1
00:00:11,119 --> 00:00:15,360
Speaker 1: Hey, everybody, welcome to another episode of I Saw What

2
00:00:15,400 --> 00:00:18,520
Speaker 1: You Did. My name is Millie. To Sheriko, I'm commodore.

3
00:00:18,600 --> 00:00:23,520
Speaker 2: Danielle Henderson. Come, I feel like we should be able

4
00:00:23,520 --> 00:00:29,240
Speaker 2: to pick our own prefixes. Yeah, miss miss isn't doing

5
00:00:29,280 --> 00:00:33,080
Speaker 2: it for me. I don't know, like miss daniel Henderson,

6
00:00:33,080 --> 00:00:34,720
Speaker 2: I want to be fucking commodore. I want something that

7
00:00:36,000 --> 00:00:39,199
Speaker 2: indicates the what's about to happen with you? If you

8
00:00:39,240 --> 00:00:40,839
Speaker 2: meet me, you know.

9
00:00:40,880 --> 00:00:43,080
Speaker 1: You're right about this because I will say you know.

10
00:00:43,159 --> 00:00:46,159
Speaker 1: I was on my little European vacation a couple of

11
00:00:46,200 --> 00:00:51,960
Speaker 1: weeks ago, and for every form, like, okay, this happens

12
00:00:51,960 --> 00:00:54,120
Speaker 1: in the US too. I get it where like, you know,

13
00:00:54,120 --> 00:00:56,000
Speaker 1: you fill out a form and they're always asking you

14
00:00:56,040 --> 00:01:01,560
Speaker 1: to pick like a mister, mss ms, miss, missus, doctor whatever.

15
00:01:01,600 --> 00:01:03,279
Speaker 1: Like they asked you to pick like a prefix, right,

16
00:01:03,760 --> 00:01:06,480
Speaker 1: and that's usually pretty optional, I think in America. I

17
00:01:06,520 --> 00:01:09,720
Speaker 1: feel like in Europe they it's like a standard thing.

18
00:01:09,760 --> 00:01:13,319
Speaker 1: They like really want to know every form. And I

19
00:01:13,480 --> 00:01:16,200
Speaker 1: was like, why just you want to know if I'm

20
00:01:16,200 --> 00:01:16,800
Speaker 1: married or.

21
00:01:16,720 --> 00:01:19,920
Speaker 2: Something or what you try to get in up in this? Yeah,

22
00:01:19,920 --> 00:01:21,520
Speaker 2: I'm just try to go to the bathroom sir, like,

23
00:01:21,520 --> 00:01:23,199
Speaker 2: why do you have to know my fucking prefixes?

24
00:01:23,600 --> 00:01:25,479
Speaker 1: Well, let me and let me ask you this. Maybe

25
00:01:25,520 --> 00:01:29,080
Speaker 1: you know this and I don't. Is there a difference

26
00:01:29,120 --> 00:01:31,399
Speaker 1: between MS period and.

27
00:01:31,920 --> 00:01:36,160
Speaker 2: S sm S S is supposed to indicate a younger woman.

28
00:01:37,040 --> 00:01:41,600
Speaker 2: MS is like a fucking spinster, thornback older woman.

29
00:01:42,319 --> 00:01:43,440
Speaker 1: I do not like that shit.

30
00:01:43,840 --> 00:01:46,760
Speaker 2: I don't like it at all. Yeah, I'm fucking commodore.

31
00:01:47,400 --> 00:01:49,360
Speaker 2: And no, I've never been on the seas and I've

32
00:01:49,360 --> 00:01:52,200
Speaker 2: never commandeer in a fucking ship or but I'm a

33
00:01:52,240 --> 00:01:53,160
Speaker 2: fucking commodore.

34
00:01:53,400 --> 00:01:59,360
Speaker 1: Okay, look, didn't that what's his name from scientology? What's

35
00:01:59,400 --> 00:01:59,760
Speaker 1: his uh?

36
00:02:00,040 --> 00:02:01,040
Speaker 2: Oh yeah, el Ron Hobbins.

37
00:02:01,360 --> 00:02:03,000
Speaker 1: Did he call himself a commodore?

38
00:02:03,160 --> 00:02:06,600
Speaker 2: He was like self, all kinds of shit. Yeah, all you.

39
00:02:06,560 --> 00:02:08,360
Speaker 1: Gotta do is buy a boat, and I guess you

40
00:02:08,440 --> 00:02:10,680
Speaker 1: can be a commodore, right, that's kind.

41
00:02:10,560 --> 00:02:12,400
Speaker 2: Of the thing. I don't even have to do that,

42
00:02:12,440 --> 00:02:13,919
Speaker 2: because how do you know I don't own a boat?

43
00:02:13,919 --> 00:02:16,920
Speaker 2: Whoever I'm talking to you don't know. Yeah, I'm commodore

44
00:02:17,120 --> 00:02:19,119
Speaker 2: and you just assume I own a boat and that's

45
00:02:19,120 --> 00:02:19,400
Speaker 2: on you.

46
00:02:20,560 --> 00:02:23,760
Speaker 1: Yeah, I look, I'm with it. If you want me

47
00:02:23,800 --> 00:02:26,600
Speaker 1: to start calling you what is the abbreviation for commodore?

48
00:02:26,680 --> 00:02:30,760
Speaker 1: Isn't it like CMM or something cm D.

49
00:02:32,160 --> 00:02:34,960
Speaker 2: I think no, that's commander. I guess I should really

50
00:02:35,000 --> 00:02:36,760
Speaker 2: if I'm really gonna go with this ruse, I gotta

51
00:02:36,760 --> 00:02:40,760
Speaker 2: figure that shit out. What's this abbreviation? Or I could say,

52
00:02:42,040 --> 00:02:45,080
Speaker 2: don't ever abbreviate it, because that is not treating it

53
00:02:45,080 --> 00:02:46,480
Speaker 2: with the respect it deserves.

54
00:02:47,080 --> 00:02:49,000
Speaker 1: Yeah, well, now I'm gonna have to go on the

55
00:02:49,000 --> 00:02:52,799
Speaker 1: internet and google, like, what what we have to do

56
00:02:52,880 --> 00:02:55,200
Speaker 1: in your presence now that you're a commodore, because you know,

57
00:02:55,320 --> 00:02:57,520
Speaker 1: like sometimes you get a salute, sometimes it's like a

58
00:02:57,520 --> 00:02:59,680
Speaker 1: whole thing, and so I want to be proper about it.

59
00:02:59,760 --> 00:03:01,640
Speaker 2: So I'm gonna make something up. I'm gonna be like,

60
00:03:01,680 --> 00:03:05,040
Speaker 2: you have to do a dance to back that ass up,

61
00:03:07,400 --> 00:03:10,040
Speaker 2: and it has to be at least sixty seconds long,

62
00:03:11,400 --> 00:03:15,680
Speaker 2: like a choreographed dance to back that ass.

63
00:03:16,680 --> 00:03:20,200
Speaker 1: Look, I'll do anything for you, as everybody knows.

64
00:03:20,120 --> 00:03:22,320
Speaker 2: If I'm making it up. I'm really making it up.

65
00:03:22,320 --> 00:03:25,600
Speaker 2: But I think also live I live in this tiny place,

66
00:03:25,600 --> 00:03:28,040
Speaker 2: so nobody is ever gonna question it. They're gonna be like, whatever,

67
00:03:28,320 --> 00:03:30,600
Speaker 2: we don't care what you call yourself. Do you want

68
00:03:30,760 --> 00:03:31,800
Speaker 2: a small town update.

69
00:03:32,440 --> 00:03:34,480
Speaker 1: What I was gonna say, what's going on? What's going

70
00:03:34,520 --> 00:03:35,360
Speaker 1: on in that small town?

71
00:03:35,560 --> 00:03:36,960
Speaker 2: I let me give you a small town update. I

72
00:03:37,000 --> 00:03:40,320
Speaker 2: haven't given you one in a while. Two cute things,

73
00:03:41,080 --> 00:03:45,080
Speaker 2: because again, my town is basically stars Hollow. There's a

74
00:03:45,160 --> 00:03:50,160
Speaker 2: neighbor that lives up the street who I've met. It's

75
00:03:50,200 --> 00:03:51,640
Speaker 2: a man and a woman who are a couple, and

76
00:03:51,640 --> 00:03:54,520
Speaker 2: I've met them pretty much as soon as I moved

77
00:03:54,560 --> 00:03:56,080
Speaker 2: in because they walk their dog a lot. They have

78
00:03:56,080 --> 00:03:58,440
Speaker 2: a very cute dog with human eyes, which I love.

79
00:03:58,560 --> 00:04:01,240
Speaker 2: I love when dogs have like in eyes and you're like, oh,

80
00:04:01,320 --> 00:04:05,200
Speaker 2: you have been here before, and their dog is super cute.

81
00:04:05,200 --> 00:04:08,200
Speaker 2: When I first moved in, they saw me walking the

82
00:04:08,240 --> 00:04:10,040
Speaker 2: dog and they were like, oh, we don't know if

83
00:04:10,040 --> 00:04:11,760
Speaker 2: you saw this yet or not, but there's a box

84
00:04:12,120 --> 00:04:16,160
Speaker 2: around by the barn and it's gonna rain and might

85
00:04:16,200 --> 00:04:17,839
Speaker 2: get wet, and like, we just didn't know if you

86
00:04:17,880 --> 00:04:20,960
Speaker 2: saw it, so we just kind of started just chatting,

87
00:04:21,000 --> 00:04:23,760
Speaker 2: like whenever I see them, if I'm driving by and

88
00:04:23,760 --> 00:04:27,400
Speaker 2: they're walking the dog and I wave and they put

89
00:04:27,440 --> 00:04:30,800
Speaker 2: a note in my mailbox and it was like, Hey,

90
00:04:31,200 --> 00:04:33,280
Speaker 2: it's us from up the street. You should come over

91
00:04:33,320 --> 00:04:35,440
Speaker 2: for coffee one day or wine, like it'd be great

92
00:04:35,440 --> 00:04:37,919
Speaker 2: to sit down and have like a real talk. What

93
00:04:38,240 --> 00:04:41,200
Speaker 2: I'm like, that's adorable. So I went to their mailbox

94
00:04:41,600 --> 00:04:43,800
Speaker 2: and I left a note that was like, yeah, that

95
00:04:43,880 --> 00:04:46,279
Speaker 2: sounds great. Here's my name and number or here's my number,

96
00:04:47,720 --> 00:04:52,520
Speaker 2: email text, whatever, but let's definitely get together soon. So

97
00:04:52,600 --> 00:04:55,160
Speaker 2: that's how you do it in these backwoods town Sometimes

98
00:04:55,240 --> 00:04:56,560
Speaker 2: you just leave a note in a mailbox.

