concept of the soul's immortality, which again is

585
00:30:17,400 --> 00:30:19,920
Speaker 4: kind of a big heady thing to be addressing in

586
00:30:19,960 --> 00:30:22,080
Speaker 4: a kid's movie. And I remember the first time I

587
00:30:22,080 --> 00:30:24,640
Speaker 4: saw this movie just my mouth hanging open at that scene.

588
00:30:25,160 --> 00:30:28,880
Speaker 4: In terms of like this feels like a religious lesson,

589
00:30:29,280 --> 00:30:33,240
Speaker 4: but kind of divorced of the trappings of organized religion.

590
00:30:33,680 --> 00:30:36,080
Speaker 4: It's just kind of like a message of hope in

591
00:30:36,120 --> 00:30:39,120
Speaker 4: the face of death, and it's left on this sort

592
00:30:39,160 --> 00:30:42,040
Speaker 4: of pregnant moment of like the Iron Giant is contemplating

593
00:30:42,120 --> 00:30:44,560
Speaker 4: the nature of the soul. I don't know that Wild

594
00:30:44,640 --> 00:30:48,040
Speaker 4: Robot has something that hits quite on that level, but

595
00:30:48,120 --> 00:30:50,640
Speaker 4: there is just sort of that like, you know, as

596
00:30:51,160 --> 00:30:53,680
Speaker 4: I said, kind of a series of moral messages, the

597
00:30:53,760 --> 00:30:59,480
Speaker 4: kind of callbacks and catchphrases about experience, one of them

598
00:30:59,520 --> 00:31:03,960
Speaker 4: being kindness is not a survival trait, and then taking

599
00:31:04,000 --> 00:31:06,760
Speaker 4: that back towards the end of the movie and learning

600
00:31:06,760 --> 00:31:10,040
Speaker 4: about how kindness is a survival trait. You know, both

601
00:31:10,080 --> 00:31:16,600
Speaker 4: of these movies kind of have big, emotionally delivered moral messages,

602
00:31:17,000 --> 00:31:19,400
Speaker 4: you know, almost golden rural kind of things that are

603
00:31:19,440 --> 00:31:24,360
Speaker 4: being conveyed to kids that seem a little outsized for

604
00:31:24,920 --> 00:31:28,120
Speaker 4: robot adventure stories in like ways that I think are

605
00:31:28,120 --> 00:31:28,640
Speaker 4: really good.

606
00:31:28,960 --> 00:31:33,640
Speaker 2: It's also interesting to think hearing you describe Natasha, like

607
00:31:33,800 --> 00:31:38,240
Speaker 2: the soul scene in Iron Giant is specifically about a deer,

608
00:31:38,440 --> 00:31:40,560
Speaker 2: you know, it's about it an animal, it's not about

609
00:31:40,800 --> 00:31:44,080
Speaker 2: a human soul, and like we can extrapolate from there,

610
00:31:44,120 --> 00:31:47,320
Speaker 2: and we assume that the Iron Giant is extrapolating from

611
00:31:47,320 --> 00:31:50,240
Speaker 2: there too, but you know, in connection to the wild

612
00:31:50,320 --> 00:31:54,120
Speaker 2: robot like, you know, these are animal stories and like

613
00:31:54,240 --> 00:31:57,719
Speaker 2: animals that are even shorter lived than humans. You know,

614
00:31:58,200 --> 00:32:00,880
Speaker 2: but it is sort of interesting to think about these,

615
00:32:01,560 --> 00:32:05,520
Speaker 2: you know, sort of big heady ideas about human existence

616
00:32:05,600 --> 00:32:09,640
Speaker 2: and what is beyond human existence being translated through an

617
00:32:09,760 --> 00:32:13,840
Speaker 2: animal experience or sort of like connecting it to the

618
00:32:13,960 --> 00:32:17,000
Speaker 2: natural world in a way that I think is maybe

619
00:32:17,240 --> 00:32:21,200
Speaker 2: maybe keeps it from feeling spiritual, as you say, and

620
00:32:21,560 --> 00:32:24,560
Speaker 2: just more sort of a fact of life broadly, and

621
00:32:24,680 --> 00:32:28,640
Speaker 2: also maybe makes it a little easier to translate to

622
00:32:28,840 --> 00:32:32,600
Speaker 2: a child level without jumping right to You're going to

623
00:32:32,680 --> 00:32:36,040
Speaker 2: die one day. You know, there's sort of this, I mean,

624
00:32:36,040 --> 00:32:38,160
Speaker 2: it's it's the it's the Bambi thing, you know, the

625
00:32:38,240 --> 00:32:40,520
Speaker 2: Bambi's mom. You know, it's it's sort of this this

626
00:32:40,640 --> 00:32:45,040
Speaker 2: buffer zone of you know, learning hard truths about not

627
00:32:45,120 --> 00:32:49,280
Speaker 2: just human existence but all existence that you know, you

628
00:32:49,320 --> 00:32:52,880
Speaker 2: can again kind of extrapolate outward to the robot characters

629
00:32:53,040 --> 00:32:55,640
Speaker 2: understanding of the humans in this world.

630
00:32:55,920 --> 00:32:57,760
Speaker 5: I mean, one thing I like about brad Bird is

631
00:32:58,160 --> 00:33:01,040
Speaker 5: that he's not afraid at taking on the big themes

632
00:33:01,080 --> 00:33:03,480
Speaker 5: like that, Like, you know, the soul like maybe the

633
00:33:03,520 --> 00:33:06,920
Speaker 5: biggest theme you could you can take on. So, but

634
00:33:07,080 --> 00:33:10,120
Speaker 5: I think to a lesser degree, Well, Robot is also

635
00:33:10,200 --> 00:33:12,360
Speaker 5: kind of about what is a soul like, you know,

636
00:33:12,440 --> 00:33:14,360
Speaker 5: what do you need? What do you do to become

637
00:33:14,760 --> 00:33:19,080
Speaker 5: a fully realized being? And in this case, I mean,

638
00:33:19,160 --> 00:33:20,640
Speaker 5: I think it borrows a lot from The Iron Giant

639
00:33:20,640 --> 00:33:23,120
Speaker 5: in that respect, but I think it's also it's kind

640
00:33:23,120 --> 00:33:25,040
Speaker 5: of you know, trying to it's more in some some

641
00:33:25,040 --> 00:33:29,280
Speaker 5: similar some similar stuff, maybe in a more immediate way.

642
00:33:29,720 --> 00:33:35,760
Speaker 2: Yeah, I think Wild Robot goes further into the realm

643
00:33:35,840 --> 00:33:41,640
Speaker 2: of sentience. The Wild Robot becomes less robot like than

644
00:33:41,880 --> 00:33:46,160
Speaker 2: the Iron Giant becomes less robot like that I'm not

645
00:33:46,200 --> 00:33:51,080
Speaker 2: freezing that particularly hotfully, but yeah, exactly. And this is

646
00:33:51,120 --> 00:33:55,320
Speaker 2: all sort of leading toward something that I'm very eager

647
00:33:55,480 --> 00:34:03,320
Speaker 2: to hear Tasha's take on, which is Raz's suscitation and

648
00:34:04,320 --> 00:34:08,880
Speaker 2: sort of the non explanation of that. Not that like

649
00:34:09,120 --> 00:34:11,920
Speaker 2: I'm saying we need an explanation, but maybe just the

650
00:34:11,960 --> 00:34:16,520
Speaker 2: execution of it feeling maybe a little wanting to me

651
00:34:17,120 --> 00:34:19,279
Speaker 2: to the point where as I was walking out of

652
00:34:19,280 --> 00:34:21,759
Speaker 2: the movie, I said to my husband, I can't wait

653
00:34:21,800 --> 00:34:23,719
Speaker 2: to hear what Tasha thinks of that Disney death.

654
00:34:25,520 --> 00:34:28,480
Speaker 4: So you asked in the first part of this conversation

655
00:34:28,560 --> 00:34:30,640
Speaker 4: if there was anything in The Iron Giant that we

656
00:34:30,800 --> 00:34:33,920
Speaker 4: didn't like. And I have to admit, when we got

657
00:34:33,920 --> 00:34:36,880
Speaker 4: to the first of two Disney deaths in that movie,

658
00:34:37,440 --> 00:34:42,160
Speaker 4: I did kind of just think, really, we're doing this again.

659
00:34:42,560 --> 00:34:45,520
Speaker 4: I wrote I wrote a piece about the Disney death,

660
00:34:46,360 --> 00:34:50,040
Speaker 4: you know, back in twenty sixteen or so for The Dissolve,

661
00:34:50,080 --> 00:34:53,520
Speaker 4: and it was it was Genevieve's like least favorite configuration.

662
00:34:54,040 --> 00:34:57,320
Speaker 4: It's time to retire this trope, which even at the

663
00:34:57,360 --> 00:34:59,640
Speaker 4: time we kind of talked about like how little she

664
00:34:59,760 --> 00:35:02,600
Speaker 4: likes that kind of that kind of style, that kind of.

665
00:35:02,600 --> 00:35:05,720
Speaker 5: It's time to retire this headline, It's.

666
00:35:05,520 --> 00:35:08,160
Speaker 4: Time to retire this, this structure, It's time to retire

667
00:35:08,200 --> 00:35:14,080
Speaker 4: this this finger waving scolding of filmmakers. But man, I'm

668
00:35:14,120 --> 00:35:17,680
Speaker 4: just I'm so tired of there was there was a

669
00:35:17,760 --> 00:35:21,359
Speaker 4: like ten year period where DreamWorks, in particular animated movies

670
00:35:21,400 --> 00:35:25,120
Speaker 4: had to end with a dance scene. It's been you

671
00:35:25,160 --> 00:35:28,400
Speaker 4: know what, eighty ninety years now of animation and we

672
00:35:28,520 --> 00:35:31,959
Speaker 4: still got to end most movies with a scene where

673
00:35:32,000 --> 00:35:35,480
Speaker 4: the protagonist or somebody important to them fake dies and

674
00:35:35,520 --> 00:35:40,120
Speaker 4: then after a solemn moment of sadness and reflection, they're fine.

675
00:35:41,040 --> 00:35:42,680
Speaker 4: I still hate it. It's still one of my least

676
00:35:42,680 --> 00:35:43,400
Speaker 4: favorite tropes.

677
00:35:43,840 --> 00:35:45,839
Speaker 2: So before we're going a fart there point of clarification

678
00:35:45,920 --> 00:35:48,440
Speaker 2: in Iron Giant, what is the first one?

679
00:35:48,560 --> 00:35:48,719
Speaker 7: Is it?

680
00:35:48,800 --> 00:35:49,320
Speaker 2: Hogarth?

681
00:35:49,560 --> 00:35:52,680
Speaker 4: Yeah? Hogarth gets knocked out and the robot thinks he's dead,

682
00:35:52,719 --> 00:35:56,280
Speaker 4: and that's what makes the robot freak out. Got it okay?

683
00:35:56,360 --> 00:35:58,839
Speaker 4: And go into gun mode, and then him reviving is

684
00:35:58,840 --> 00:36:01,560
Speaker 4: what makes the robot go back out of gun mode.

685
00:36:02,080 --> 00:36:05,919
Speaker 4: But then the robot gets his own Disney death and man,

686
00:36:06,000 --> 00:36:10,040
Speaker 4: I just because of the Disney Plus show Agatha all along,

687
00:36:10,200 --> 00:36:12,480
Speaker 4: where the central song that I can't get out of

688
00:36:12,480 --> 00:36:15,600
Speaker 4: my head is penned by the Lopezes, who wrote the

689
00:36:15,640 --> 00:36:18,840
Speaker 4: music for Frozen, And because my husband had never seen

690
00:36:19,360 --> 00:36:23,200
Speaker 4: the Frozen movies, I just rewatched Frozen for the first

691
00:36:23,239 --> 00:36:26,080
Speaker 4: time since I think the year after it came out.