99
00:04:57,400 --> 00:05:01,400
Speaker 1: Listen, I think the next move, well, now it's their move,

100
00:05:01,880 --> 00:05:05,279
Speaker 1: right they would have to send you a stripper gram.

101
00:05:05,480 --> 00:05:08,799
Speaker 1: That's like the next the next step in the point

102
00:05:08,839 --> 00:05:12,080
Speaker 1: of the back and forth contact, and then you send

103
00:05:12,080 --> 00:05:13,279
Speaker 1: them a stripper gram.

104
00:05:14,080 --> 00:05:16,200
Speaker 2: And this, the first stripper gram to me, is just

105
00:05:16,200 --> 00:05:19,040
Speaker 2: someone like reading off a date and time, like, why

106
00:05:19,080 --> 00:05:21,159
Speaker 2: am I taking my clothes off for this? They want

107
00:05:21,160 --> 00:05:24,599
Speaker 2: you to hang out on Wednesday night at seven pm?

108
00:05:24,640 --> 00:05:27,080
Speaker 2: Why am I naked for this?

109
00:05:27,880 --> 00:05:32,160
Speaker 1: Telegrams that seems like such a fucking old thing that

110
00:05:32,200 --> 00:05:35,080
Speaker 1: doesn't happen anymore, But it has to happen still, right, No,

111
00:05:35,880 --> 00:05:36,159
Speaker 1: I don't.

112
00:05:36,520 --> 00:05:39,400
Speaker 2: I mean I know that like Western Union still happens,

113
00:05:39,440 --> 00:05:41,960
Speaker 2: but I don't know if straight up telegrams like this

114
00:05:42,040 --> 00:05:44,520
Speaker 2: is the only way you're going to get this information happens.

115
00:05:45,440 --> 00:05:47,960
Speaker 2: But it would be kind of cool. See this is

116
00:05:48,000 --> 00:05:50,880
Speaker 2: where like if I were a criminal mastermind, I would

117
00:05:50,920 --> 00:05:53,520
Speaker 2: go back to telegrams because nobody's checking telegrams anymore.

118
00:05:53,920 --> 00:05:59,120
Speaker 1: Yeah. Well, and it's it's mostly the performance of the message,

119
00:05:59,160 --> 00:06:02,440
Speaker 1: which I think is lost. You know. I feel like

120
00:06:02,680 --> 00:06:05,159
Speaker 1: there were there was like an entire industry based on

121
00:06:05,240 --> 00:06:10,880
Speaker 1: people who were performing messages for other people, like gorillas,

122
00:06:11,440 --> 00:06:19,040
Speaker 1: like strippers, like people who were just regular male people

123
00:06:20,000 --> 00:06:23,360
Speaker 1: would read out. But that seems like a profession that's

124
00:06:23,440 --> 00:06:23,920
Speaker 1: died off.

125
00:06:24,040 --> 00:06:25,280
Speaker 2: Yeah. It was like a way that a lot of

126
00:06:25,320 --> 00:06:28,160
Speaker 2: actors used to make money because they were like, well

127
00:06:28,200 --> 00:06:32,360
Speaker 2: I'm still kind of acting and I'm getting paid. Yeah, yeah,

128
00:06:32,640 --> 00:06:33,120
Speaker 2: it's dead.

129
00:06:33,680 --> 00:06:37,839
Speaker 1: Well and that's the thing too. Your town I think

130
00:06:38,240 --> 00:06:41,440
Speaker 1: would be so suited for that kind of thing, like

131
00:06:41,960 --> 00:06:46,000
Speaker 1: because honestly, like in Atlanta, nobody's doing a no one,

132
00:06:46,080 --> 00:06:48,080
Speaker 1: no one is going to perform a message that we

133
00:06:48,680 --> 00:06:54,800
Speaker 1: were too hardened, we're too distrusting. Like that's a huge

134
00:06:54,920 --> 00:06:59,479
Speaker 1: thing because you're basically like somebody arrives on your doorstep

135
00:07:00,560 --> 00:07:04,919
Speaker 1: in any kind of costume already you're like am I

136
00:07:05,000 --> 00:07:08,320
Speaker 1: gonna just speak to them through the ring, like I

137
00:07:08,680 --> 00:07:11,240
Speaker 1: don't want to, Like, I don't want to face them

138
00:07:11,280 --> 00:07:14,280
Speaker 1: because what if they're a murderer because costume like a surprise,

139
00:07:14,360 --> 00:07:17,600
Speaker 1: costumes are weird, so that would never like that kind

140
00:07:17,600 --> 00:07:19,600
Speaker 1: of stuff would never happen. But I feel like in

141
00:07:19,640 --> 00:07:23,120
Speaker 1: your town because it's so you know, cute and stars

142
00:07:23,160 --> 00:07:27,440
Speaker 1: hollow ish, Yeah, you could do singing telegrams and stuff.

143
00:07:27,640 --> 00:07:29,840
Speaker 2: I might bring it back. I mean, it would definitely work.

144
00:07:29,920 --> 00:07:33,600
Speaker 2: Like my Another neighbor story recently is that my only

145
00:07:33,680 --> 00:07:36,720
Speaker 2: next door neighbor, I have one single neighborhood lives next

146
00:07:36,800 --> 00:07:42,160
Speaker 2: door and they are a retired couple. And the woman

147
00:07:42,280 --> 00:07:44,880
Speaker 2: called me one day and she called me on a

148
00:07:44,960 --> 00:07:49,280
Speaker 2: Saturday and was like, Hey, I'm at my grandson's basketball game.

149
00:07:49,320 --> 00:07:50,640
Speaker 2: Are you home? And I was like, oh, I'm just

150
00:07:50,640 --> 00:07:52,400
Speaker 2: finishing up lunch with my grandma, but I'll be home

151
00:07:52,400 --> 00:07:54,600
Speaker 2: in like twenty minutes. What's up. She's like, I was

152
00:07:54,640 --> 00:07:56,920
Speaker 2: making wantons and I think I left the boiler like

153
00:07:56,960 --> 00:07:59,560
Speaker 2: the pan on. Could you just like run in and

154
00:07:59,640 --> 00:08:02,000
Speaker 2: check it make sure that it's like unplugged And I

155
00:08:02,000 --> 00:08:03,600
Speaker 2: was like, yeah, no problem, is there a key? She's

156
00:08:03,640 --> 00:08:11,000
Speaker 2: like oh no, the door's open, Like what what dude?

157
00:08:11,040 --> 00:08:13,120
Speaker 2: It was? I just walked right into their fucking house

158
00:08:13,160 --> 00:08:15,280
Speaker 2: and it was totally unplugged. Like, yeah, I'll try to

159
00:08:15,280 --> 00:08:17,840
Speaker 2: make sure your house doesn't burn down, but like, if

160
00:08:17,880 --> 00:08:20,440
Speaker 2: I ever forget anything in my house, you cannot get

161
00:08:20,440 --> 00:08:24,040
Speaker 2: in without the cops coming because I have alarms everywhere.

162
00:08:25,000 --> 00:08:26,960
Speaker 1: I can't. I literally can't imagine that.

163
00:08:28,000 --> 00:08:29,520
Speaker 2: I know it was. It blew my mind. I'm like

164
00:08:29,520 --> 00:08:32,920
Speaker 2: small again. They've lived here for like fifty years. Small town.

165
00:08:33,240 --> 00:08:34,800
Speaker 2: And even when I bought the house, the woman I

166
00:08:34,800 --> 00:08:36,280
Speaker 2: bought the house froom was like, oh yeah, I only

167
00:08:36,280 --> 00:08:37,640
Speaker 2: have one key because I and I had to really

168
00:08:37,679 --> 00:08:40,199
Speaker 2: find it because I never locked the doors. And I'm like,

169
00:08:40,240 --> 00:08:42,520
Speaker 2: how are people living? Like I don't know, I'm bringing

170
00:08:42,559 --> 00:08:44,760
Speaker 2: a different energy. But for that reason, I think stripper

171
00:08:44,760 --> 00:08:47,920
Speaker 2: gram would be fine here. Any kind of telegram would

172
00:08:47,920 --> 00:08:51,920
Speaker 2: be fine here because people are happy to open a

173
00:08:51,960 --> 00:08:53,480
Speaker 2: door or leave a door open for you.

174
00:08:54,120 --> 00:08:57,720
Speaker 1: Well, and like, I gotta be honest, man, I would

175
00:08:57,800 --> 00:09:03,360
Speaker 1: love that. Like it's exhausting to be this vigilant, Like listen,

176
00:09:04,200 --> 00:09:06,439
Speaker 1: I'm I'm that type of person, and I'm I'm not.

177
00:09:07,200 --> 00:09:11,960
Speaker 1: This is probably less related to the violence of the

178
00:09:12,000 --> 00:09:14,480
Speaker 1: major American city that I live in, and it's more

179
00:09:14,520 --> 00:09:18,360
Speaker 1: about my own bullshit, like it's OCD paranoia shit.

180
00:09:18,720 --> 00:09:19,120
Speaker 2: But like.

181
00:09:21,360 --> 00:09:25,440
Speaker 1: I try to take all my groceries in and one

182
00:09:26,040 --> 00:09:30,720
Speaker 1: go absolutely because if I don't, then I'm locking the

183
00:09:30,840 --> 00:09:35,480
Speaker 1: car exactly and then bringing in Because I can't even

184
00:09:35,520 --> 00:09:39,160
Speaker 1: even that like five minute thing of like taking one

185
00:09:39,240 --> 00:09:42,560
Speaker 1: round of groceries inside the house. I don't trust people

186
00:09:42,640 --> 00:09:45,920
Speaker 1: in that five minutes to not break into my car

187
00:09:46,000 --> 00:09:50,439
Speaker 1: and steal it. Like that's how terrible like the situation

188
00:09:50,679 --> 00:09:53,840
Speaker 1: is in my brain. Absolutely.

189
00:09:54,000 --> 00:09:56,400
Speaker 2: Meanwhile, in my town, people are like, it's cold, I'm

190
00:09:56,400 --> 00:09:58,120
Speaker 2: gonna warm up the car, and they leave it running

191
00:09:58,120 --> 00:09:58,880
Speaker 2: with the keys in it.

192
00:10:00,120 --> 00:10:02,240
Speaker 1: Yes. What you know, as we've seen in so many

193
00:10:02,320 --> 00:10:05,480
Speaker 1: seventies movies, that is such a fucking one way ticket

194
00:10:05,559 --> 00:10:07,079
Speaker 1: for somebody to steal your car, is that I just

195
00:10:07,200 --> 00:10:09,040
Speaker 1: leave the keys in the car, Yes.

196
00:10:09,160 --> 00:10:11,240
Speaker 2: Or even at dunkin Donuts, I'll pull up the dunkin Donuts.

197
00:10:11,240 --> 00:10:13,560
Speaker 2: I can't tell you how many times a car next

198
00:10:13,559 --> 00:10:15,640
Speaker 2: to me is just running and the person is inside

199
00:10:16,320 --> 00:10:18,839
Speaker 2: getting coffee. I feel like I'm inviting people to come

200
00:10:18,840 --> 00:10:21,240
Speaker 2: here and start crime. Please, don't like don't come to

201
00:10:21,280 --> 00:10:23,880
Speaker 2: my small town and start doing crimes. It's just weird

202
00:10:23,920 --> 00:10:26,120
Speaker 2: to me that, Like, and this is also how I

203
00:10:26,120 --> 00:10:28,040
Speaker 2: grew up. We never locked our front door. I never

204
00:10:28,080 --> 00:10:30,120
Speaker 2: had a key to my house when I lived here. Yeah,

205
00:10:30,160 --> 00:10:33,200
Speaker 2: as a child, we never locked the doors here. Yeah,

206
00:10:33,240 --> 00:10:34,920
Speaker 2: so a lot of people just don't a lot of

207
00:10:34,920 --> 00:10:36,760
Speaker 2: people just don't. And I'm like, h, I lived in

208
00:10:36,800 --> 00:10:38,440
Speaker 2: too many cities. I've been out in this world for

209
00:10:38,480 --> 00:10:43,679
Speaker 2: too long. I'm not if I left a pan of wantons, Bryan,

210
00:10:43,760 --> 00:10:46,160
Speaker 2: my house might just have to go up because you

211
00:10:46,240 --> 00:10:47,800
Speaker 2: cannot get in well.

212
00:10:47,840 --> 00:10:51,000
Speaker 1: And the craziest thing is that theoretically it's like she

213
00:10:51,040 --> 00:10:54,560
Speaker 1: doesn't even know you. Like, yes, theoretically she doesn't even

214
00:10:54,600 --> 00:10:56,280
Speaker 1: know you. So the fact that she's just like, let

215
00:10:56,320 --> 00:10:58,360
Speaker 1: me just call up somebody I barely know and have

216
00:10:58,440 --> 00:11:01,480
Speaker 1: them walk into my open house, that's fucking trust dude.

217
00:11:01,520 --> 00:11:04,800
Speaker 1: Like that seems so chill and relaxing. I would and it's.

218
00:11:04,679 --> 00:11:06,800
Speaker 2: Only yeah, it's really chill, And it's only from like

219
00:11:06,880 --> 00:11:09,600
Speaker 2: driveway convert, Like we talk like she she knows me enough,

220
00:11:09,679 --> 00:11:11,160
Speaker 2: like and they know what I do, and like they

221
00:11:11,240 --> 00:11:13,200
Speaker 2: kind of like her, like, Hey, how's it going, how's

222
00:11:13,200 --> 00:11:15,880
Speaker 2: TV stuff, like we talk in the driveway all the time,

223
00:11:16,640 --> 00:11:19,240
Speaker 2: but you know, and I called them the a couple

224
00:11:19,280 --> 00:11:20,960
Speaker 2: of weeks ago. I called and I was like, hey,

225
00:11:21,720 --> 00:11:24,400
Speaker 2: they the town switched to our recycling program and they're

226
00:11:24,400 --> 00:11:26,600
Speaker 2: getting we have a new bucket from like a new

227
00:11:26,800 --> 00:11:29,480
Speaker 2: company that's picking up the recycling and they just haven't

228
00:11:29,520 --> 00:11:30,880
Speaker 2: picked up the old one for like a month and

229
00:11:30,920 --> 00:11:32,360
Speaker 2: a half. So I called them and I'm like, hey,

230
00:11:32,400 --> 00:11:36,720
Speaker 2: I finally just called you know, that old recycling place.

231
00:11:36,800 --> 00:11:38,200
Speaker 2: And they said they're coming to pick them up on

232
00:11:38,240 --> 00:11:41,200
Speaker 2: the twenty eighth, So put them out in the twenty

233
00:11:41,240 --> 00:11:43,320
Speaker 2: eighth and they're like cool, we're gonna be visiting grandkids.

234
00:11:43,960 --> 00:11:45,600
Speaker 2: And I'm like, oh, I just you know, just leave

235
00:11:45,640 --> 00:11:47,360
Speaker 2: your bucket out. I'll come get it and I'll put

236
00:11:47,400 --> 00:11:49,319
Speaker 2: it on the car. Like we're neighbors in that way.

237
00:11:49,559 --> 00:11:51,520
Speaker 2: But yeah, like she doesn't know me. I'd be thought

238
00:11:51,520 --> 00:11:53,000
Speaker 2: a party in there right now. They have a pool.

239
00:11:53,080 --> 00:11:55,400
Speaker 2: It's a sick house. See.

240
00:11:55,480 --> 00:11:58,120
Speaker 1: I wish I only have like like I have a

241
00:11:58,200 --> 00:12:02,840
Speaker 1: neighbor who it's kind of my like make sure I

242
00:12:02,840 --> 00:12:05,240
Speaker 1: don't get robbed neighbor. And I do the same for her,

243
00:12:05,280 --> 00:12:08,800
Speaker 1: even though she has been robbed. She just recently was robbed.

244
00:12:09,040 --> 00:12:12,600
Speaker 1: You fell the job I was, And it was that

245
00:12:12,679 --> 00:12:15,400
Speaker 1: crazy thing where she came over and she was like, yeah,

246
00:12:15,720 --> 00:12:17,600
Speaker 1: somebody broke into the house. They climbed through one of

247
00:12:17,600 --> 00:12:20,199
Speaker 1: the back windows. Did you hear anything. I'm like no,

248
00:12:20,360 --> 00:12:22,440
Speaker 1: And of course I didn't hear anything, you know, but

249
00:12:22,559 --> 00:12:23,040
Speaker 1: it was that thing.

250
00:12:23,040 --> 00:12:23,240
Speaker 2: I'm like.

251
00:12:23,320 --> 00:12:25,280
Speaker 1: I felt terrible for her because we've been doing this

252
00:12:25,360 --> 00:12:29,439
Speaker 1: for each other. But I was like, yo, like sometimes

253
00:12:29,480 --> 00:12:31,720
Speaker 1: people are slick, man, and they just and they do

254
00:12:31,840 --> 00:12:35,320
Speaker 1: it and no one knows anything. But I felt bad

255
00:12:35,360 --> 00:12:38,920
Speaker 1: because like now I was gone, you know, for like

256
00:12:38,960 --> 00:12:40,920
Speaker 1: a couple of weeks, you know, a few weeks ago.

257
00:12:41,040 --> 00:12:45,679
Speaker 1: And she was really sweet because Okay, here's here's the

258
00:12:45,720 --> 00:12:47,439
Speaker 1: thing that annoys the shit out at me about where

259
00:12:47,480 --> 00:12:50,040
Speaker 1: I live. So I think I'm like in this like one,

260
00:12:50,760 --> 00:12:52,800
Speaker 1: I'm in this like area of town where I'm not

261
00:12:53,080 --> 00:12:55,679
Speaker 1: I'm like in an unincorporated area. I think that's what

262
00:12:55,679 --> 00:12:59,480
Speaker 1: they call it, where you don't pay like the tax

263
00:12:59,520 --> 00:13:01,760
Speaker 1: for this that you'll live in. But then you also

264
00:13:02,160 --> 00:13:06,880
Speaker 1: don't get your mail sometimes right, right, And so every

265
00:13:06,960 --> 00:13:08,520
Speaker 1: time I go out of town, I put a hold

266
00:13:08,520 --> 00:13:12,600
Speaker 1: on my mail, right and every single time. They still

267
00:13:12,600 --> 00:13:15,880
Speaker 1: deliver it every fucking day, and it just piles and

268
00:13:15,920 --> 00:13:20,720
Speaker 1: piles into into the fucking mailbox and it's spilling out,

269
00:13:21,360 --> 00:13:23,199
Speaker 1: and it's just a message.

270
00:13:23,440 --> 00:13:26,160
Speaker 2: Here's here's the number one, like the number one way

271
00:13:26,200 --> 00:13:27,080
Speaker 2: people know I'm not here.

272
00:13:27,559 --> 00:13:32,320
Speaker 1: Yes, yes, it just telegraphs like, by the way, this

273
00:13:32,360 --> 00:13:35,680
Speaker 1: person hasn't been home for like three weeks, please come

274
00:13:35,800 --> 00:13:39,520
Speaker 1: rifle through my old lady things. But like, so the

275
00:13:39,559 --> 00:13:42,440
Speaker 1: problem is, and I try. I literally tried every single

276
00:13:42,480 --> 00:13:44,840
Speaker 1: way to have them hold it like I do it

277
00:13:44,880 --> 00:13:47,439
Speaker 1: through the USPS. I had them deliver it on the

278
00:13:47,520 --> 00:13:50,960
Speaker 1: last day that I was gonna be gone. That never happened.

279
00:13:51,000 --> 00:13:53,240
Speaker 1: I had them hold them at the post office for

280
00:13:53,280 --> 00:13:55,880
Speaker 1: me to come pick up. That never happened. So I

281
00:13:55,880 --> 00:13:58,880
Speaker 1: don't know why this post office or whatever. I don't

282
00:13:58,880 --> 00:14:01,480
Speaker 1: even know where my local post office is, to be honest.

283
00:14:02,200 --> 00:14:08,600
Speaker 1: So my kind neighbor has been literally checking my mail

284
00:14:08,600 --> 00:14:11,480
Speaker 1: every day and like hiding it, you know, because they

285
00:14:11,520 --> 00:14:14,040
Speaker 1: will not hold my mail even though I asked them to.