692
00:36:26,680 --> 00:36:31,160
Speaker 4: And movies like that make me admit that you can

693
00:36:31,239 --> 00:36:33,880
Speaker 4: earn the Disney death. You know you can do it well,

694
00:36:34,280 --> 00:36:37,680
Speaker 4: but that's still like one in ten or twenty of them,

695
00:36:38,000 --> 00:36:40,440
Speaker 4: and it's still just far too common a trope, and

696
00:36:40,680 --> 00:36:43,520
Speaker 4: in this kind of case with the Wild Robot. You know,

697
00:36:43,560 --> 00:36:46,360
Speaker 4: they also do it in Big Hero six, and I

698
00:36:46,440 --> 00:36:49,799
Speaker 4: found it incredibly frustrating in that movie because it's much

699
00:36:49,920 --> 00:36:53,719
Speaker 4: like the one here. The revival just kind of makes

700
00:36:53,719 --> 00:36:57,320
Speaker 4: no sense and there's not really any attempt to explain it.

701
00:36:57,320 --> 00:36:59,279
Speaker 4: It's just kind of, well, we love this character, so

702
00:36:59,280 --> 00:37:01,439
Speaker 4: of course they're back. I don't know if it would

703
00:37:01,440 --> 00:37:04,000
Speaker 4: have felt any better and Wild Robot, if they'd take

704
00:37:04,000 --> 00:37:06,120
Speaker 4: it a couple of beats to be like, oh, love

705
00:37:06,160 --> 00:37:09,640
Speaker 4: brought me back. You know, I don't need any of

706
00:37:09,680 --> 00:37:13,880
Speaker 4: my capacitors or memory chips when I have love. I

707
00:37:13,880 --> 00:37:19,000
Speaker 4: don't know, man, Like I know, I get overly intellectual

708
00:37:19,160 --> 00:37:21,360
Speaker 4: about a lot of things in movies that I should

709
00:37:21,400 --> 00:37:24,680
Speaker 4: just start a roll with the emotions of. But you

710
00:37:24,840 --> 00:37:28,400
Speaker 4: gotta admit that like Iron Giant puts all of the

711
00:37:28,440 --> 00:37:30,840
Speaker 4: pieces on the table so you can believe the Disney

712
00:37:30,840 --> 00:37:33,799
Speaker 4: death ending, and I just really don't think Wild Robot does.

713
00:37:34,440 --> 00:37:37,040
Speaker 2: Yeah, I mean, well, since I've been had cannoning this

714
00:37:37,360 --> 00:37:39,319
Speaker 2: whole movie, I guess I will make an attempt to

715
00:37:39,360 --> 00:37:45,600
Speaker 2: do it. As far as Roz's resurrection, like her resurrection,

716
00:37:45,920 --> 00:37:49,040
Speaker 2: the res erection. Yes, Like I think it maybe kind

717
00:37:49,080 --> 00:37:50,880
Speaker 2: of goes back to what we were talking about with

718
00:37:51,320 --> 00:37:54,399
Speaker 2: souls and sort of these deeper ideas, and I think

719
00:37:54,560 --> 00:37:57,319
Speaker 2: the film is like maybe kind of dancing around this

720
00:37:57,480 --> 00:38:01,920
Speaker 2: idea that in becoming part of this island community and

721
00:38:02,000 --> 00:38:06,160
Speaker 2: like kind of integrating herself into the natural world, Roz

722
00:38:06,480 --> 00:38:11,759
Speaker 2: has achieved some level of like the sentience of a

723
00:38:11,880 --> 00:38:16,640
Speaker 2: natural being. It's not human exactly in this context, but

724
00:38:17,480 --> 00:38:21,759
Speaker 2: you know, it's the animal world version of human. I guess, so, like,

725
00:38:22,120 --> 00:38:27,640
Speaker 2: obviously there's no real world computer programming explanation for what

726
00:38:27,800 --> 00:38:30,560
Speaker 2: happened there. But I think like in the story of

727
00:38:30,640 --> 00:38:33,240
Speaker 2: like Roz has become a part of the natural world,

728
00:38:33,719 --> 00:38:39,680
Speaker 2: she is like ros erected in as a more natural creature,

729
00:38:40,400 --> 00:38:44,560
Speaker 2: you know, that can experience love and be kind of

730
00:38:44,600 --> 00:38:47,920
Speaker 2: reformed by it. As you're saying, I don't think the

731
00:38:47,960 --> 00:38:51,759
Speaker 2: movie like puts those pieces out there effectively enough for

732
00:38:51,880 --> 00:38:55,600
Speaker 2: that to work for me. Did. I also did not

733
00:38:55,760 --> 00:38:58,960
Speaker 2: really care for that beat, And it is sort of

734
00:38:59,200 --> 00:39:04,239
Speaker 2: the moment I felt like most manipulated by a movie that,

735
00:39:04,320 --> 00:39:06,239
Speaker 2: for the most part, I felt was pretty subtle in

736
00:39:06,280 --> 00:39:10,960
Speaker 2: its emotional manipulation. But yeah, that's why I was very

737
00:39:11,000 --> 00:39:13,480
Speaker 2: curious to hear your take. But and I have been

738
00:39:13,520 --> 00:39:14,720
Speaker 2: talking a lot, so yeah.

739
00:39:15,160 --> 00:39:18,239
Speaker 5: Understanding correct, What you're saying is that love brought her back.

740
00:39:18,680 --> 00:39:21,520
Speaker 2: Yes, yes, if only if only that had been explained

741
00:39:21,560 --> 00:39:26,160
Speaker 2: more clearly, then this would be five stars heart no notes.

742
00:39:28,400 --> 00:39:31,760
Speaker 4: I do admit that rewatching Frozen, there is the moment

743
00:39:31,800 --> 00:39:35,840
Speaker 4: where Olaf explains what just happened, you know, for for

744
00:39:35,880 --> 00:39:39,080
Speaker 4: people who might have missed it, and I was just like, oh,

745
00:39:39,280 --> 00:39:41,840
Speaker 4: oh gosh, I see why this is necessary. But still

746
00:39:42,680 --> 00:39:45,600
Speaker 4: so Genneff, I get you correctly. What you're saying is

747
00:39:46,040 --> 00:39:49,920
Speaker 4: because she's she's become a part of the natural world.

748
00:39:50,480 --> 00:39:52,879
Speaker 4: She can survive having a brain sucked out the way

749
00:39:53,000 --> 00:39:54,239
Speaker 4: like natural animals can.

750
00:39:55,520 --> 00:39:58,799
Speaker 2: No, she can survive being deprogrammed as a computer, and

751
00:39:58,840 --> 00:40:02,279
Speaker 2: she can come back to life as something other than

752
00:40:02,920 --> 00:40:05,960
Speaker 2: a computer piece of machinery. She's, you know, and it's

753
00:40:06,160 --> 00:40:11,880
Speaker 2: her second chance at as something more not human, more living.

754
00:40:12,080 --> 00:40:13,080
Speaker 2: I guess, more living.

755
00:40:13,920 --> 00:40:14,960
Speaker 4: I'm fine with more living.

756
00:40:15,239 --> 00:40:15,560
Speaker 2: Yeah.

757
00:40:15,719 --> 00:40:20,560
Speaker 4: I think for me, as a often overly intellectual person

758
00:40:21,160 --> 00:40:24,680
Speaker 4: who still has a like squishy sentimental heart somewhere under

759
00:40:24,680 --> 00:40:28,640
Speaker 4: all of the robotics, it is possible for a movie

760
00:40:28,680 --> 00:40:31,880
Speaker 4: beat to just be like entirely emotional and makenological sense

761
00:40:31,960 --> 00:40:36,040
Speaker 4: and still hit me. But for me, I like the

762
00:40:36,360 --> 00:40:39,480
Speaker 4: if the rules that the movie has laid down and

763
00:40:39,640 --> 00:40:43,040
Speaker 4: the big emotional or metaphorical beats are aligned, if they

764
00:40:43,080 --> 00:40:45,239
Speaker 4: make sense with each other, if they back each other up,

765
00:40:45,320 --> 00:40:47,839
Speaker 4: it's just gonna work better for me than if one

766
00:40:47,880 --> 00:40:49,440
Speaker 4: of those things is there and one of them is not.

767
00:40:50,080 --> 00:40:53,719
Speaker 4: But genevieves we're talking about I want to hear what

768
00:40:53,719 --> 00:40:55,680
Speaker 4: you have to say about this. One of the connections

769
00:40:55,680 --> 00:40:59,960
Speaker 4: that you suggested you put on the board as self sacked,

770
00:41:00,960 --> 00:41:05,080
Speaker 4: but you made the you capitalized the AI and sacrifice,

771
00:41:05,120 --> 00:41:08,319
Speaker 4: which is a nice little visual joke that does not

772
00:41:08,480 --> 00:41:11,920
Speaker 4: work particularly well in an audio medium. And I'm curious

773
00:41:11,960 --> 00:41:14,440
Speaker 4: what you're thinking about how these two movies both handle

774
00:41:15,160 --> 00:41:17,960
Speaker 4: the self sacrifice of a robot to save a bunch

775
00:41:18,000 --> 00:41:18,680
Speaker 4: of organics.

776
00:41:18,800 --> 00:41:22,440
Speaker 2: I mean, I think it's the biggest, loudest connection for

777
00:41:22,480 --> 00:41:26,560
Speaker 2: me between the two of them, or the biggest sort

778
00:41:26,600 --> 00:41:30,200
Speaker 2: of call out to Iron Giant. Maybe that's just because,

779
00:41:30,920 --> 00:41:33,839
Speaker 2: as we discussed last week, the Superman moment is just

780
00:41:34,000 --> 00:41:38,840
Speaker 2: so sticky, and you know, Roz doing something very similar

781
00:41:39,000 --> 00:41:42,880
Speaker 2: for this community that has, you know, embraced her just

782
00:41:43,080 --> 00:41:47,560
Speaker 2: struck me as a very clear, somewhat less affecting echo

783
00:41:47,840 --> 00:41:51,840
Speaker 2: of that. But both are also kind of predicated on

784
00:41:51,920 --> 00:41:58,360
Speaker 2: this idea of these robots overcoming their programming, becoming less

785
00:41:58,400 --> 00:42:01,240
Speaker 2: of a robot, you know, to do this. It's almost

786
00:42:01,320 --> 00:42:04,520
Speaker 2: like they're killing off their the previous version of themselves.

787
00:42:05,000 --> 00:42:08,319
Speaker 2: You know, they're they're upgrading. You know, they must, they

788
00:42:08,400 --> 00:42:10,759
Speaker 2: must sacrifice themselves so they can come back in a

789
00:42:11,120 --> 00:42:14,080
Speaker 2: new and better form. But yeah, like I said, it

790
00:42:14,160 --> 00:42:17,560
Speaker 2: just feels like a very clear echo on the Wild

791
00:42:17,680 --> 00:42:18,439
Speaker 2: Robots part.

792
00:42:19,000 --> 00:42:19,520
Speaker 8: I feel like.

793
00:42:19,480 --> 00:42:25,560
Speaker 4: There's something in both of these protagonists being effectively metal

794
00:42:25,600 --> 00:42:29,839
Speaker 4: beings that gives them a strength and a solidity that's

795
00:42:29,920 --> 00:42:32,960
Speaker 4: meant to kind of suggest that they like, they have

796
00:42:33,040 --> 00:42:36,879
Speaker 4: abilities that none of the small organics around them has.

797
00:42:37,640 --> 00:42:39,840
Speaker 4: You know, the fact that the iron Giant can survive

798
00:42:40,080 --> 00:42:43,600
Speaker 4: a collision with an atomic bomb, he wasn't necessarily expecting to,

799
00:42:43,760 --> 00:42:45,360
Speaker 4: or maybe he was, or you know, maybe he was

800
00:42:45,400 --> 00:42:47,680
Speaker 4: just expecting that the soul would survive. Maybe he had

801
00:42:47,680 --> 00:42:50,080
Speaker 4: perfect confidence in his abilities. We don't know. We're in

802
00:42:50,120 --> 00:42:51,919
Speaker 4: his head, but we're not that much in his head.