286
00:14:15,160 --> 00:14:19,200
Speaker 1: And it's just sad because I'm just like I would

287
00:14:19,360 --> 00:14:21,680
Speaker 1: love to like live in a place where I can

288
00:14:21,800 --> 00:14:23,480
Speaker 1: just I mean, I can leave for three weeks and

289
00:14:23,520 --> 00:14:25,560
Speaker 1: my door's just open. My neighbor's just like, yo, let

290
00:14:25,560 --> 00:14:28,200
Speaker 1: me put your mail in your house, check my check

291
00:14:28,240 --> 00:14:30,040
Speaker 1: your plants, do whatever you know.

292
00:14:30,320 --> 00:14:31,960
Speaker 2: Apps. I have a cat sitter when I leave, like

293
00:14:32,000 --> 00:14:34,960
Speaker 2: a cat sitter slash house sitter who comes and stays.

294
00:14:35,320 --> 00:14:37,240
Speaker 2: But it's so it is really nice to just be

295
00:14:37,360 --> 00:14:41,240
Speaker 2: like and I actually I found my cat sitter through

296
00:14:41,240 --> 00:14:43,000
Speaker 2: a friend of mine who lives up the street, who

297
00:14:43,040 --> 00:14:46,240
Speaker 2: I went to high school with, and she has two dogs.

298
00:14:46,280 --> 00:14:48,000
Speaker 2: And so the first time I was leaving, I'm like, hey,

299
00:14:48,040 --> 00:14:49,440
Speaker 2: I'm leaving. I don't know what to do. I can't

300
00:14:49,440 --> 00:14:51,520
Speaker 2: count on my fucking family. And she gave me this

301
00:14:51,560 --> 00:14:53,720
Speaker 2: person's name, but she only gave me her first name.

302
00:14:54,320 --> 00:14:56,520
Speaker 2: So this time, this last time I took a vacation

303
00:14:56,600 --> 00:15:00,600
Speaker 2: and I left, I was like, just like just curious,

304
00:15:00,800 --> 00:15:03,560
Speaker 2: what's our pet sitter's last name, like just in case

305
00:15:03,560 --> 00:15:05,760
Speaker 2: I have to call in a crime or something. And

306
00:15:05,800 --> 00:15:08,120
Speaker 2: she was like, oh, and then she told me the

307
00:15:08,400 --> 00:15:10,320
Speaker 2: last name. And she's like I never even thought about that,

308
00:15:10,320 --> 00:15:12,400
Speaker 2: And I'm like, yeah, this person is like living at

309
00:15:12,400 --> 00:15:14,160
Speaker 2: my house and I don't even know their last name.

310
00:15:16,560 --> 00:15:20,680
Speaker 2: So I fixed that, but yeah, and she's really sweet.

311
00:15:20,760 --> 00:15:23,400
Speaker 2: She's like just so sweet and she likes animals more

312
00:15:23,400 --> 00:15:25,040
Speaker 2: than people and that's exactly who you want to stay

313
00:15:25,080 --> 00:15:27,720
Speaker 2: at your house. And I went away for a couple

314
00:15:27,760 --> 00:15:30,040
Speaker 2: of couple of days once and she and you know,

315
00:15:30,240 --> 00:15:32,320
Speaker 2: I always pay her more than she asked for because

316
00:15:32,360 --> 00:15:35,160
Speaker 2: she's like five dollars and I'm like absolutely not, like

317
00:15:35,200 --> 00:15:38,640
Speaker 2: I'm paying you city pet sitting prices. But last time

318
00:15:38,640 --> 00:15:40,720
Speaker 2: she was like, can instead of you paying me, can

319
00:15:40,760 --> 00:15:42,960
Speaker 2: I just have a copy of your book? And I

320
00:15:43,040 --> 00:15:44,720
Speaker 2: was like, you are too sweet. I will do both,

321
00:15:45,480 --> 00:15:47,680
Speaker 2: Like you're gonna have a copy of my signed copy

322
00:15:47,720 --> 00:15:50,480
Speaker 2: of my book and I will pay you. But she's

323
00:15:50,560 --> 00:15:53,800
Speaker 2: she's very very sweet and awesome and like we we talk,

324
00:15:53,880 --> 00:15:56,240
Speaker 2: but it's just again small town first name basis, like

325
00:15:56,240 --> 00:15:58,480
Speaker 2: that's all that matters. And it's not like I'm being

326
00:15:58,480 --> 00:16:00,000
Speaker 2: like I don't need to know the help's last name.

327
00:16:00,120 --> 00:16:01,440
Speaker 2: It was just kind of like, oh, like we just

328
00:16:01,520 --> 00:16:04,240
Speaker 2: kind of are chill and it's fine, and I kind

329
00:16:04,240 --> 00:16:06,000
Speaker 2: of like it. I kind of like it. I'm still

330
00:16:06,080 --> 00:16:08,400
Speaker 2: locking all my fucking doors and windows, but I do

331
00:16:08,480 --> 00:16:11,960
Speaker 2: kind of like having that vibe and it's nice to

332
00:16:12,000 --> 00:16:13,160
Speaker 2: be able, like every time I go out and check

333
00:16:13,160 --> 00:16:15,480
Speaker 2: the mail, or I go out and sometimes I have

334
00:16:15,480 --> 00:16:18,920
Speaker 2: to go look for like there's been very windy lately,

335
00:16:18,960 --> 00:16:21,120
Speaker 2: so I have to go look for like signs and

336
00:16:21,120 --> 00:16:22,480
Speaker 2: shit that I put up in my yard. I have

337
00:16:22,520 --> 00:16:25,280
Speaker 2: to go like scouring my property for them. And I

338
00:16:25,320 --> 00:16:28,760
Speaker 2: always see someone that's like just going for a walk,

339
00:16:29,400 --> 00:16:32,360
Speaker 2: and it is awesome. Just on one lady has like

340
00:16:32,360 --> 00:16:36,840
Speaker 2: a brigade of pugs. She's really sweet, but I like it.

341
00:16:36,880 --> 00:16:40,640
Speaker 2: And I also I when I was out with my

342
00:16:40,680 --> 00:16:44,680
Speaker 2: friends on this last vacation, they were asking me like, oh,

343
00:16:44,680 --> 00:16:46,240
Speaker 2: how big is your town? And I'm like, I don't know.

344
00:16:46,280 --> 00:16:47,680
Speaker 2: It's bigger than it was when I lived there. I

345
00:16:47,680 --> 00:16:51,040
Speaker 2: guess it's like three hundred thousand people. And one of

346
00:16:51,080 --> 00:16:52,800
Speaker 2: my friends, one of the friends I was with, immediately

347
00:16:52,840 --> 00:16:54,400
Speaker 2: looked it up and he's like, dude, your town is

348
00:16:54,440 --> 00:16:58,040
Speaker 2: like seven thousand people. It was like, it feels like

349
00:16:58,080 --> 00:17:02,480
Speaker 2: three hundred thousand people live me. Yeah, it is a

350
00:17:02,520 --> 00:17:07,480
Speaker 2: small fucking town, like seven thousand people. And it's very

351
00:17:07,600 --> 00:17:11,000
Speaker 2: very small so and it's spread out, but it's also

352
00:17:11,240 --> 00:17:13,280
Speaker 2: small enough that I'm having lunch with the mayor.

353
00:17:15,800 --> 00:17:16,040
Speaker 1: Wow.

354
00:17:16,040 --> 00:17:18,359
Speaker 2: That was the other small town update I was going

355
00:17:18,440 --> 00:17:20,800
Speaker 2: to give you is that. I went out for lunch

356
00:17:21,160 --> 00:17:23,639
Speaker 2: with again my friend Sarah, who lives up the street,

357
00:17:24,440 --> 00:17:26,919
Speaker 2: and we went into town and had lunch at the

358
00:17:26,960 --> 00:17:30,720
Speaker 2: cafe owned by another person I went to high school with, Wow,

359
00:17:30,760 --> 00:17:33,320
Speaker 2: And after we were done, we went across the street

360
00:17:33,400 --> 00:17:39,320
Speaker 2: to the gift shop that the mayor owns and he

361
00:17:39,440 --> 00:17:42,600
Speaker 2: still works there a couple of days a week, and

362
00:17:42,640 --> 00:17:44,879
Speaker 2: he was there and Sarah used to work there in

363
00:17:44,960 --> 00:17:47,359
Speaker 2: high school, all of my friends did while I was

364
00:17:47,400 --> 00:17:51,800
Speaker 2: working at the convent, and so she was like, Hey,

365
00:17:51,840 --> 00:17:53,480
Speaker 2: how's it going. I haven't seen it in a long time.

366
00:17:53,760 --> 00:17:55,679
Speaker 2: And we were just chatting and then I was like,

367
00:17:55,720 --> 00:17:57,840
Speaker 2: why don't we all just get together for lunch one day?

368
00:17:57,840 --> 00:17:59,720
Speaker 2: Like I always see you kind of around, but we

369
00:17:59,800 --> 00:18:01,399
Speaker 2: never really sit down. He's like, yeah, I want to

370
00:18:01,400 --> 00:18:03,760
Speaker 2: like know what you're up to. And we were talking.

371
00:18:03,800 --> 00:18:05,320
Speaker 2: I was I was like, yeah, like this town needs

372
00:18:05,320 --> 00:18:07,680
Speaker 2: a bookstore and a movie theater and maybe I'll open one.

373
00:18:07,800 --> 00:18:09,960
Speaker 2: And he's like, oh, let's sit down and talk it out.

374
00:18:10,080 --> 00:18:12,440
Speaker 2: And so we're going out for lunch with the mayor.

375
00:18:14,080 --> 00:18:17,720
Speaker 1: Amazing. I would love to know my mayor. I would

376
00:18:17,720 --> 00:18:19,600
Speaker 1: love to know where my post office is. There's a

377
00:18:19,600 --> 00:18:22,560
Speaker 1: lot of things I'll get to do that you get

378
00:18:22,560 --> 00:18:22,760
Speaker 1: to do.

379
00:18:23,400 --> 00:18:25,600
Speaker 2: Like I would like to know why I live in

380
00:18:25,600 --> 00:18:30,439
Speaker 2: an unincorporated part of the city when I'm in the city, Well, and.