803
00:42:52,200 --> 00:42:55,799
Speaker 4: But either way, he knew that he had the like

804
00:42:55,880 --> 00:42:59,040
Speaker 4: the strength and endurance and power, like you know, he

805
00:42:59,360 --> 00:43:02,960
Speaker 4: could fly, he could get there before anybody else could

806
00:43:02,960 --> 00:43:07,360
Speaker 4: and stop the problem. He could sacrifice himself like Superman.

807
00:43:07,880 --> 00:43:09,800
Speaker 4: And in the same kind of way, you know, Roz

808
00:43:10,680 --> 00:43:15,600
Speaker 4: uses her endurability to pull all of these animals out

809
00:43:15,640 --> 00:43:17,799
Speaker 4: of the storm, Like she puts her body in the

810
00:43:17,840 --> 00:43:21,239
Speaker 4: way of the small animals that would die, including a

811
00:43:21,280 --> 00:43:26,000
Speaker 4: bright bell like many, many, many times. She is tireless

812
00:43:26,000 --> 00:43:27,440
Speaker 4: in a way that only a robot can be. And

813
00:43:27,640 --> 00:43:30,319
Speaker 4: I feel like there's both of these movies are just

814
00:43:30,360 --> 00:43:33,799
Speaker 4: kind of tapping into this idea of these robots are

815
00:43:33,880 --> 00:43:38,160
Speaker 4: kind of metaphors for strength, and they both kind of

816
00:43:38,200 --> 00:43:41,000
Speaker 4: discover that because they're strong in a way nothing else

817
00:43:41,040 --> 00:43:44,640
Speaker 4: in their world. Is they something something I don't know,

818
00:43:44,719 --> 00:43:54,120
Speaker 4: great power, great something Superhero, spider Man, Superman whatever.

819
00:43:54,320 --> 00:43:57,719
Speaker 8: Is there something though that kind of weakens in the

820
00:43:57,880 --> 00:44:00,399
Speaker 8: case of the Iron Giant, the fact that that self

821
00:44:00,440 --> 00:44:02,600
Speaker 8: repair is still possible at that point, does it does

822
00:44:02,640 --> 00:44:05,359
Speaker 8: it weaken the self sacrifice element of just like of

823
00:44:05,680 --> 00:44:08,400
Speaker 8: I mean, I think the film, I'm kind of thinking

824
00:44:08,520 --> 00:44:11,040
Speaker 8: it ends up not because I think the the ending

825
00:44:11,120 --> 00:44:15,880
Speaker 8: is so clever and well, well set up, and it's satisfying,

826
00:44:15,920 --> 00:44:17,759
Speaker 8: but there is something too, just like I have to

827
00:44:17,800 --> 00:44:20,759
Speaker 8: do this thing and it's going to obliterate me, but

828
00:44:20,800 --> 00:44:22,759
Speaker 8: I want to do it for how Garth. I'm going

829
00:44:22,800 --> 00:44:25,880
Speaker 8: to do it for humanity because I can. You know,

830
00:44:26,080 --> 00:44:28,160
Speaker 8: the idea that he can come back after that is,

831
00:44:29,280 --> 00:44:32,279
Speaker 8: you know, makes it not an next act of self sacrifice.

832
00:44:32,280 --> 00:44:36,480
Speaker 2: Really well, you know, he is modeling himself after Superman,

833
00:44:37,040 --> 00:44:42,839
Speaker 2: and Superman is famously modeled after someone else who sacrificed

834
00:44:42,880 --> 00:44:44,279
Speaker 2: themselves and was reserved.

835
00:44:44,360 --> 00:44:49,600
Speaker 5: Did We're definitely dealing gentle what you know, You're definitely

836
00:44:49,600 --> 00:44:53,719
Speaker 5: dealing with a christ Christ allegory here. So without a resurrection,

837
00:44:53,880 --> 00:44:55,920
Speaker 5: the story is not complete. But I also feel like,

838
00:44:56,040 --> 00:44:59,120
Speaker 5: you know, it is so distant. I mean, it is

839
00:44:59,200 --> 00:45:01,640
Speaker 5: like I never get the sense that he's going to

840
00:45:01,719 --> 00:45:03,920
Speaker 5: put himself together and hop hop his way back to

841
00:45:04,000 --> 00:45:05,799
Speaker 5: Maine and hang out with Hogart. I think it's just

842
00:45:05,800 --> 00:45:11,360
Speaker 5: more like he's reborn elsewhere and the joy or or

843
00:45:11,400 --> 00:45:15,960
Speaker 5: whatever the transcendence of it is that it happens, not

844
00:45:16,000 --> 00:45:17,120
Speaker 5: that that it's going to you.

845
00:45:17,239 --> 00:45:18,480
Speaker 7: He's going to just going to come back and pick

846
00:45:18,560 --> 00:45:19,000
Speaker 7: up the story.

847
00:45:19,000 --> 00:45:22,040
Speaker 5: It's like it's almost like the way it's almost I

848
00:45:22,080 --> 00:45:24,880
Speaker 5: know it's like not in Hogarth's head, but it's almost

849
00:45:25,000 --> 00:45:27,719
Speaker 5: like a moment of faith. It's like, oh, wait, no,

850
00:45:28,360 --> 00:45:31,759
Speaker 5: the Iron Giant is still alive, just elsewhere and we

851
00:45:31,840 --> 00:45:34,959
Speaker 5: can't see him, but we we believe, so so.

852
00:45:34,920 --> 00:45:35,400
Speaker 7: There he is.

853
00:45:35,640 --> 00:45:35,839
Speaker 1: Wait.

854
00:45:35,840 --> 00:45:37,480
Speaker 2: I want to hear Scott because I think we just

855
00:45:37,680 --> 00:45:38,480
Speaker 2: blew over.

856
00:45:38,840 --> 00:45:42,520
Speaker 8: So you don't think the story of Jesus Christ that

857
00:45:42,680 --> 00:45:45,560
Speaker 8: was weaked in some way by him coming back?

858
00:45:47,239 --> 00:45:50,399
Speaker 5: Yeah, the rights might have like watered it down a little.

859
00:45:53,040 --> 00:45:56,160
Speaker 5: You know, the original the original draft was was was

860
00:45:56,239 --> 00:45:57,400
Speaker 5: had a lot more integrity to.

861
00:45:59,400 --> 00:45:59,680
Speaker 8: All right.

862
00:45:59,800 --> 00:46:01,399
Speaker 4: So I just want to point out that the last

863
00:46:01,400 --> 00:46:04,640
Speaker 4: thing we hear Hogarth say is I see you soon.

864
00:46:05,040 --> 00:46:09,080
Speaker 4: I believe like he when when he sees the screw

865
00:46:09,160 --> 00:46:12,640
Speaker 4: rolling off to rejoin the Giant, who knows where, He

866
00:46:12,719 --> 00:46:15,120
Speaker 4: knows it's out there, and he expects the Giant will

867
00:46:15,160 --> 00:46:16,080
Speaker 4: come rejoin him.

868
00:46:16,280 --> 00:46:17,400
Speaker 2: I think it's an Iceland.

869
00:46:17,840 --> 00:46:18,480
Speaker 7: It's Iceland.

870
00:46:18,560 --> 00:46:22,160
Speaker 4: It's an Iceland. Okay, yeah, but no, I mean I'm

871
00:46:22,200 --> 00:46:25,240
Speaker 4: saying like, like there is actually a screen label that says,

872
00:46:25,360 --> 00:46:28,320
Speaker 4: like what what Fiordy's on in Iceland? I mean from

873
00:46:28,760 --> 00:46:33,239
Speaker 4: Hogarth's perspective. Wherever it's going out in the world, he

874
00:46:33,400 --> 00:46:36,280
Speaker 4: expects the giant to return to him. But I think again,

875
00:46:36,520 --> 00:46:39,239
Speaker 4: for me, it just comes down to the the beatific

876
00:46:39,360 --> 00:46:42,239
Speaker 4: expression on the robot's face like that does not to

877
00:46:42,280 --> 00:46:46,240
Speaker 4: me say eh, I'm gonna be fine, like I'm strong

878
00:46:46,239 --> 00:46:48,319
Speaker 4: and I'm made out of I don't know, some kind

879
00:46:48,320 --> 00:46:51,319
Speaker 4: of metal or the other. If only there was a

880
00:46:51,480 --> 00:46:55,240
Speaker 4: titular explanation of what he's made out of, iron famously

881
00:46:55,280 --> 00:46:57,080
Speaker 4: being known for surviving atomic blasts.

882
00:46:57,640 --> 00:46:59,319
Speaker 5: Well, I guess what I'm saying also, is that any

883
00:46:59,400 --> 00:47:01,920
Speaker 5: sort of like union is outside the scope of the story.

884
00:47:02,520 --> 00:47:07,160
Speaker 5: It's not Yeah, it's not meaningful to the story has

885
00:47:07,160 --> 00:47:09,080
Speaker 5: been told, and this is this is a button at

886
00:47:09,080 --> 00:47:11,239
Speaker 5: the end of it. But it's not like I don't

887
00:47:11,239 --> 00:47:13,120
Speaker 5: think what that's the main thing is, I don't think

888
00:47:13,320 --> 00:47:17,160
Speaker 5: this invalidates the sacrifice. It's still a sacrifice, and it's

889
00:47:17,160 --> 00:47:20,200
Speaker 5: not just you know, it's not necessarily you know, just

890
00:47:20,200 --> 00:47:22,719
Speaker 5: like a brief pause in the middle of a long

891
00:47:22,840 --> 00:47:25,439
Speaker 5: story of he and Hogarth being pals together. I don't

892
00:47:25,440 --> 00:47:27,320
Speaker 5: think any of that. Maybe he goes back, maybe he doesn't.

893
00:47:27,360 --> 00:47:29,439
Speaker 5: I don't sure it matters the stories, the story's over.

894
00:47:29,840 --> 00:47:32,480
Speaker 4: Yeah, agreed. It's not like, you know, we get the

895
00:47:32,760 --> 00:47:34,960
Speaker 4: and then here he is like wandering into town and

896
00:47:35,040 --> 00:47:37,160
Speaker 4: you know, they have a big hug and he swings

897
00:47:37,200 --> 00:47:39,120
Speaker 4: them around like. I don't think anybody would need to

898
00:47:39,120 --> 00:47:42,160
Speaker 4: see that. I think it's just like a little moment

899
00:47:42,200 --> 00:47:44,759
Speaker 4: of hope and promise, which is kind of what we

900
00:47:44,800 --> 00:47:47,200
Speaker 4: get at the end of Wild Robot. It's just that

901
00:47:47,520 --> 00:47:50,560
Speaker 4: what exactly is promising feels like a little more, a

902
00:47:50,560 --> 00:47:54,640
Speaker 4: little more complicated and a little more vague, I guess.

903
00:47:55,120 --> 00:47:59,640
Speaker 2: But I also think like the last moment of Iron

904
00:47:59,719 --> 00:48:03,640
Speaker 2: Giant and calls back to the whole idea and explanation

905
00:48:03,960 --> 00:48:07,279
Speaker 2: of souls and the idea that the Iron Giant has

906
00:48:07,440 --> 00:48:11,000
Speaker 2: a soul, because the final beat is the little thing

907
00:48:11,040 --> 00:48:13,520
Speaker 2: on top of his head lighting up, you know. To

908
00:48:13,600 --> 00:48:16,879
Speaker 2: me anyway, it kind of indicates that like, whatever there

909
00:48:17,000 --> 00:48:22,240
Speaker 2: is beyond the physical iron pieces that make up this giant,

910
00:48:22,360 --> 00:48:26,359
Speaker 2: this Iron Giant, have come back online, you know, and

911
00:48:26,400 --> 00:48:30,759
Speaker 2: it's it's something that transcends the physical form. And you know,

912
00:48:30,880 --> 00:48:33,440
Speaker 2: Hogarth when he's explaining the idea of a soul to

913
00:48:33,520 --> 00:48:36,080
Speaker 2: the Iron Giant, you know, he says, it's inside of

914
00:48:36,120 --> 00:48:38,480
Speaker 2: all good things, and it goes on forever and ever.

915
00:48:38,640 --> 00:48:42,160
Speaker 2: So I think like the SeeU soon element of that

916
00:48:42,239 --> 00:48:48,120
Speaker 2: you could kind of take as recognition of whatever transcendent

917
00:48:48,239 --> 00:48:52,160
Speaker 2: form the robot has taken. Now, like that is what

918
00:48:52,280 --> 00:48:54,080
Speaker 2: Hogarth is acknowledging in that moment.

919
00:48:54,800 --> 00:48:55,400
Speaker 7: I like that.

920
00:48:56,160 --> 00:48:59,799
Speaker 4: I mean, I think, what better way to transition out

921
00:48:59,800 --> 00:49:03,320
Speaker 4: of like a kind of a big cosmic moral message

922
00:49:03,320 --> 00:49:06,359
Speaker 4: about the eternality of the soul than to like zoom

923
00:49:06,360 --> 00:49:10,040
Speaker 4: in on something a whole lot smaller and more mundane. Scott,

924
00:49:10,080 --> 00:49:12,120
Speaker 4: you had brought up that these are both movies about

925
00:49:12,120 --> 00:49:12,920
Speaker 4: surrogate parents.

926
00:49:13,560 --> 00:49:16,040
Speaker 8: Uh, yeah, I had, But then I then I thought

927
00:49:16,040 --> 00:49:17,960
Speaker 8: about it a little bit more, and I don't know,

928
00:49:18,000 --> 00:49:20,680
Speaker 8: I'm not sure that I'm right about that, because I mean,

929
00:49:20,680 --> 00:49:25,680
Speaker 8: we're dealing with these movies in which children are missing

930
00:49:25,840 --> 00:49:28,480
Speaker 8: a parent or both parents. Hogarth does not have a

931
00:49:29,040 --> 00:49:32,520
Speaker 8: father present in his life, and uh and bright Bell

932
00:49:32,640 --> 00:49:36,160
Speaker 8: has a neither mother, no nor father. And I think

933
00:49:36,200 --> 00:49:39,960
Speaker 8: I think obviously The Wild Robot is definitely about parenthood.

934
00:49:40,000 --> 00:49:42,400
Speaker 8: I mean, there's no question about that. But you know,

935
00:49:42,480 --> 00:49:44,600
Speaker 8: I think more about when I think more about the

936
00:49:44,640 --> 00:49:48,920
Speaker 8: Iron Giant, it's it's more like a just about friendship

937
00:49:48,960 --> 00:49:52,600
Speaker 8: and companionship and camaraderie. There's not a real I think

938
00:49:52,800 --> 00:49:58,240
Speaker 8: the whole that that the Giant fills in Hogarth's life

939
00:49:58,320 --> 00:50:02,160
Speaker 8: is not that of a parent. It's a different relationship.

940
00:50:02,200 --> 00:50:05,280
Speaker 8: And I think it's almost a tribute on brad Bird's

941
00:50:05,280 --> 00:50:10,719
Speaker 8: part to Hogarth's mother that she as difficult as her

942
00:50:11,080 --> 00:50:15,279
Speaker 8: job is as trying to look after this very precocious

943
00:50:15,560 --> 00:50:19,400
Speaker 8: and wild boy while also you know, managing to be

944
00:50:19,560 --> 00:50:23,520
Speaker 8: a waitress, you know, working long shifts, that she still

945
00:50:23,520 --> 00:50:26,440
Speaker 8: got that under control, and that she is enough parent

946
00:50:26,480 --> 00:50:30,359
Speaker 8: on her own to fill that need for him. There's

947
00:50:30,360 --> 00:50:34,400
Speaker 8: something else going on really in the relationship between Hogarth

948
00:50:34,480 --> 00:50:35,880
Speaker 8: and the Robot.

949
00:50:36,200 --> 00:50:39,000
Speaker 2: It's not parenthood, but there is a sense of guardianship

950
00:50:39,280 --> 00:50:42,320
Speaker 2: to it, you know, in a sense hope of Hogarth

951
00:50:42,520 --> 00:50:45,760
Speaker 2: teaching the Iron Giant like teaches him how to speak

952
00:50:45,840 --> 00:50:48,040
Speaker 2: and teaches him what a soul is and that he's

953
00:50:48,040 --> 00:50:49,879
Speaker 2: not a gun and all these like very important life

954
00:50:49,920 --> 00:50:52,920
Speaker 2: lessons that are as you know, it kind of passed

955
00:50:53,080 --> 00:50:58,560
Speaker 2: through Hogarth from his mom. But it's not exactly parenthood,

956
00:50:58,560 --> 00:51:02,520
Speaker 2: but there is sort of like certain beats of parenthood

957
00:51:02,560 --> 00:51:06,200
Speaker 2: within that sort of guardian role and it's interesting that

958
00:51:06,360 --> 00:51:10,279
Speaker 2: in both of these films cases the I mean it's

959
00:51:10,360 --> 00:51:14,200
Speaker 2: kind of inverted, you know, like in The Wild Robot,

960
00:51:14,280 --> 00:51:17,960
Speaker 2: the robot is in the guardian role to the Gosling,

961
00:51:18,520 --> 00:51:22,600
Speaker 2: and in Iron Giant, the small human boy is sort

962
00:51:22,640 --> 00:51:25,120
Speaker 2: of in a guardian role to the Iron Giant. But

963
00:51:25,160 --> 00:51:28,840
Speaker 2: at the end, in both cases that kind of gets inverted,

964
00:51:29,040 --> 00:51:33,560
Speaker 2: right Bill saves ras and the Iron Giant saves Hogarth.

965
00:51:33,640 --> 00:51:36,279
Speaker 2: You know, so it's sort of like the coming full

966
00:51:36,320 --> 00:51:40,560
Speaker 2: circle of you know, the protect he becomes the protector

967
00:51:41,120 --> 00:51:42,280
Speaker 2: in both of those cases.

968
00:51:42,680 --> 00:51:44,399
Speaker 4: You know, I could I think you could say, even

969
00:51:44,400 --> 00:51:48,480
Speaker 4: if they aren't necessarily movies both movies about surrogate parents,

970
00:51:48,560 --> 00:51:52,160
Speaker 4: they're definitely movies about found families. Because you know, one

971
00:51:52,200 --> 00:51:54,520
Speaker 4: of the things we really didn't talk about at all

972
00:51:54,600 --> 00:51:56,759
Speaker 4: in the Iron Giant segment that I meant to loop

973
00:51:56,840 --> 00:51:59,680
Speaker 4: back to and then saw that it could just be

974
00:51:59,680 --> 00:52:03,000
Speaker 4: a good connection was Dean. Like we we'd never really

975
00:52:03,040 --> 00:52:07,640
Speaker 4: talk about Harry Connick Junior's voice roll, or about the

976
00:52:07,640 --> 00:52:11,160
Speaker 4: the kind of interesting anomaly of this like Beatnik that

977
00:52:11,280 --> 00:52:14,239
Speaker 4: makes art out of junk in this town. He's just

978
00:52:14,600 --> 00:52:18,319
Speaker 4: he's a very strange and specific and fun character. I

979
00:52:18,360 --> 00:52:23,320
Speaker 4: think something one of the maybe least expected elements of

980
00:52:23,520 --> 00:52:27,440
Speaker 4: Iron Giant, and I think his equivalent in Wild Robot

981
00:52:27,640 --> 00:52:31,160
Speaker 4: is think the fox yep somebody else who's you know,

982
00:52:31,280 --> 00:52:34,040
Speaker 4: sort of sort of smug and sort of has his

983
00:52:34,080 --> 00:52:37,480
Speaker 4: own thing going. And definitely when he's first presented with

984
00:52:38,160 --> 00:52:43,000
Speaker 4: here's this awkward child that needs parenting, like doesn't does

985
00:52:43,040 --> 00:52:46,240
Speaker 4: not want anything to do with it. I think about

986
00:52:46,280 --> 00:52:50,080
Speaker 4: like Fink's repeated offers to eat bright Bill compared with

987
00:52:50,800 --> 00:52:54,919
Speaker 4: Hogarth bringing the Iron Giant to to Dean and saying

988
00:52:54,960 --> 00:52:58,000
Speaker 4: like he needs food and shelter, and Hean just getting up,

989
00:52:58,120 --> 00:53:01,280
Speaker 4: dumping out his cappuccino, walking in the house and closing

990
00:53:01,320 --> 00:53:04,640
Speaker 4: the door. Just kind of like a perfect little like

991
00:53:04,760 --> 00:53:08,920
Speaker 4: physical comedy moment there. Like both of them kind of

992
00:53:08,960 --> 00:53:13,120
Speaker 4: have their own lives that they're at least thinking that

993
00:53:13,160 --> 00:53:16,080
Speaker 4: they're content with, and then they kind of get pulled

994
00:53:16,239 --> 00:53:21,880
Speaker 4: into like parenting somebody naive and awkward, although in Dean's

995
00:53:21,880 --> 00:53:24,200
Speaker 4: case where you can flip a coin whether that's more

996
00:53:24,360 --> 00:53:27,759
Speaker 4: Hogarth or the Giant, and then both of them find

997
00:53:27,960 --> 00:53:30,839
Speaker 4: a place of their own, like connections that they weren't

998
00:53:30,880 --> 00:53:34,520
Speaker 4: expecting and a family and in Dean's case, it's more

999
00:53:34,520 --> 00:53:37,759
Speaker 4: of a girlfriend, and in Fink's case, it's more of

1000
00:53:37,800 --> 00:53:40,400
Speaker 4: a robot friend. No, it's just a friend as well

1001
00:53:40,400 --> 00:53:43,560
Speaker 4: as a protector and provider. But I think that those

1002
00:53:43,640 --> 00:53:47,439
Speaker 4: are kind of, in a way, very different characters who

1003
00:53:47,520 --> 00:53:49,640
Speaker 4: also have a lot in common and some kind of

1004
00:53:49,640 --> 00:53:50,640
Speaker 4: interesting neat ways.

1005
00:53:51,000 --> 00:53:54,480
Speaker 5: I mean, we haven't talked that much about this. It's

1006
00:53:54,640 --> 00:53:57,239
Speaker 5: definitely more specific to Iron Giant, but we haven't really

1007
00:53:57,239 --> 00:53:59,839
Speaker 5: talked that much about the period details of it. But yeah,

1008
00:53:59,880 --> 00:54:02,120
Speaker 5: they beating it kind of fits right into the fifties,

1009
00:54:02,600 --> 00:54:06,160
Speaker 5: you know, the set of fifties elements there too. But

1010
00:54:06,200 --> 00:54:08,000
Speaker 5: I mean, you know, I guess there is a kind

1011
00:54:08,000 --> 00:54:09,360
Speaker 5: of a connection in the sense that we kind of

1012
00:54:09,400 --> 00:54:13,759
Speaker 5: touched on what the wider world of the Wild Robot was,

1013
00:54:14,000 --> 00:54:17,040
Speaker 5: sort of the post environmental collapse, and I was just saying,

1014
00:54:17,120 --> 00:54:20,680
Speaker 5: that's very much on you know, our minds these days

1015
00:54:21,200 --> 00:54:23,360
Speaker 5: in the same way, and it is, you know, a

1016
00:54:23,480 --> 00:54:25,279
Speaker 5: top of mind worry in the same way that the

1017
00:54:25,280 --> 00:54:29,920
Speaker 5: Cold War, and that's sort of the paranoia around the

1018
00:54:30,000 --> 00:54:33,239
Speaker 5: nuclear threat was in the nineteen fifties that we they're

1019
00:54:33,760 --> 00:54:36,319
Speaker 5: you know, both of these films kind of exist on

1020
00:54:37,080 --> 00:54:41,440
Speaker 5: the precipice of an apocalypse in some ways, just because

1021
00:54:42,160 --> 00:54:45,560
Speaker 5: you know that we there's the hilarious but also chilling

1022
00:54:46,080 --> 00:54:48,120
Speaker 5: you know Duck, you know, Duck and Cover moment, and

1023
00:54:48,320 --> 00:54:50,799
Speaker 5: and the Iron Giant. You know, where were there kids

1024
00:54:50,800 --> 00:54:53,279
Speaker 5: are supposed to comfort that they'll be safe from a

1025
00:54:53,360 --> 00:54:56,880
Speaker 5: nuclear war and and you know, I guess in some

1026
00:54:56,920 --> 00:54:59,200
Speaker 5: ways we're not a nuclear disaster, but we're on the

1027
00:54:59,239 --> 00:55:01,560
Speaker 5: opposite end of that. And with the wild Robot.