381
00:18:30,640 --> 00:18:33,320
Speaker 1: That's that's yeah. I mean, I obviously didn't know that

382
00:18:33,480 --> 00:18:37,920
Speaker 1: until I rented the house that I'm run right, because

383
00:18:37,920 --> 00:18:41,000
Speaker 1: that obviously doesn't really mean a ton to renters in

384
00:18:41,040 --> 00:18:43,840
Speaker 1: that exit way. I mean it does sort of because

385
00:18:43,840 --> 00:18:46,879
Speaker 1: then you realize, oh, wait, like an ambulance doesn't actually

386
00:18:46,880 --> 00:18:48,680
Speaker 1: come to your house if you're having art attack.

387
00:18:51,240 --> 00:18:54,800
Speaker 2: What my private ambulance is. It's like Robert's ambulance. And

388
00:18:54,840 --> 00:18:57,199
Speaker 2: you're like, Okay, Robert, I guess I gotta trust you

389
00:18:57,240 --> 00:18:58,680
Speaker 2: on this one. Yeah.

390
00:18:58,800 --> 00:19:01,200
Speaker 1: Meanwhile, if you if I just went like two miles

391
00:19:01,440 --> 00:19:03,800
Speaker 1: into like the city of Decatur, I get to go

392
00:19:03,880 --> 00:19:07,239
Speaker 1: to a pool for free whenever I want. And I'm like,

393
00:19:07,280 --> 00:19:10,280
Speaker 1: what the fuck am I doing here? Why did I

394
00:19:10,400 --> 00:19:14,040
Speaker 1: just not rent a house two miles away and get

395
00:19:14,080 --> 00:19:18,959
Speaker 1: all thes of a city? But yeah, I don't know.

396
00:19:19,000 --> 00:19:21,600
Speaker 1: I mean, honestly, like, I feel like that is just

397
00:19:22,119 --> 00:19:26,320
Speaker 1: such a cute little arrangement that you have there. I'm

398
00:19:26,400 --> 00:19:30,720
Speaker 1: telling you, dude, I am As I get older, does

399
00:19:30,760 --> 00:19:35,320
Speaker 1: anybody want to work this hard to be to be living.

400
00:19:35,480 --> 00:19:38,760
Speaker 1: I just want to I want to screen door, a

401
00:19:38,880 --> 00:19:42,439
Speaker 1: rickety wooden screen door that just like slaps back and

402
00:19:42,480 --> 00:19:45,119
Speaker 1: forth when people come in and out of it. You know,

403
00:19:45,600 --> 00:19:49,120
Speaker 1: like if they need ingredients for things because the.

404
00:19:49,040 --> 00:19:54,720
Speaker 2: Windows open, you can have that here. Yeah, I'm gonna

405
00:19:54,720 --> 00:19:56,480
Speaker 2: get you to move here. One day, You're gonna move here,

406
00:19:56,480 --> 00:19:57,880
Speaker 2: and we're gonna start open a movie theater.

407
00:19:58,400 --> 00:20:02,399
Speaker 1: I mean, here's the thing about moving there. That's snow.

408
00:20:02,880 --> 00:20:03,560
Speaker 2: I am.

409
00:20:03,680 --> 00:20:07,119
Speaker 1: I think I am post snow. I am a post

410
00:20:07,160 --> 00:20:08,359
Speaker 1: snow person.

411
00:20:08,720 --> 00:20:11,560
Speaker 2: But here's the thing. If you live here, especially if

412
00:20:11,560 --> 00:20:14,320
Speaker 2: you work remote, you don't have to deal with the snow.

413
00:20:14,760 --> 00:20:17,400
Speaker 2: Somebody will plow your snow for you and your driveway

414
00:20:19,000 --> 00:20:21,200
Speaker 2: and you can get little heated pads for your walkway

415
00:20:21,880 --> 00:20:23,440
Speaker 2: and then you just stay inside for a day or

416
00:20:23,480 --> 00:20:24,879
Speaker 2: so until it melts and you're fine.

417
00:20:25,600 --> 00:20:31,200
Speaker 1: Oh man, but being cold is I'm getting to be

418
00:20:31,400 --> 00:20:35,520
Speaker 1: that person where I hate being cold. Like so, when

419
00:20:35,520 --> 00:20:37,320
Speaker 1: I was in Europe like a few weeks ago, like

420
00:20:37,359 --> 00:20:40,600
Speaker 1: it was fucking I mean, listen, I know that you

421
00:20:40,720 --> 00:20:44,240
Speaker 1: get good deals to Europe when it's cold. I'm a dummy.

422
00:20:44,560 --> 00:20:47,679
Speaker 1: I knew that, but I was also like, damn, it

423
00:20:47,800 --> 00:20:50,800
Speaker 1: is fucking thirty degrees today, and I am like, and

424
00:20:50,880 --> 00:20:54,600
Speaker 1: everybody is running around and like giant you know, parkas

425
00:20:54,640 --> 00:20:57,920
Speaker 1: with the fur collars and shit. And I was like

426
00:20:58,160 --> 00:21:00,919
Speaker 1: it was charming for about like three days. Like the

427
00:21:00,920 --> 00:21:02,680
Speaker 1: first couple of days, I was like, oh, look how

428
00:21:02,720 --> 00:21:05,400
Speaker 1: cozy it is here. It's like so cozy, and like

429
00:21:05,680 --> 00:21:10,000
Speaker 1: everybody's got like mits and teas and you know, boots.

430
00:21:10,040 --> 00:21:12,080
Speaker 1: And then by the like fourth day, I was like,

431
00:21:12,080 --> 00:21:15,040
Speaker 1: all right, I'm done. It is own past, it is

432
00:21:15,080 --> 00:21:22,560
Speaker 1: third Grace. I'm fucking depressed, I'm freezing. I want to

433
00:21:22,600 --> 00:21:23,359
Speaker 1: go to Jamaica.

434
00:21:23,960 --> 00:21:26,399
Speaker 2: Yeah. I think the grayness is what gets you, like

435
00:21:26,440 --> 00:21:30,000
Speaker 2: the gray, the stretch of gray. So like taking going

436
00:21:30,000 --> 00:21:33,480
Speaker 2: to Jamaica for a weekend was the fucking move for sure,

437
00:21:34,240 --> 00:21:37,320
Speaker 2: Just like three days of sunshine was all I needed

438
00:21:37,359 --> 00:21:39,000
Speaker 2: to get me through the rest of this fucking winter.

439
00:21:39,760 --> 00:21:42,760
Speaker 2: But you kind of just adjust, and also again like

440
00:21:42,800 --> 00:21:45,240
Speaker 2: it's you don't have to be here in the snow.

441
00:21:45,480 --> 00:21:47,680
Speaker 2: You can have a kind of house situation where you're like, yeah,

442
00:21:47,680 --> 00:21:49,639
Speaker 2: I got this whole house. Danielle lives down the street,

443
00:21:49,680 --> 00:21:52,240
Speaker 2: She'll come check my shit and I'm gonna go lift

444
00:21:52,280 --> 00:21:54,360
Speaker 2: somewhere else for the fucking winter. Yeah.

445
00:21:54,400 --> 00:21:57,600
Speaker 1: Oh, clearly you can find anybody to do anything for you.

446
00:21:57,640 --> 00:22:00,639
Speaker 1: There no questions asked that.

447
00:22:03,119 --> 00:22:08,359
Speaker 2: I went out. I went out and I pruned some

448
00:22:08,520 --> 00:22:11,760
Speaker 2: of the trees that, like, I guess they're technically part

449
00:22:11,800 --> 00:22:14,560
Speaker 2: of the county or the town. Yeah, but they just

450
00:22:14,600 --> 00:22:16,399
Speaker 2: weren't doing it. So I just pruned some trees. And

451
00:22:16,440 --> 00:22:19,439
Speaker 2: the neighbors, like, there were some neighbors walking their dogs

452
00:22:19,800 --> 00:22:22,200
Speaker 2: and they were like, oh, thanks so much, like it's

453
00:22:22,240 --> 00:22:23,760
Speaker 2: it looks so much better. And I was like, yeah,

454
00:22:23,760 --> 00:22:25,240
Speaker 2: I just kind of, you know, it's kind of on

455
00:22:25,320 --> 00:22:27,199
Speaker 2: my property, but kind of not. I just don't want

456
00:22:27,200 --> 00:22:28,639
Speaker 2: to wait for them, Like, are you just kind of like,

457
00:22:28,680 --> 00:22:31,439
Speaker 2: you know, it's a small town, man, you just make do.

458
00:22:32,359 --> 00:22:34,879
Speaker 2: It's real easy. Every time I drive into town, I

459
00:22:34,880 --> 00:22:37,520
Speaker 2: know I'm going to get a parking space. I don't

460
00:22:37,520 --> 00:22:38,800
Speaker 2: have to worry about parking anywhere.

461
00:22:39,320 --> 00:22:40,159
Speaker 1: Yeah.

462
00:22:40,440 --> 00:22:43,600
Speaker 2: It's fucking nice. Yeah it's And it's what's weird about it,

463
00:22:43,600 --> 00:22:44,920
Speaker 2: And the reason I wanted to give you these these

464
00:22:44,920 --> 00:22:47,959
Speaker 2: small town updates is that I feel like, even though

465
00:22:47,960 --> 00:22:53,480
Speaker 2: I'm very much still locking everything, I'm kind of chilling

466
00:22:53,520 --> 00:22:57,520
Speaker 2: out and getting re accustomed to what this town is about.

467
00:22:57,520 --> 00:22:59,080
Speaker 2: And that's like a goal of mine this year is

468
00:22:59,119 --> 00:23:01,439
Speaker 2: like to make friends here, and like, you know, I

469
00:23:01,440 --> 00:23:04,040
Speaker 2: started volunteering at the library and like just kind of

470
00:23:04,119 --> 00:23:08,000
Speaker 2: like cute, yeah, like just you know, just trying to

471
00:23:08,040 --> 00:23:10,840
Speaker 2: get into the vibe here because it is kind of

472
00:23:10,880 --> 00:23:14,359
Speaker 2: a nice vibe and it's the reason people move here, yeah,

473
00:23:14,440 --> 00:23:14,679
Speaker 2: I know.

474
00:23:14,800 --> 00:23:16,560
Speaker 1: And like that's the thing is that you're very lucky.

475
00:23:16,680 --> 00:23:20,560
Speaker 1: You're you have the incredible situation with your house, and

476
00:23:21,240 --> 00:23:24,800
Speaker 1: I love like the life that you've made for yourself,

477
00:23:24,840 --> 00:23:26,720
Speaker 1: and you should enjoy it, you know. And I'm gonna

478
00:23:26,720 --> 00:23:30,600
Speaker 1: come visit obviously. I think actually I will be visiting

479
00:23:30,720 --> 00:23:31,240
Speaker 1: very soon.

480
00:23:31,520 --> 00:23:33,439
Speaker 2: Oh yeah, we have got plans.

481
00:23:33,840 --> 00:23:38,959
Speaker 1: We do have plans. And like I'm excited because I

482
00:23:38,960 --> 00:23:40,840
Speaker 1: have never been to that part of the world before.

483
00:23:40,920 --> 00:23:42,399
Speaker 1: Like I told you that. I think I said that,

484
00:23:42,440 --> 00:23:44,320
Speaker 1: like in an episode once. I've never been higher than

485
00:23:44,320 --> 00:23:48,960
Speaker 1: like New York City, right, So apparently there's like all

486
00:23:49,000 --> 00:23:50,439
Speaker 1: these other states up there.

487
00:23:50,520 --> 00:23:52,600
Speaker 2: So I'm like five other states here.

488
00:23:53,040 --> 00:23:55,880
Speaker 1: Yeah, And I'm gonna make you drive me to like

489
00:23:56,200 --> 00:23:58,600
Speaker 1: Vermont and New Hampshire. I'm gonna make you drive me

490
00:23:58,680 --> 00:24:00,080
Speaker 1: to where they make Ben and Jerry.

491
00:24:00,200 --> 00:24:02,720
Speaker 2: Can you do yes, I can. I could drive you

492
00:24:02,760 --> 00:24:04,720
Speaker 2: to Montreal. I could drive that.

493
00:24:05,320 --> 00:24:07,960
Speaker 1: Yeah, let's go to Montreal. What are we thinking?

494
00:24:08,080 --> 00:24:10,640
Speaker 2: Oh my god, it's the best city. It's that's where

495
00:24:10,680 --> 00:24:13,440
Speaker 2: I was actually looking to buy something before I bought

496
00:24:13,440 --> 00:24:15,960
Speaker 2: this house. I was like, maybe i'll live in It's

497
00:24:15,960 --> 00:24:18,120
Speaker 2: like one of my favorite cities. And it's not too

498
00:24:18,119 --> 00:24:19,639
Speaker 2: far from New York. It's like an hour and a

499
00:24:19,680 --> 00:24:22,600
Speaker 2: half by plane. And then I was like, when you

500
00:24:22,600 --> 00:24:24,240
Speaker 2: got a grandma went to Minsha, you can't even live

501
00:24:24,240 --> 00:24:27,880
Speaker 2: that far away. So but I was literally looking at

502
00:24:27,880 --> 00:24:29,800
Speaker 2: Montreal and I think we gotta go.

503
00:24:30,640 --> 00:24:32,680
Speaker 1: We're gonna fold it all in, put it on the

504
00:24:32,800 --> 00:24:33,840
Speaker 1: uber list, let's.

505
00:24:33,840 --> 00:24:36,640
Speaker 2: Put it on the fucking it's put it on the calendar.

506
00:24:36,680 --> 00:24:38,840
Speaker 2: But you're moving here eventually, even if you do a

507
00:24:38,880 --> 00:24:41,800
Speaker 2: Halsy Hasie. We're going to open a movie theater. You're

508
00:24:41,800 --> 00:24:44,480
Speaker 2: gonna program all the films. It's gonna be great. There

509
00:24:44,520 --> 00:24:47,240
Speaker 2: is a drive in movie theater here, but it's not enough.

510
00:24:47,240 --> 00:24:50,920
Speaker 2: We need an actual brick and mortar revival house movie theater.

511
00:24:51,560 --> 00:24:54,320
Speaker 1: Well that's my whole life is sorted now, so I

512
00:24:54,320 --> 00:24:56,520
Speaker 1: don't have to even think about how to live for

513
00:24:56,560 --> 00:25:00,560
Speaker 1: the next exactly thirty thirty years, so you can and half.

514
00:25:00,359 --> 00:25:02,480
Speaker 2: The year in Jamaica and then spend half the year.

515
00:25:04,800 --> 00:25:05,560
Speaker 1: Sounds like a plan.

516
00:25:11,320 --> 00:25:12,679
Speaker 2: We want to get into this theme.

517
00:25:13,359 --> 00:25:16,840
Speaker 1: I sure do, because this is all you, and the

518
00:25:16,960 --> 00:25:19,800
Speaker 1: name of it is all you, and I laugh every

519
00:25:19,840 --> 00:25:20,800
Speaker 1: time you say it.

520
00:25:21,080 --> 00:25:24,480
Speaker 2: So, so this this week's theme is I need a

521
00:25:24,520 --> 00:25:30,360
Speaker 2: backy out of me. And I came up with that

522
00:25:30,440 --> 00:25:33,840
Speaker 2: because I was kind of like thinking about, what are

523
00:25:33,880 --> 00:25:36,920
Speaker 2: some movies that are really good to watch when you're

524
00:25:36,960 --> 00:25:40,320
Speaker 2: like couch bound for any reason, whether you have a

525
00:25:40,359 --> 00:25:43,919
Speaker 2: cold or an some ache or some body aches, or

526
00:25:44,280 --> 00:25:46,880
Speaker 2: you know, just thinking about you taping up your knee,

527
00:25:47,200 --> 00:25:49,560
Speaker 2: and I'm like, what are some good like ice bag

528
00:25:49,560 --> 00:25:51,560
Speaker 2: in those knees? And I'm like, what's a good movie

529
00:25:51,560 --> 00:25:53,280
Speaker 2: to watch when you just don't want to move for

530
00:25:53,320 --> 00:25:55,639
Speaker 2: a while and you don't want to get wrapped up

531
00:25:55,640 --> 00:25:58,119
Speaker 2: in like a fucking binging a TV series. You just

532
00:25:58,119 --> 00:26:02,600
Speaker 2: want to sit or lay down the couch and feel better.

533
00:26:03,119 --> 00:26:06,480
Speaker 1: Yeah. I think that we kind of briefly talked about

534
00:26:06,520 --> 00:26:09,359
Speaker 1: this on an old episode that we did with Alison

535
00:26:09,400 --> 00:26:12,040
Speaker 1: Anders because I feel like her, I feel like the

536
00:26:12,119 --> 00:26:14,240
Speaker 1: viewer letter that she answered had something to do with

537
00:26:14,280 --> 00:26:15,720
Speaker 1: sick day movies or something.

538
00:26:16,119 --> 00:26:17,800
Speaker 2: And a lot of people ask us about that, like

539
00:26:17,840 --> 00:26:18,560
Speaker 2: sick duties.

540
00:26:19,119 --> 00:26:22,080
Speaker 1: Well, and I think too, it's like a very specific

541
00:26:22,119 --> 00:26:27,440
Speaker 1: set of conditions to watch movies because you know, altered

542
00:26:27,480 --> 00:26:30,479
Speaker 1: states of consciousness, be it like you're sick or you

543
00:26:30,520 --> 00:26:33,679
Speaker 1: have a hangover, or you have a bad knee or whatever.

544
00:26:33,760 --> 00:26:36,480
Speaker 1: But then also you have the time and you kind

545
00:26:36,480 --> 00:26:39,520
Speaker 1: of like have nothing else going on, which I think

546
00:26:39,800 --> 00:26:42,080
Speaker 1: when she answered it, she kind of leaned towards like

547
00:26:42,160 --> 00:26:44,720
Speaker 1: epics and Westerns and stuff, which is kind of how

548
00:26:44,760 --> 00:26:46,800
Speaker 1: I feel too. I mean, I feel like, if you're

549
00:26:46,800 --> 00:26:49,600
Speaker 1: gonna sit there for a while and have like nothing

550
00:26:49,600 --> 00:26:51,760
Speaker 1: else to do, why not watch something that's like very

551
00:26:51,800 --> 00:26:52,840
Speaker 1: indulgent and.

552
00:26:52,960 --> 00:26:56,800
Speaker 2: Exactly you know. Yeah, But in the same band, I

553
00:26:56,840 --> 00:26:59,160
Speaker 2: think there are movies that are like that, that are

554
00:26:59,160 --> 00:27:01,560
Speaker 2: not like part of a sea. Like these movies feel

555
00:27:01,600 --> 00:27:06,200
Speaker 2: kind of big in that they're longer, usually takes more

556
00:27:06,240 --> 00:27:08,800
Speaker 2: time to watch them, you kind of have to, but

557
00:27:08,840 --> 00:27:10,359
Speaker 2: they're also I don't know, I kind of think like

558
00:27:10,400 --> 00:27:13,480
Speaker 2: a good sick day couch movie for me is one

559
00:27:13,520 --> 00:27:17,960
Speaker 2: where you're just instantly engrossed in the story and you

560
00:27:18,040 --> 00:27:20,240
Speaker 2: just kind of can't wait to see what's gonna happen next.

561
00:27:20,280 --> 00:27:22,560
Speaker 2: But also it's one of those movies where like if

562
00:27:22,600 --> 00:27:24,480
Speaker 2: you fall asleep for twenty minutes, it's fine.

563
00:27:25,040 --> 00:27:29,199
Speaker 1: Yes, oh exactly, like it's fine. Would you say that?

564
00:27:29,280 --> 00:27:31,720
Speaker 1: Because I look, I'm gonna admit something to you. I've

565
00:27:31,720 --> 00:27:32,879
Speaker 1: never seen your movie.

566
00:27:33,359 --> 00:27:36,199
Speaker 2: Oh this was your first time seeing my movie?

567
00:27:36,520 --> 00:27:39,919
Speaker 1: Oh yeah, and like what yeah, I know, I know.

568
00:27:40,440 --> 00:27:43,560
Speaker 1: I almost didn't admit that because I was like, that's

569
00:27:43,560 --> 00:27:47,480
Speaker 1: shameful because that's Steven Spielberg classic. It seems like a

570
00:27:47,520 --> 00:27:50,640
Speaker 1: lot of people our age love Steven Spielberg. Wouldn't you say?