1028
00:55:01,920 --> 00:55:05,920
Speaker 8: One small touch I really liked in The Iron Giant

1029
00:55:06,040 --> 00:55:13,200
Speaker 8: is that when actual nuclear catastrophe looms, that the lie

1030
00:55:13,239 --> 00:55:16,080
Speaker 8: that duck and cover and fallout shelters and all of

1031
00:55:16,120 --> 00:55:19,440
Speaker 8: these things that they've they've been telling themselves would be

1032
00:55:19,680 --> 00:55:24,360
Speaker 8: effective in surviving such as blast is not even worth

1033
00:55:24,719 --> 00:55:28,160
Speaker 8: thinking about. Like they're just they're they resigned to the

1034
00:55:28,200 --> 00:55:30,919
Speaker 8: reality of the situation, which I think, which I think these

1035
00:55:31,040 --> 00:55:35,120
Speaker 8: things that this these Duck and Cover films and the

1036
00:55:35,160 --> 00:55:37,960
Speaker 8: idea of having a shelter, like all those lies that

1037
00:55:38,000 --> 00:55:41,160
Speaker 8: we tell ourselves that they are telling themselves in this

1038
00:55:41,360 --> 00:55:43,600
Speaker 8: nuclear society, just a small touch I liked.

1039
00:55:43,920 --> 00:55:46,920
Speaker 4: I kind of wonder if there was an intention like

1040
00:55:47,080 --> 00:55:50,160
Speaker 4: the when you when you get kind of the propaganda

1041
00:55:50,239 --> 00:55:54,200
Speaker 4: film about the Rosin line of robots and like what

1042
00:55:54,239 --> 00:55:56,719
Speaker 4: they're meant to do. It honestly felt to me a

1043
00:55:56,760 --> 00:56:00,480
Speaker 4: lot like that propaganda film in terms of, you know,

1044
00:56:00,640 --> 00:56:02,480
Speaker 4: everybody's going to have a robot and it's going to

1045
00:56:02,520 --> 00:56:04,640
Speaker 4: be ideal, and they're going to do like anything and

1046
00:56:04,680 --> 00:56:06,920
Speaker 4: everything you want. You're not going to have any problems anymore.

1047
00:56:07,040 --> 00:56:11,400
Speaker 4: Here you are living in this probably post apocalyptic paradise

1048
00:56:11,920 --> 00:56:15,200
Speaker 4: with a very few people in it, and there's this,

1049
00:56:15,840 --> 00:56:19,319
Speaker 4: you know, film that people are given to watch that

1050
00:56:19,560 --> 00:56:22,040
Speaker 4: tells them everything's going to be okay and all their

1051
00:56:22,040 --> 00:56:24,080
Speaker 4: needs are going to be met and they don't have

1052
00:56:24,120 --> 00:56:27,840
Speaker 4: to think about the outside world or about other people.

1053
00:56:28,239 --> 00:56:30,400
Speaker 4: I think there's kind of a neat little parallel between

1054
00:56:30,920 --> 00:56:35,759
Speaker 4: the Rosin Propaganda Sales Sales pitch film and the Duck

1055
00:56:35,800 --> 00:56:38,080
Speaker 4: and Cover film. But they both kind of feel like

1056
00:56:38,080 --> 00:56:42,560
Speaker 4: they're glossing over a reality. You know, one of them

1057
00:56:42,719 --> 00:56:45,840
Speaker 4: in a more like government like let's put down a

1058
00:56:45,880 --> 00:56:47,879
Speaker 4: big lie to make people feel safe kind of way,

1059
00:56:47,920 --> 00:56:50,879
Speaker 4: and the other in a very capitalistic, how can we

1060
00:56:50,960 --> 00:56:54,239
Speaker 4: sell you this thing kind of way, But you know,

1061
00:56:54,280 --> 00:56:56,880
Speaker 4: both of them, in the same sort of way feel

1062
00:56:56,960 --> 00:57:00,080
Speaker 4: like propaganda basically, I guess is the word I'm looking for.

1063
00:57:00,520 --> 00:57:04,200
Speaker 2: Yeah, and Keith, you know, talking about the sort of

1064
00:57:04,280 --> 00:57:09,240
Speaker 2: the suggested apocalypse of the Wild Robot bringing to mind

1065
00:57:09,280 --> 00:57:12,960
Speaker 2: some very like top of mind concerns for us right now,

1066
00:57:13,200 --> 00:57:16,360
Speaker 2: as far as you know, environmental collapse, not to mention

1067
00:57:16,520 --> 00:57:21,000
Speaker 2: AI made me think of Scott's new cult Cannon on

1068
00:57:21,200 --> 00:57:24,360
Speaker 2: the Iron Giant way back in the Avy Club Days,

1069
00:57:24,440 --> 00:57:27,760
Speaker 2: in which he noted sort of the oddness of the

1070
00:57:27,800 --> 00:57:30,960
Speaker 2: Cold War reference point for a film released in nineteen

1071
00:57:31,040 --> 00:57:34,880
Speaker 2: ninety nine, so far removed from those actual concerns, you know,

1072
00:57:35,000 --> 00:57:39,480
Speaker 2: and that having much more of a nostalgic bent in

1073
00:57:40,360 --> 00:57:44,360
Speaker 2: that context. You know. They both have a very like

1074
00:57:44,680 --> 00:57:50,040
Speaker 2: strong sense of time and place. But Wild Robots feels

1075
00:57:50,520 --> 00:57:53,440
Speaker 2: more connected to our current moment, I think than the

1076
00:57:53,480 --> 00:57:58,120
Speaker 2: Iron Giants did to the current moment in nineteen ninety nine,

1077
00:57:58,240 --> 00:58:02,280
Speaker 2: even though it was drying on direct history instead of

1078
00:58:02,320 --> 00:58:03,560
Speaker 2: a speculative future.

1079
00:58:03,680 --> 00:58:10,280
Speaker 4: Maybe that's because Wild Robot implies that after the climate

1080
00:58:10,360 --> 00:58:14,760
Speaker 4: calamity that causes the ocean to rise, like however many

1081
00:58:15,480 --> 00:58:18,440
Speaker 4: feet it would have to rise to cover the Golden

1082
00:58:18,440 --> 00:58:22,400
Speaker 4: Gate Bridge, Everything's going to be fine, Like yes, maybe

1083
00:58:22,560 --> 00:58:24,680
Speaker 4: billions of people are going to die and leave us

1084
00:58:24,760 --> 00:58:28,960
Speaker 4: very underpopulated to the point where people have to live

1085
00:58:29,040 --> 00:58:32,440
Speaker 4: like live in in dome cities, or you know, maybe

1086
00:58:32,480 --> 00:58:36,360
Speaker 4: just like The Rich Survivors, maybe this turns out to

1087
00:58:36,360 --> 00:58:39,640
Speaker 4: be an eight the Rich film after all. But whatever

1088
00:58:39,680 --> 00:58:42,240
Speaker 4: that future is, we don't get to see the downside

1089
00:58:42,240 --> 00:58:44,520
Speaker 4: of it, you know, And that's where we differ from

1090
00:58:44,520 --> 00:58:48,479
Speaker 4: Wally is like, there's never a reckoning for this like clean, bright,

1091
00:58:48,520 --> 00:58:51,680
Speaker 4: shiny tomorrow Land future where everybody has all of their

1092
00:58:51,720 --> 00:58:56,439
Speaker 4: meat needs met by fancy robots. There's just the implication that,

1093
00:58:57,160 --> 00:59:00,680
Speaker 4: you know, things, all of the bad things happened at

1094
00:59:00,680 --> 00:59:02,120
Speaker 4: some point in the past, and we're not going to

1095
00:59:02,120 --> 00:59:05,640
Speaker 4: see those. And if there's any problem left here, we're

1096
00:59:05,680 --> 00:59:09,440
Speaker 4: not going to see that either. Just the robot that

1097
00:59:09,480 --> 00:59:11,680
Speaker 4: comes to get Ras is kind of the only touch

1098
00:59:11,720 --> 00:59:16,120
Speaker 4: of darkness in this story in terms of like a

1099
00:59:16,200 --> 00:59:19,240
Speaker 4: dystopic element, whereas The Iron Giant's kind of doing the

1100
00:59:19,280 --> 00:59:21,560
Speaker 4: exact opposite, you know. The Iron Giant is about a

1101
00:59:21,560 --> 00:59:25,200
Speaker 4: time where all of these people in this small town

1102
00:59:25,240 --> 00:59:30,320
Speaker 4: are living like a pretty idealistic, like like simple, like

1103
00:59:30,520 --> 00:59:34,800
Speaker 4: warm kind of life where their problems don't seem all

1104
00:59:34,920 --> 00:59:37,720
Speaker 4: that like huge and significant, Like we're we're not seeing

1105
00:59:37,760 --> 00:59:41,280
Speaker 4: farmers dealing with being priced off their farms. We're seeing

1106
00:59:42,040 --> 00:59:45,600
Speaker 4: a train conductor whose train gets knocked off the rails

1107
00:59:45,680 --> 00:59:49,720
Speaker 4: accidentally by a very well meaning giant robot. So the

1108
00:59:49,880 --> 00:59:53,640
Speaker 4: actual like darkness and trouble and trial in the Iron

1109
00:59:53,680 --> 00:59:57,640
Speaker 4: Giant Giants world isn't really visible, but you still have

1110
00:59:57,720 --> 01:00:01,640
Speaker 4: these people that are just terrified of everything outside themselves,

1111
01:00:01,800 --> 01:00:04,240
Speaker 4: Like everything outside of America is a threat. Spot Nick

1112
01:00:04,320 --> 01:00:07,200
Speaker 4: is a threat. The Russians are coming for us. If

1113
01:00:07,200 --> 01:00:10,000
Speaker 4: there's a robot, it's definitely a weapon, and it's from

1114
01:00:10,040 --> 01:00:12,800
Speaker 4: our enemies. We have to protect ourselves. And that kind

1115
01:00:12,800 --> 01:00:17,960
Speaker 4: of fear of looming catastrophe and calamity and that feeling

1116
01:00:17,960 --> 01:00:21,880
Speaker 4: that everyone is your enemy is just so baked into

1117
01:00:21,920 --> 01:00:26,640
Speaker 4: that kind of like atomic age Cold War sense of

1118
01:00:26,960 --> 01:00:29,240
Speaker 4: what the world is like. I don't know, it's it

1119
01:00:29,560 --> 01:00:33,920
Speaker 4: feels like a very dark and cynical place for a

1120
01:00:34,040 --> 01:00:36,400
Speaker 4: very like sunny and warm and life affirming movie to

1121
01:00:36,480 --> 01:00:37,960
Speaker 4: be to be looking.

1122
01:00:37,840 --> 01:00:40,200
Speaker 8: Tasha, is that is that your version of a downer ending?

1123
01:00:42,080 --> 01:00:44,520
Speaker 4: No, it's this that's my version of Disney death ending

1124
01:00:44,720 --> 01:00:46,800
Speaker 4: like that. That was a very solemn moment that we

1125
01:00:46,800 --> 01:00:48,360
Speaker 4: all had to kind of like take it and be

1126
01:00:48,440 --> 01:00:51,240
Speaker 4: quiet for now somebody else can do via the Bright

1127
01:00:51,280 --> 01:00:55,000
Speaker 4: Happy Revival, where it turns out everything was cool all along,

1128
01:00:55,160 --> 01:00:58,440
Speaker 4: Thank goodness. I mean, you know, what Bradbird is doing

1129
01:00:58,560 --> 01:01:02,160
Speaker 4: in that movie is kind of like making fun of

1130
01:01:02,360 --> 01:01:05,840
Speaker 4: American adventurism and American paranoia and American military thinking a

1131
01:01:05,880 --> 01:01:09,840
Speaker 4: bit like he is kind of lampooning it in Kent

1132
01:01:10,040 --> 01:01:13,080
Speaker 4: and in his general and in everything that the army does. It.

1133
01:01:14,040 --> 01:01:17,439
Speaker 4: It's not meant as a downer thing. It's meant as

1134
01:01:17,480 --> 01:01:21,160
Speaker 4: a you know, look at these people and then live

1135
01:01:21,200 --> 01:01:22,080
Speaker 4: your life differently.

1136
01:01:22,120 --> 01:01:25,800
Speaker 2: Come on, well, I think there's only one thing that

1137
01:01:25,800 --> 01:01:28,320
Speaker 2: can bring us back from that, and that is the

1138
01:01:28,360 --> 01:01:29,200
Speaker 2: word Superman.

1139
01:01:31,560 --> 01:01:34,720
Speaker 4: All right, Genevieve, I'm cutting it off before anybody starts

1140
01:01:34,720 --> 01:01:36,520
Speaker 4: crying me included.

1141
01:01:36,680 --> 01:01:38,720
Speaker 2: That is a both.

1142
01:01:38,520 --> 01:01:42,160
Speaker 4: Bettersweet ending and a happy one. But we don't need

1143
01:01:42,200 --> 01:01:44,800
Speaker 4: to get choked up. We got movies to recommend. The

1144
01:01:44,840 --> 01:01:47,400
Speaker 4: Iron Giant is unable through the usual platforms. It's on

1145
01:01:47,480 --> 01:01:51,080
Speaker 4: davidan Blu Ray. Wild Robot is currently in theaters. We'll

1146
01:01:51,080 --> 01:02:04,320
Speaker 4: be right back with your next picture show. Finally, it's

1147
01:02:04,320 --> 01:02:06,520
Speaker 4: time to recommend a film or film related item that

1148
01:02:06,560 --> 01:02:09,120
Speaker 4: compliments this set of episodes. We call it your Next

1149
01:02:09,120 --> 01:02:11,280
Speaker 4: Picture Show in the hopes that it'll put some interesting

1150
01:02:11,360 --> 01:02:13,840
Speaker 4: choices on your radar. I believe we're going to do

1151
01:02:14,080 --> 01:02:16,480
Speaker 4: a blitz round here because we had a lot of

1152
01:02:16,520 --> 01:02:20,200
Speaker 4: movies that we we considered doing this, uh, this pairing for,

1153
01:02:20,800 --> 01:02:23,480
Speaker 4: and we wanted to talk about Iron Giant. We wanted

1154
01:02:23,480 --> 01:02:26,920
Speaker 4: to revisit it. It's a very obvious connection, but there

1155
01:02:26,960 --> 01:02:30,160
Speaker 4: are a lot of connections here as well. Scott start

1156
01:02:30,200 --> 01:02:30,560
Speaker 4: us off.

1157
01:02:31,400 --> 01:02:33,720
Speaker 8: Yeah, so well, I mean the thing is, I think

1158
01:02:33,720 --> 01:02:38,200
Speaker 8: we had settled on the idea immediately just cite Unseen.

1159
01:02:38,840 --> 01:02:41,040
Speaker 8: The Iron Giant was going to be the one because

1160
01:02:41,040 --> 01:02:42,919
Speaker 8: I obviously it's a film that all of us love,

1161
01:02:43,440 --> 01:02:45,280
Speaker 8: and uh, this is our this is our chance to

1162
01:02:45,320 --> 01:02:47,360
Speaker 8: talk about it. So we kind of locked it down.

1163
01:02:47,800 --> 01:02:49,040
Speaker 8: And then I saw the film and I was like,

1164
01:02:49,360 --> 01:02:51,200
Speaker 8: damn it. We would we could have We could have

1165
01:02:51,240 --> 01:02:54,720
Speaker 8: done a pairing with one of my favorite family films

1166
01:02:54,760 --> 01:02:58,400
Speaker 8: of all time, and that's Carol Ballard's Flyaway Home. Because

1167
01:02:58,760 --> 01:03:02,160
Speaker 8: much like Raw and Bright Bill, this is uh, this

1168
01:03:02,200 --> 01:03:04,760
Speaker 8: is a story about you know, the fly Away Home

1169
01:03:04,840 --> 01:03:08,560
Speaker 8: is a movie that starts with the death of a mother. Uh.

1170
01:03:08,640 --> 01:03:11,320
Speaker 8: And and this little girl played by Anna Pack when

1171
01:03:11,760 --> 01:03:14,560
Speaker 8: going off to live with her father, who's who was

1172
01:03:14,680 --> 01:03:17,960
Speaker 8: an inventor played by Jeff Daniels but also kind of

1173
01:03:17,960 --> 01:03:20,960
Speaker 8: a hippie and a weirdo and and not really your

1174
01:03:21,000 --> 01:03:23,880
Speaker 8: a traditional father that she and somebody that she doesn't

1175
01:03:23,880 --> 01:03:26,760
Speaker 8: know really really all that well. But while she is

1176
01:03:26,760 --> 01:03:31,080
Speaker 8: in this this rural place in Canada, she takes to

1177
01:03:31,760 --> 01:03:35,600
Speaker 8: basically sort of mother ring some geese and and and

1178
01:03:35,640 --> 01:03:38,920
Speaker 8: there's a course of scenes in both films in which

1179
01:03:39,160 --> 01:03:42,439
Speaker 8: she's teaching them how to fly into to migrate and

1180
01:03:42,440 --> 01:03:45,240
Speaker 8: and in fact joins them in one of her father's

1181
01:03:45,400 --> 01:03:49,920
Speaker 8: flying machines uh to to help them migrate south and

1182
01:03:50,080 --> 01:03:54,320
Speaker 8: uh and kind of establish this pattern. It is absolutely

1183
01:03:55,080 --> 01:03:59,479
Speaker 8: astonishingly beautiful film. Uh, incredibly moving literally from the start,

1184
01:03:59,520 --> 01:04:01,920
Speaker 8: I mean you you talk about sort of water works,

1185
01:04:01,960 --> 01:04:05,800
Speaker 8: just like the opening credits, like like just literally the

1186
01:04:05,880 --> 01:04:08,440
Speaker 8: first seed of the movie, which is very hard for

1187
01:04:08,480 --> 01:04:11,320
Speaker 8: any movie to pull off. It's shot. It's shot by

1188
01:04:11,600 --> 01:04:16,520
Speaker 8: Caleb Deschanel, who's exceptional photographer. Carol Ballad of course as

1189
01:04:16,520 --> 01:04:20,400
Speaker 8: the director of The Black Stallion. It has simplicity yet

1190
01:04:20,480 --> 01:04:24,200
Speaker 8: a great deal of depth, and I can't recommend it

1191
01:04:24,440 --> 01:04:27,280
Speaker 8: highly enough. I wrote about it for the Reveal, so

1192
01:04:27,320 --> 01:04:30,200
Speaker 8: if you're subscribed to the Reveal, you know that that

1193
01:04:30,320 --> 01:04:32,600
Speaker 8: essay is there for you as well. But I love it.

1194
01:04:32,840 --> 01:04:36,480
Speaker 8: The Flyway Home would be a nice wild robot supplement.

1195
01:04:36,920 --> 01:04:39,400
Speaker 4: Keith, you had a completely different take on a movie

1196
01:04:39,440 --> 01:04:41,720
Speaker 4: that you felt we could pair this with that we

1197
01:04:41,840 --> 01:04:44,200
Speaker 4: ended up not doing. You want to throat a wreck.

1198
01:04:44,120 --> 01:04:45,560
Speaker 7: For that kind of touched it on already.

1199
01:04:45,600 --> 01:04:47,320
Speaker 5: But there's a lot of Bambi in this movie, I mean,

1200
01:04:47,520 --> 01:04:51,600
Speaker 5: just thinking beyond just sort of the death and sort

1201
01:04:51,600 --> 01:04:54,080
Speaker 5: of doing it in a kid's movie friendly way, dealing

1202
01:04:54,080 --> 01:04:56,720
Speaker 5: with their realities of nature. I think it's there's a

1203
01:04:56,760 --> 01:05:01,200
Speaker 5: similar attempt to kind of meet actual nature and cartoon characters,

1204
01:05:01,240 --> 01:05:03,680
Speaker 5: like at a halfway point. I mean, was one thing,

1205
01:05:03,880 --> 01:05:06,360
Speaker 5: you know, It's one of the remarkable things about Bambi

1206
01:05:06,480 --> 01:05:09,160
Speaker 5: is there was a lot of study that went into

1207
01:05:09,840 --> 01:05:12,400
Speaker 5: you know, the actual natural world and pity in a

1208
01:05:12,400 --> 01:05:16,520
Speaker 5: way that would work in animation. I mean, I think

1209
01:05:16,520 --> 01:05:22,560
Speaker 5: at one point Disney had like deer corpses in the

1210
01:05:22,680 --> 01:05:26,360
Speaker 5: studio for animators to study to make sure the anatomy

1211
01:05:26,440 --> 01:05:29,360
Speaker 5: was right. So you know, but I mean, I think

1212
01:05:29,440 --> 01:05:32,160
Speaker 5: this is not it's not quite Bamby and in that sense,

1213
01:05:32,200 --> 01:05:33,880
Speaker 5: but I really feel that there's a lot of that

1214
01:05:34,400 --> 01:05:36,560
Speaker 5: DNA in there as well. So if you're looking for

1215
01:05:36,600 --> 01:05:40,680
Speaker 5: an excuse to to rewatch Bamby, you could say, I

1216
01:05:40,720 --> 01:05:42,880
Speaker 5: want to see what the Wild Robot borrowed from it.

1217
01:05:42,880 --> 01:05:48,160
Speaker 8: It's my favorite Disney film period. Yeah, I think I

1218
01:05:48,160 --> 01:05:49,600
Speaker 8: haven't seen it along. I haven't seen it.

1219
01:05:49,720 --> 01:05:51,360
Speaker 5: No, I think I watched about a decade ago, but

1220
01:05:51,440 --> 01:05:53,400
Speaker 5: I should rewatch it at some point. I never showed

1221
01:05:53,480 --> 01:05:54,400
Speaker 5: my kid that movie.

1222
01:05:54,840 --> 01:05:57,600
Speaker 2: It's like that's something to revisit.

1223
01:05:57,840 --> 01:06:01,280
Speaker 4: Yeah, the forest fire in Bambi, I think also is

1224
01:06:01,360 --> 01:06:06,000
Speaker 4: probably a pretty significant inspiration for the equivalent fire in

1225
01:06:07,520 --> 01:06:12,440
Speaker 4: Wild Robot. Although I guess this is a pairing that

1226
01:06:12,440 --> 01:06:14,640
Speaker 4: we couldn't have done because these are both old or movies.