571
00:27:51,200 --> 00:27:53,400
Speaker 2: I am so glad you admitted it, though, because I mean,

572
00:27:53,400 --> 00:27:55,520
Speaker 2: to be fair, it came out in the seventies, so

573
00:27:56,160 --> 00:27:58,560
Speaker 2: I thought you would have seen it because that's like the.

574
00:27:58,560 --> 00:28:02,359
Speaker 1: Million Yes, definitely on par for my interest for sure.

575
00:28:02,480 --> 00:28:06,119
Speaker 1: But for some reason I got to admit, like I

576
00:28:06,160 --> 00:28:08,879
Speaker 1: have a couple of gaps like that, especially when it

577
00:28:08,920 --> 00:28:13,000
Speaker 1: comes to these kind of huge directors like Spielberg and

578
00:28:13,160 --> 00:28:15,760
Speaker 1: I just you know, like obviously with James Cameron, you know,

579
00:28:15,800 --> 00:28:18,119
Speaker 1: I haven't seen Titanic. Don't get on my case, but

580
00:28:18,160 --> 00:28:20,520
Speaker 1: you know, it's like, for some reason, there's like this

581
00:28:20,720 --> 00:28:26,320
Speaker 1: moment where I think, maybe that director is so famous

582
00:28:26,320 --> 00:28:28,160
Speaker 1: people will see that movie. I don't need to see it,

583
00:28:28,280 --> 00:28:31,879
Speaker 1: like he'll they'll make enough money, He'll he'll be successful

584
00:28:32,080 --> 00:28:36,000
Speaker 1: enough without my ticket, right, But then it means that

585
00:28:36,080 --> 00:28:39,040
Speaker 1: sometimes I lose, you.

586
00:28:39,000 --> 00:28:39,320
Speaker 2: Know, the.

587
00:28:40,960 --> 00:28:43,520
Speaker 1: Idea that these are movies that people connected to when

588
00:28:43,520 --> 00:28:46,320
Speaker 1: they were kids. I know that's huge, like a Spielberg

589
00:28:46,400 --> 00:28:49,280
Speaker 1: movie is huge for people. And so I was wondering

590
00:28:49,320 --> 00:28:52,720
Speaker 1: if maybe like your movie was like a comfort film

591
00:28:52,760 --> 00:28:53,480
Speaker 1: for you or something.

592
00:28:53,480 --> 00:28:55,960
Speaker 2: Did you watch it as a kid or absolutely, well,

593
00:28:55,960 --> 00:28:59,240
Speaker 2: my movie this week is one of my grandmother and

594
00:28:59,320 --> 00:29:03,360
Speaker 2: my mom's face movies. So it was constantly on whenever

595
00:29:03,600 --> 00:29:04,920
Speaker 2: they like. It was like one of the first things

596
00:29:04,920 --> 00:29:07,120
Speaker 2: they bought on VHS when we got a VCR, like

597
00:29:07,160 --> 00:29:09,400
Speaker 2: it's one of those kind of movies, and they just

598
00:29:09,560 --> 00:29:12,360
Speaker 2: always loved it. And so there's parts of the movie

599
00:29:12,360 --> 00:29:15,080
Speaker 2: that are just like burned into my brain. It came

600
00:29:15,080 --> 00:29:16,800
Speaker 2: out the year I was born, but I've seen it

601
00:29:17,400 --> 00:29:21,920
Speaker 2: so often and it really holds up. Like I'll talk

602
00:29:21,920 --> 00:29:24,160
Speaker 2: about that when we get to the film. But there's

603
00:29:24,280 --> 00:29:27,400
Speaker 2: just something about it that because it was early Spielberg.

604
00:29:27,480 --> 00:29:31,680
Speaker 2: It feels like it has that kind of it still

605
00:29:31,680 --> 00:29:34,840
Speaker 2: has a little bit of a kind of a dangerous

606
00:29:34,880 --> 00:29:37,120
Speaker 2: mysteriousness to it, because you weren't quite sure where he

607
00:29:37,240 --> 00:29:40,360
Speaker 2: was gonna go, and you weren't like super wrapped up

608
00:29:40,360 --> 00:29:42,640
Speaker 2: and like, oh, this is how he makes movies. So

609
00:29:42,880 --> 00:29:45,880
Speaker 2: there's just something about it that is really just hits

610
00:29:45,920 --> 00:29:48,000
Speaker 2: all the buttons for me. I don't know, and it's

611
00:29:48,120 --> 00:29:50,360
Speaker 2: it's sci fi enough, but there's also a lot of

612
00:29:50,400 --> 00:29:54,120
Speaker 2: a human narrative to it. And this is again a

613
00:29:54,160 --> 00:29:58,320
Speaker 2: movie that it happens in the weirdest ways, Like I'm

614
00:29:58,320 --> 00:30:01,360
Speaker 2: never crying in a merchant Ivory mo. I always cry

615
00:30:01,360 --> 00:30:03,040
Speaker 2: at the end of this movie. Like there are some

616
00:30:03,080 --> 00:30:05,400
Speaker 2: sci fi movies that just send me over the fucking

617
00:30:05,560 --> 00:30:08,320
Speaker 2: edge and it's like I can't handle thinking about the

618
00:30:08,360 --> 00:30:10,880
Speaker 2: expansiveness of the universe or I don't know what it is,

619
00:30:10,920 --> 00:30:13,120
Speaker 2: but I cry like a fucking baby every time I

620
00:30:13,120 --> 00:30:13,800
Speaker 2: watched this.

621
00:30:14,160 --> 00:30:16,040
Speaker 1: Yeah No. And that's the funny thing too, is that

622
00:30:16,080 --> 00:30:18,920
Speaker 1: after I saw your movie, I immediately told myself, I

623
00:30:18,920 --> 00:30:22,000
Speaker 1: think I fucked up the mission of this theme because

624
00:30:22,120 --> 00:30:26,000
Speaker 1: Danielle went for like a comforting childhood classic, you know,

625
00:30:26,120 --> 00:30:27,560
Speaker 1: being sick on the couch and I went for some

626
00:30:27,640 --> 00:30:36,280
Speaker 1: fucking existential nightmare. I'm like, Wow, we definitely went on

627
00:30:36,360 --> 00:30:37,960
Speaker 1: different paths for this one.

628
00:30:39,040 --> 00:30:41,880
Speaker 2: But that's okay because comfort means different things to different

629
00:30:41,920 --> 00:30:44,560
Speaker 2: people's and I loved your movie. I love that you

630
00:30:44,600 --> 00:30:46,600
Speaker 2: picked your movie for this because it's also again, it's

631
00:30:46,600 --> 00:30:49,240
Speaker 2: a movie that I think your movie is one that

632
00:30:49,280 --> 00:30:54,280
Speaker 2: a lot of people haven't seen, possibly because it feels

633
00:30:54,320 --> 00:30:56,320
Speaker 2: too much. It's like a Bob Fossey. It's like got

634
00:30:56,320 --> 00:30:58,280
Speaker 2: all these names and all this history with it, so

635
00:30:58,320 --> 00:30:59,960
Speaker 2: a lot of people kind of feel like there's not

636
00:31:00,120 --> 00:31:03,640
Speaker 2: to wait into it. But that's totally watchable, especially if

637
00:31:03,680 --> 00:31:06,040
Speaker 2: you're just like I'm hanging out on the couch today,

638
00:31:06,720 --> 00:31:09,360
Speaker 2: like this is this, I'm doing it. It's so great,

639
00:31:09,440 --> 00:31:10,520
Speaker 2: It's perfect for this theme.

640
00:31:10,920 --> 00:31:13,440
Speaker 1: Well awesome. I'm so excited because I'm going first this week.

641
00:31:13,480 --> 00:31:14,800
Speaker 1: I have a lot of things to say about the

642
00:31:14,800 --> 00:31:19,120
Speaker 1: movie from a personal perspective too, which I know this.

643
00:31:19,480 --> 00:31:21,600
Speaker 1: You know, a lot of our themes are obviously personal,

644
00:31:21,680 --> 00:31:23,520
Speaker 1: like you know, kind of how we interpret things. But

645
00:31:23,600 --> 00:31:26,320
Speaker 1: like this movie in particular, I think I watched and

646
00:31:26,720 --> 00:31:29,400
Speaker 1: you know, it really hit me in a very specific way.

647
00:31:29,480 --> 00:31:31,880
Speaker 1: So I'm I'm excited to talk about it, and I'm

648
00:31:31,920 --> 00:31:34,920
Speaker 1: excited for this theme. Hilarious name.

649
00:31:35,280 --> 00:31:36,600
Speaker 2: I need a backy out of me. And you know

650
00:31:36,600 --> 00:31:39,080
Speaker 2: what movie that's That's from guys, right, you know that's

651
00:31:39,120 --> 00:31:41,720
Speaker 2: from Half Baked. I gonna say it. I need a

652
00:31:41,760 --> 00:31:42,440
Speaker 2: backing out of me.

653
00:31:42,560 --> 00:31:44,320
Speaker 1: What do we put in Half Baked on the pod?

654
00:31:44,400 --> 00:31:47,200
Speaker 2: Come on? I know, I know. Oh my gosh, well,

655
00:31:47,240 --> 00:31:49,960
Speaker 2: I'm so psyched. I definitely need a backy out of me.

656
00:31:50,400 --> 00:31:54,480
Speaker 2: I need some ice bags on my knees. And I

657
00:31:54,480 --> 00:31:56,680
Speaker 2: can't wait to get into your movie. I have so many,

658
00:31:56,840 --> 00:31:59,480
Speaker 2: so many questions for you about this. And I also

659
00:31:59,520 --> 00:32:02,760
Speaker 2: I kind of loving that between last week's films and

660
00:32:02,800 --> 00:32:07,600
Speaker 2: this week's films, like we're really cracking open our skulls

661
00:32:08,040 --> 00:32:09,040
Speaker 2: for the listeners.

662
00:32:09,440 --> 00:32:12,880
Speaker 1: We waited over two years to finally let you get

663
00:32:12,920 --> 00:32:17,239
Speaker 1: to know us. All that shit was we were just

664
00:32:17,280 --> 00:32:20,360
Speaker 1: playing around. Now you're in. Now you're a kid cape.