1227
01:06:14,640 --> 01:06:18,960
Speaker 4: But the sequence where the hunters shoot the deer in

1228
01:06:19,000 --> 01:06:21,640
Speaker 4: the Iron Giant and then the Giant reckons with the

1229
01:06:21,680 --> 01:06:24,800
Speaker 4: deer's corpse always struck me as kind of a shout

1230
01:06:24,800 --> 01:06:27,720
Speaker 4: out to Bambi in a movie with other shout outs

1231
01:06:27,760 --> 01:06:31,480
Speaker 4: to classic Disney. But Genevieve round us out here. What

1232
01:06:31,840 --> 01:06:34,120
Speaker 4: was the movie that you had recommended that you said

1233
01:06:34,240 --> 01:06:36,520
Speaker 4: went really well with this, that we didn't end up doing.

1234
01:06:36,480 --> 01:06:38,880
Speaker 2: Well well really well is a bit of a stretch,

1235
01:06:38,920 --> 01:06:42,640
Speaker 2: But as you know, I just love movies involving spiders,

1236
01:06:42,920 --> 01:06:47,080
Speaker 2: So I kept thinking during Wild Robot, or at least

1237
01:06:47,120 --> 01:06:50,320
Speaker 2: during certain sequences a Wild Robot of the nineteen seventy

1238
01:06:50,400 --> 01:06:55,000
Speaker 2: three animated version of Charlotte's Web, which, full disclosure, is

1239
01:06:55,000 --> 01:06:57,760
Speaker 2: a film I haven't revisited in my adulthood but have

1240
01:06:57,960 --> 01:07:01,320
Speaker 2: a very fond childho memories of. I think it probably

1241
01:07:01,360 --> 01:07:06,200
Speaker 2: wouldn't have held up terribly well to a full episode revisitation,

1242
01:07:06,760 --> 01:07:10,520
Speaker 2: But just in terms of like watching the Wild Robot

1243
01:07:10,560 --> 01:07:14,440
Speaker 2: and specifically those sort of like island community sequences that

1244
01:07:14,480 --> 01:07:17,480
Speaker 2: I was really responding to, I just kept getting flashes

1245
01:07:17,840 --> 01:07:21,640
Speaker 2: of Charlotte's Web and sort of the barnyard community. Obviously,

1246
01:07:21,840 --> 01:07:26,600
Speaker 2: there's geese, there's a gostling, there's a there's a surrogate

1247
01:07:26,720 --> 01:07:31,200
Speaker 2: mother figure, there's discussions of death and reckoning with death.

1248
01:07:32,080 --> 01:07:35,040
Speaker 2: There's Templeton. The rat reminded me a lot of think

1249
01:07:35,120 --> 01:07:38,680
Speaker 2: the Fox vice versa. You know, there's a lot of

1250
01:07:38,720 --> 01:07:43,080
Speaker 2: sort of like character analogs I feel among the animal

1251
01:07:43,240 --> 01:07:47,880
Speaker 2: characters in both films and just sort of the all

1252
01:07:48,000 --> 01:07:50,720
Speaker 2: all of the animals kind of coming together to raise

1253
01:07:50,720 --> 01:07:54,120
Speaker 2: Wilburt and save Wilburt. And then of course a sort

1254
01:07:54,160 --> 01:07:58,800
Speaker 2: of vast inner species gulf between Charlotte the Spider and

1255
01:07:58,960 --> 01:08:02,560
Speaker 2: Wilbur the Pig kind of felt a little evocative to

1256
01:08:02,560 --> 01:08:06,800
Speaker 2: me of the vast organic gulf I guess between raz

1257
01:08:06,880 --> 01:08:10,240
Speaker 2: and bright Bills. So as far as like the larger

1258
01:08:10,320 --> 01:08:12,080
Speaker 2: narrative arc of the film, I think it might have

1259
01:08:12,120 --> 01:08:14,680
Speaker 2: broken down a little bit. But like I said, there

1260
01:08:14,720 --> 01:08:17,600
Speaker 2: was a lot in the Wild Girlbot that made me

1261
01:08:18,040 --> 01:08:21,400
Speaker 2: remember Charlotte's Web, a movie that I have very fond

1262
01:08:21,439 --> 01:08:24,799
Speaker 2: memories of adapting a book that I have even fonder

1263
01:08:24,840 --> 01:08:28,360
Speaker 2: memories of for his chapter book I ever read. And Yeah,

1264
01:08:28,439 --> 01:08:30,519
Speaker 2: it made me want to want to go back to

1265
01:08:30,960 --> 01:08:33,040
Speaker 2: Charlotte's Web. So I think I will probably do that

1266
01:08:33,080 --> 01:08:33,800
Speaker 2: at some point soon.

1267
01:08:34,240 --> 01:08:35,519
Speaker 7: I remember when.

1268
01:08:35,400 --> 01:08:38,320
Speaker 5: I was in fourth grade, I had a teachers said

1269
01:08:38,840 --> 01:08:41,080
Speaker 5: there's books you should definitely read the time we're done

1270
01:08:41,120 --> 01:08:43,519
Speaker 5: with fourth grade, and Charlotte's Web was one of them.

1271
01:08:43,560 --> 01:08:45,599
Speaker 7: I've never read it. I saw the movie. My god,

1272
01:08:45,760 --> 01:08:48,080
Speaker 7: I know I should Maybe I should go read Charlotte's Web.

1273
01:08:48,320 --> 01:08:50,479
Speaker 2: Yeah, but before you go to bed, you can do

1274
01:08:50,520 --> 01:08:51,439
Speaker 2: it in like an hour and a half.

1275
01:08:51,479 --> 01:08:54,720
Speaker 4: Ye, it's a it's a short book, but I don't know.

1276
01:08:54,880 --> 01:08:58,000
Speaker 4: The movie version is very accurate, so you could also

1277
01:08:58,040 --> 01:09:00,400
Speaker 4: watch the movie version. And the movie version has some

1278
01:09:00,560 --> 01:09:01,880
Speaker 4: tremendous songs that live.

1279
01:09:01,800 --> 01:09:06,840
Speaker 7: With the perfect And in Charlotte's Web the book.

1280
01:09:07,120 --> 01:09:09,880
Speaker 4: It's true, Jenny, do you say, maybe the overall arcs

1281
01:09:10,240 --> 01:09:15,320
Speaker 4: aren't similar enough. But Charlott's Web also ends with a

1282
01:09:15,320 --> 01:09:18,639
Speaker 4: an act of self sacrifice, that's true, and uh, a

1283
01:09:18,680 --> 01:09:22,559
Speaker 4: loss and a death and saying goodbye and then not

1284
01:09:22,640 --> 01:09:26,400
Speaker 4: a Disney death in the sense of then Charlotte gets resurrected,

1285
01:09:26,479 --> 01:09:30,760
Speaker 4: but very much so a sense of hope, in a

1286
01:09:30,800 --> 01:09:34,120
Speaker 4: sense of the future in like the the generational, like

1287
01:09:34,200 --> 01:09:37,280
Speaker 4: the reminder that's you know, nature is a continuity and

1288
01:09:37,320 --> 01:09:39,960
Speaker 4: that's uh, you know, some things die, so so some

1289
01:09:40,040 --> 01:09:42,160
Speaker 4: things can live, and that there there's always a future.

1290
01:09:42,240 --> 01:09:45,080
Speaker 4: Like I actually see a lot of parallels there, and

1291
01:09:45,120 --> 01:09:47,880
Speaker 4: I do love that movie. That is a movie that

1292
01:09:48,040 --> 01:09:51,599
Speaker 4: I probably saw as a kid every couple of months

1293
01:09:51,680 --> 01:09:53,800
Speaker 4: or so because it would play at the local like

1294
01:09:54,000 --> 01:09:56,680
Speaker 4: Dollar Revival theater, and my mom would just take us

1295
01:09:56,720 --> 01:10:00,439
Speaker 4: on weekends. So and then there was an euro where

1296
01:10:00,479 --> 01:10:02,599
Speaker 4: it was on TV all the time, although they kept

1297
01:10:02,960 --> 01:10:05,200
Speaker 4: cutting more and more songs out of it to fit

1298
01:10:05,240 --> 01:10:07,120
Speaker 4: in more and more ads, So every time I watched

1299
01:10:07,120 --> 01:10:10,040
Speaker 4: it on TV, it would have like either a couple

1300
01:10:10,160 --> 01:10:12,160
Speaker 4: fewer verses in some of the songs or just a

1301
01:10:12,200 --> 01:10:16,639
Speaker 4: couple fewer songs. What's your song? Mother Earth and Father Time?

1302
01:10:16,920 --> 01:10:22,519
Speaker 4: Absolute heartbreaker, one of my favorite pieces of music, like ever.

1303
01:10:22,720 --> 01:10:25,719
Speaker 4: Although when I think about the movie and think about songs,

1304
01:10:25,720 --> 01:10:28,720
Speaker 4: I think about We've Got Lots in Common, which is

1305
01:10:29,880 --> 01:10:35,799
Speaker 4: less evocative, less philosophical, less beautiful, but still really freaking catchy.

1306
01:10:36,120 --> 01:10:39,559
Speaker 2: I'm a chin up kind of gal, can't. I can't

1307
01:10:39,560 --> 01:10:42,759
Speaker 2: deny Mother than Father Time. So songs by the Sherman Brothers,

1308
01:10:42,920 --> 01:10:47,360
Speaker 2: so from their the solid songs, Yeah, Charlotte's Web.

1309
01:10:48,000 --> 01:10:51,000
Speaker 4: Charlott's Web would be on my short list of musicals

1310
01:10:51,040 --> 01:10:53,160
Speaker 4: that don't have a dud in them, you know, because

1311
01:10:53,160 --> 01:10:56,599
Speaker 4: you've also got the affair It is a veritable sort,

1312
01:10:58,600 --> 01:11:01,919
Speaker 4: which is is lovely, and the Charlotte's Web song itself

1313
01:11:02,120 --> 01:11:08,200
Speaker 4: is beautiful. So anyway, that's that's a lengthy recommendation, just

1314
01:11:08,439 --> 01:11:11,000
Speaker 4: blow by blow. But yes, I also very much love

1315
01:11:11,080 --> 01:11:13,559
Speaker 4: that movie and would not have mind talking about it more.

1316
01:11:13,680 --> 01:11:18,000
Speaker 4: And it's got an emotional kick exactly the Wayaron Giant does.

1317
01:11:18,320 --> 01:11:23,120
Speaker 8: This is the one with el Fanning in it, right, Dakota,

1318
01:11:23,320 --> 01:11:26,360
Speaker 8: Dakota Fanning, that one. That's what you like, Scott.

1319
01:11:26,439 --> 01:11:28,160
Speaker 4: Some of the jokes you make are forgivable.

1320
01:11:28,720 --> 01:11:31,040
Speaker 8: Some of them are not, so I think. But I

1321
01:11:31,160 --> 01:11:34,080
Speaker 8: was thinking though, when Keith was talking about Bambi, that

1322
01:11:34,439 --> 01:11:37,280
Speaker 8: we could in the future do kind of a Your

1323
01:11:37,439 --> 01:11:40,880
Speaker 8: Next Picture Show Turducin type of thing where it's like,

1324
01:11:41,160 --> 01:11:44,880
Speaker 8: we've got got we got the recent movie, you know,

1325
01:11:45,120 --> 01:11:47,080
Speaker 8: the movie it reminds us of, and the movie that

1326
01:11:47,160 --> 01:11:50,920
Speaker 8: influenced that, and we do like a triple episode, right,

1327
01:11:51,000 --> 01:11:52,400
Speaker 8: just bank it and then we go off on a

1328
01:11:52,479 --> 01:11:54,080
Speaker 8: vacation for a couple of weeks.

1329
01:11:56,520 --> 01:11:59,360
Speaker 4: So you're thinking like three episodes as opposed to.

1330
01:11:59,479 --> 01:12:03,040
Speaker 8: Like two extra recording here, Tasha, we could do it.

1331
01:12:03,920 --> 01:12:07,800
Speaker 4: Okay, Well, we're already hitting like close up on hour

1332
01:12:07,960 --> 01:12:11,160
Speaker 4: four of this particular recording, so even though they're probably

1333
01:12:11,400 --> 01:12:13,000
Speaker 4: you know, we could also just sit here and talk

1334
01:12:13,040 --> 01:12:15,760
Speaker 4: about all of the other movies that we evoked that

1335
01:12:16,080 --> 01:12:19,120
Speaker 4: connect to Wild Robot. But instead we're gonna say that's

1336
01:12:19,160 --> 01:12:21,360
Speaker 4: it for this edition of The Next Picture Show, and

1337
01:12:21,360 --> 01:12:24,320
Speaker 4: we'll be back next week with another set of episodes. Jenny,

1338
01:12:24,360 --> 01:12:25,960
Speaker 4: if you want to tell us what's coming up next.

1339
01:12:26,360 --> 01:12:29,160
Speaker 9: A cast full of big personalities gathers together in a

1340
01:12:29,200 --> 01:12:32,439
Speaker 9: studio in New York City. They only have this one chaotic,

1341
01:12:32,600 --> 01:12:35,479
Speaker 9: smoke filled night to get their act on tape. That's

1342
01:12:35,479 --> 01:12:38,599
Speaker 9: the scene that Jason Brightman restages for Saturday Night, his

1343
01:12:38,640 --> 01:12:41,320
Speaker 9: new comedy about Lauren Michaels, and the first episode of

1344
01:12:41,320 --> 01:12:44,639
Speaker 9: what would become Saturday Night Live, with original cast members

1345
01:12:44,640 --> 01:12:47,880
Speaker 9: like John Belushi, Gilda Radner, and Chevy Chase, along with

1346
01:12:47,920 --> 01:12:51,439
Speaker 9: future legends like George Carlin, Jim Henson, and Andy Kaufman.

1347
01:12:51,920 --> 01:12:55,000
Speaker 9: It's also the scene at Columbia Records's Thirtieth Street Recording

1348
01:12:55,040 --> 01:12:58,360
Speaker 9: studio in May nineteen seventy is Stephen Sondheim in the

1349
01:12:58,400 --> 01:13:00,880
Speaker 9: cast of his Broadway hit Company worked through the night

1350
01:13:00,960 --> 01:13:03,800
Speaker 9: to get their instant classic on record. For our next

1351
01:13:03,840 --> 01:13:06,559
Speaker 9: set of episodes, will compare the pressure cooker environment of

1352
01:13:06,640 --> 01:13:11,160
Speaker 9: Da Pennebaker's nineteen seventy documentary original Cast album Company with

1353
01:13:11,280 --> 01:13:14,320
Speaker 9: Wrightman's Saturday Night, which depicts the calamity that led to

1354
01:13:14,360 --> 01:13:16,320
Speaker 9: an improbable television phenomenon.

1355
01:13:16,640 --> 01:13:18,799
Speaker 4: For now, we welcome your feedback on The Iron Giant

1356
01:13:18,800 --> 01:13:21,479
Speaker 4: and the Wild Robot and anything else film related you'd

1357
01:13:21,520 --> 01:13:23,479
Speaker 4: like to talk about. Email us at comments at next

1358
01:13:23,479 --> 01:13:25,519
Speaker 4: Picture Show dot net, or leave us a voicemail at

1359
01:13:25,520 --> 01:13:28,879
Speaker 4: seven seven three two three four nine seven three zero

1360
01:13:29,040 --> 01:13:31,559
Speaker 4: before we close out this week's episode. Where can we

1361
01:13:31,600 --> 01:13:32,719
Speaker 4: find everyone these days?

1362
01:13:33,040 --> 01:13:34,679
Speaker 7: Keith Oh, I'm.

1363
01:13:34,680 --> 01:13:38,320
Speaker 5: A freelance writer. I write for places like Fulture and

1364
01:13:38,360 --> 01:13:39,920
Speaker 5: TV gut. I got a place coming up in a

1365
01:13:39,920 --> 01:13:42,040
Speaker 5: publication called Pollyon, which.

1366
01:13:42,000 --> 01:13:44,040
Speaker 7: I'm excited to be back in.

1367
01:13:44,160 --> 01:13:47,360
Speaker 5: You totally do, yeah, But a lot of my writing

1368
01:13:47,439 --> 01:13:50,240
Speaker 5: is most of my writing these days is at the

1369
01:13:50,320 --> 01:13:52,760
Speaker 5: Reveal at Thereveal dot substack dot com, which is the

1370
01:13:52,920 --> 01:13:57,080
Speaker 5: newsletter about movies that I co write with Scott Tobias.

1371
01:13:57,479 --> 01:13:59,519
Speaker 5: If you like what we do here, you will like that,

1372
01:13:59,760 --> 01:14:03,760
Speaker 5: and we are we're now three years in two Uh

1373
01:14:03,880 --> 01:14:06,360
Speaker 5: well no, sorry, we have completed two years. It's our

1374
01:14:06,360 --> 01:14:08,559
Speaker 5: third anniversary, and so now would be a great time

1375
01:14:08,680 --> 01:14:10,880
Speaker 5: to subscribe if you If you've you know not to

1376
01:14:11,080 --> 01:14:13,599
Speaker 5: not to not to turn this into a plug too much,

1377
01:14:13,640 --> 01:14:17,679
Speaker 5: but you know, we'll take new subscribers we're allowing it, right, Scott.

1378
01:14:18,160 --> 01:14:21,439
Speaker 8: Yeah, in fact, and plus we have a sale going

1379
01:14:21,479 --> 01:14:24,479
Speaker 8: on right now. But by the time our listeners here

1380
01:14:24,520 --> 01:14:31,439
Speaker 8: here that they can pay full price for the low

1381
01:14:31,439 --> 01:14:38,040
Speaker 8: low price of one percent of by the monthly annually. Yeah,

1382
01:14:38,920 --> 01:14:41,439
Speaker 8: it's worth your body though. Come on now, it's Scott.

1383
01:14:41,439 --> 01:14:43,879
Speaker 5: Where can we find you besides the revealed at subst

1384
01:14:43,880 --> 01:14:44,400
Speaker 5: dot com.

1385
01:14:44,520 --> 01:14:47,400
Speaker 8: Uh oh, you find me on Blue Sky at Scott

1386
01:14:47,400 --> 01:14:51,479
Speaker 8: Tobias all one word, no underscore like X some underscore

1387
01:14:51,479 --> 01:14:54,559
Speaker 8: at X. You can also find me at at Vulture

1388
01:14:55,040 --> 01:14:58,600
Speaker 8: doing a ton of stuff reguarding like one, one retrospective

1389
01:14:58,640 --> 01:15:01,559
Speaker 8: piece after another. I'm there as well in the New

1390
01:15:01,640 --> 01:15:03,320
Speaker 8: York Times, Tasha, how about.

1391
01:15:03,080 --> 01:15:06,719
Speaker 4: You, I'm the entertainment editor at Polygon dot com, where

1392
01:15:06,760 --> 01:15:08,960
Speaker 4: you can read me talking about movies, or you know,

1393
01:15:09,040 --> 01:15:11,840
Speaker 4: you could come read Keith talking about movies. I'm on

1394
01:15:11,960 --> 01:15:14,680
Speaker 4: Blue Sky at Tasha Robinson Genevieve.

1395
01:15:14,920 --> 01:15:18,599
Speaker 2: I am the TV editor at Vulture, and in the

1396
01:15:18,640 --> 01:15:22,160
Speaker 2: spirit of Scott's belated plug for a reveal sale that

1397
01:15:22,200 --> 01:15:24,200
Speaker 2: you can no longer get, I am also going to

1398
01:15:24,560 --> 01:15:28,120
Speaker 2: plug the next picture shows involvement in the series Vultures

1399
01:15:28,240 --> 01:15:33,679
Speaker 2: movie Fantasy League. You are the deadline is literally within

1400
01:15:33,800 --> 01:15:35,880
Speaker 2: hours of us recording this, so you can no longer

1401
01:15:35,920 --> 01:15:39,920
Speaker 2: officially join the next picture show its league. But you

1402
01:15:39,960 --> 01:15:44,160
Speaker 2: can come and you can go, and if you haven't

1403
01:15:44,160 --> 01:15:46,960
Speaker 2: already filled out your own ballot, you can cheer us on.

1404
01:15:47,320 --> 01:15:49,880
Speaker 2: I know Keith and I have filled out our ballots.

1405
01:15:49,880 --> 01:15:51,880
Speaker 2: Scott and Tasha, have you done yours yet?

1406
01:15:52,200 --> 01:15:52,559
Speaker 8: Yep?

1407
01:15:53,320 --> 01:15:57,040
Speaker 2: Nope? All right, Well, hopefully Tasha Tasha will get to that.

1408
01:15:57,080 --> 01:15:59,599
Speaker 2: And I know we have a couple other people playing

1409
01:16:00,400 --> 01:16:03,800
Speaker 2: on our sub league within but it's a good time.

1410
01:16:03,840 --> 01:16:07,160
Speaker 2: So hopefully you got on the Vulture Movies fantasy bandwagon

1411
01:16:07,280 --> 01:16:10,080
Speaker 2: and can play along, or if not, you can just

1412
01:16:10,439 --> 01:16:14,040
Speaker 2: see how badly we are doing as the season progresses.

1413
01:16:14,640 --> 01:16:15,760
Speaker 8: We stunk last year.

1414
01:16:16,120 --> 01:16:18,760
Speaker 2: Yeah, I think I stunk the least out of us,

1415
01:16:18,800 --> 01:16:22,880
Speaker 2: which is hilarious because I famously see the least movies

1416
01:16:22,920 --> 01:16:26,479
Speaker 2: of the four of us. Oh no, I think Scott came,

1417
01:16:26,840 --> 01:16:30,360
Speaker 2: you pulled out and the lead in the end. But yeah,

1418
01:16:30,640 --> 01:16:34,040
Speaker 2: put a little more thought into my roster this time around.

1419
01:16:34,080 --> 01:16:36,800
Speaker 2: But as for social media, you know the drill. I'm

1420
01:16:36,880 --> 01:16:40,600
Speaker 2: Jenny Koski. If you can find me, good for you, you

1421
01:16:40,439 --> 01:16:43,240
Speaker 2: probably won't get much out of it. But godspeed.

1422
01:16:44,479 --> 01:16:44,759
Speaker 8: Wow.

1423
01:16:44,840 --> 01:16:48,120
Speaker 4: That's a ringing endorsement. You can stay updated on the

1424
01:16:48,120 --> 01:16:50,560
Speaker 4: Next Picture Show at next pictureshow dot net and on

1425
01:16:50,640 --> 01:16:53,880
Speaker 4: blue Sky at the Next Picture Show, get bonus content

1426
01:16:53,920 --> 01:16:57,000
Speaker 4: an open discussion on patreon dot com slash Next Picture Show.

1427
01:16:57,320 --> 01:16:59,719
Speaker 4: As always, we appreciate your ratings and reviews on Apple,

1428
01:16:59,720 --> 01:17:04,280
Speaker 4: podcas casts, Spotify, Podbean, wherever you will listen to the show.

1429
01:17:04,600 --> 01:17:07,080
Speaker 4: We thank Dan that Baked Jakes for his assistance in

1430
01:17:07,120 --> 01:17:09,720
Speaker 4: producing this podcast. The Next Picture Show is proud to

1431
01:17:09,720 --> 01:17:12,320
Speaker 4: be part of the Film Spotting family of podcasts. Please

1432
01:17:12,360 --> 01:17:13,160
Speaker 4: tune in next time