665
00:32:20,800 --> 00:32:22,440
Speaker 2: This is like when my therapist was like, we should

666
00:32:22,440 --> 00:32:23,880
Speaker 2: meet two days a week and I'm like, oh, we're

667
00:32:23,880 --> 00:32:28,360
Speaker 2: going deep, okay, gotcha? After five years of yammering for

668
00:32:28,440 --> 00:32:30,520
Speaker 2: an hour a week, You're like, how about we talk

669
00:32:30,560 --> 00:32:34,040
Speaker 2: about some real shit now, and I'm like, okay, two

670
00:32:34,120 --> 00:32:34,640
Speaker 2: days a week.

671
00:32:34,680 --> 00:32:35,920
Speaker 1: You're like, what.

672
00:32:36,560 --> 00:32:39,120
Speaker 2: Seriously, She's got a whole plan. She's like, Oh, we're

673
00:32:39,120 --> 00:32:40,720
Speaker 2: gonna hit that. I'm like, all right, let's hit it,

674
00:32:40,840 --> 00:32:42,560
Speaker 2: let's hit it. Let's go for the hits. But she

675
00:32:42,680 --> 00:32:44,400
Speaker 2: just had to wait till I was a little bit

676
00:32:44,480 --> 00:32:47,160
Speaker 2: less mentally ill, which apparently took five years to get there.

677
00:32:50,080 --> 00:32:53,120
Speaker 1: Well, on that note, let's discuss my therapy for the week.

678
00:32:54,040 --> 00:32:56,960
Speaker 1: So my movie for the theme I Need a Baccheotomy

679
00:32:57,280 --> 00:33:00,240
Speaker 1: is a movie from nineteen seventy nine. It was written

680
00:33:00,280 --> 00:33:03,880
Speaker 1: by Robert Allen Arthur and Bob Fosse, directed by Bob Fosse,

681
00:33:03,960 --> 00:33:07,560
Speaker 1: and it's called All That Jazz. Well do I hate

682
00:33:07,560 --> 00:33:08,280
Speaker 1: show business?

683
00:33:08,640 --> 00:33:09,960
Speaker 2: We love show business?

684
00:33:10,000 --> 00:33:13,400
Speaker 1: That's right, I love show business. I'll go e the way.

685
00:33:13,720 --> 00:33:16,480
Speaker 1: Well look, I mean, I'll admit something to you again

686
00:33:16,800 --> 00:33:21,200
Speaker 1: some shocking maybe, perhaps not really for me, but this

687
00:33:21,320 --> 00:33:23,920
Speaker 1: was this movie was a recent watch for me too.

688
00:33:24,000 --> 00:33:25,920
Speaker 1: I only saw this movie in the past couple of years,

689
00:33:25,960 --> 00:33:33,440
Speaker 1: I think, but right away it became an obsession. Basically, yes,

690
00:33:33,560 --> 00:33:37,840
Speaker 1: because I think it hits for me on several different levels.

691
00:33:38,600 --> 00:33:42,960
Speaker 1: Number one, as a person who more or less had

692
00:33:43,160 --> 00:33:46,560
Speaker 1: a near death experience a few years ago, which that

693
00:33:46,840 --> 00:33:51,160
Speaker 1: plays into this movie very much. And number two as

694
00:33:51,200 --> 00:33:55,120
Speaker 1: a person who has a very deep love for a

695
00:33:55,360 --> 00:34:01,480
Speaker 1: very specific time and place, which is anything that involves

696
00:34:02,120 --> 00:34:04,200
Speaker 1: people who are living in New York City in the

697
00:34:04,280 --> 00:34:07,560
Speaker 1: late seventies or early nineteen eighties who are trying to

698
00:34:07,560 --> 00:34:13,919
Speaker 1: make it in show business, specifically Broadway or any kind

699
00:34:13,920 --> 00:34:20,120
Speaker 1: of dance professional dance job. Okay, Like, if you listen

700
00:34:20,239 --> 00:34:23,799
Speaker 1: to this very early episode that we did about dance

701
00:34:23,800 --> 00:34:27,800
Speaker 1: conservatory movies, you have you already know this about me absolutely.

702
00:34:27,840 --> 00:34:32,120
Speaker 2: I mean, this is so your wheelhouse. You're like, I

703
00:34:32,160 --> 00:34:35,000
Speaker 2: want to see some fucking struggle. I need to see

704
00:34:35,040 --> 00:34:40,000
Speaker 2: those pit scenes. I need to see fuck there. Whenever

705
00:34:40,040 --> 00:34:42,719
Speaker 2: I see a leotard soaked in sweat, I'm like, milk,

706
00:34:42,800 --> 00:34:44,560
Speaker 2: this is Millie's fucking wheelhouse right here.

707
00:34:45,360 --> 00:34:47,759
Speaker 1: Invariably there will be like a very hairy dude that

708
00:34:47,840 --> 00:34:50,160
Speaker 1: has like chest hair coming out of the deep v

709
00:34:50,400 --> 00:34:53,920
Speaker 1: of his male leotard, and it fucking sends me. I

710
00:34:54,000 --> 00:34:58,640
Speaker 1: just love love this era. I don't really know. It's

711
00:34:58,680 --> 00:35:00,759
Speaker 1: very like I said, it's very specific and I and

712
00:35:00,800 --> 00:35:04,000
Speaker 1: I just I have an obsession over it. I that's

713
00:35:04,040 --> 00:35:07,400
Speaker 1: why we when we talked about fame on that episode,

714
00:35:07,440 --> 00:35:09,560
Speaker 1: I was like, fucking put it in my veins. I

715
00:35:09,600 --> 00:35:10,280
Speaker 1: love fame.

716
00:35:10,480 --> 00:35:13,840
Speaker 2: I love you know you love an original set of

717
00:35:13,920 --> 00:35:18,880
Speaker 2: yellow teeth, crooked yellow teeth with like those black molars

718
00:35:18,880 --> 00:35:20,879
Speaker 2: showing I love.

719
00:35:21,320 --> 00:35:25,320
Speaker 1: I love anybody who wears like a pashmina over leotard

720
00:35:25,400 --> 00:35:28,000
Speaker 1: when they're like teaching the class, Like I'm fucking.

721
00:35:29,320 --> 00:35:33,520
Speaker 2: I. There's one dancer in this well, well, obviously there's

722
00:35:33,520 --> 00:35:35,680
Speaker 2: several dancers in this movie, but there's one dancer in

723
00:35:35,719 --> 00:35:39,400
Speaker 2: particular in this movie who has like she rolls her

724
00:35:39,640 --> 00:35:43,600
Speaker 2: her pantyhose, or like she rolls her leotard down over

725
00:35:43,760 --> 00:35:45,799
Speaker 2: and has like a pair of underwear on top of it.

726
00:35:45,840 --> 00:35:47,600
Speaker 2: And I'm like, if you could wear that every day,

727
00:35:47,640 --> 00:35:50,560
Speaker 2: I know you would, I know, my god, trust Oh.

728
00:35:50,480 --> 00:35:53,319
Speaker 1: You don't even get it. I would wear like very

729
00:35:53,520 --> 00:36:00,759
Speaker 1: dark pantyhose with underwear over it, rolled down waistband, with

730
00:36:00,840 --> 00:36:05,640
Speaker 1: like a bra, like a very skimpy sports bra. Oh

731
00:36:05,680 --> 00:36:07,360
Speaker 1: my god, don't even get me started. And then like

732
00:36:07,400 --> 00:36:12,920
Speaker 1: a nude a nude character shoe come exactly with a

733
00:36:13,000 --> 00:36:15,200
Speaker 1: leg warmer rolled over it.

734
00:36:15,280 --> 00:36:17,239
Speaker 2: Oh my god, no, this is definitely one of those

735
00:36:17,280 --> 00:36:19,760
Speaker 2: movies where like you can see and feel the struggle

736
00:36:19,920 --> 00:36:21,840
Speaker 2: just in like what their bodies are doing. And I

737
00:36:21,920 --> 00:36:22,839
Speaker 2: know I love it.

738
00:36:24,320 --> 00:36:28,080
Speaker 1: I mean, and this is actually interesting too about me,

739
00:36:28,880 --> 00:36:30,880
Speaker 1: that I'm interesting. But you know what I'm saying, you

740
00:36:30,960 --> 00:36:33,920
Speaker 1: are as much as I do love dancing, and I

741
00:36:34,600 --> 00:36:38,479
Speaker 1: just worship people who dance well, and I like wish

742
00:36:38,560 --> 00:36:41,040
Speaker 1: I could be a dancer. I actually don't know a

743
00:36:41,080 --> 00:36:44,520
Speaker 1: ton about like the history of Broadway or like musical theater.

744
00:36:44,680 --> 00:36:48,040
Speaker 1: And yeah, in fact, I mean I was not a

745
00:36:48,040 --> 00:36:50,680
Speaker 1: theater kid growing up. I just wasn't, and I, to

746
00:36:50,719 --> 00:36:54,800
Speaker 1: be honest, sort of hated it as a kid. I

747
00:36:54,840 --> 00:36:56,279
Speaker 1: don't know why. I just think I had.

748
00:36:57,000 --> 00:36:59,400
Speaker 2: Yeah, when you're younger, I think that people make it

749
00:36:59,440 --> 00:37:01,080
Speaker 2: so much part or their identity that it can be

750
00:37:01,120 --> 00:37:03,120
Speaker 2: a little bit grating if you're not if you're not

751
00:37:03,200 --> 00:37:04,759
Speaker 2: into it all the way, they make it seem like

752
00:37:04,800 --> 00:37:05,799
Speaker 2: you can't be into it at all.

753
00:37:06,280 --> 00:37:09,600
Speaker 1: And I was actually in drama club, Like that's the thing.

754
00:37:09,600 --> 00:37:11,480
Speaker 1: I was in drama club because a lot of my

755
00:37:11,560 --> 00:37:14,120
Speaker 1: friends were in drama club, and I just was like,

756
00:37:14,719 --> 00:37:16,520
Speaker 1: I just want to hang out with my friends. I

757
00:37:16,600 --> 00:37:18,920
Speaker 1: do not want to be an actor.

758
00:37:19,160 --> 00:37:21,600
Speaker 2: I'm picturing you going up to the teacher first day

759
00:37:21,640 --> 00:37:23,600
Speaker 2: and being like, look, I'm here to hang out. Do

760
00:37:23,719 --> 00:37:26,000
Speaker 2: not assign me a fucking part. I'm not doing the

761
00:37:26,000 --> 00:37:30,200
Speaker 2: fucking cherry orchard. I'm not doing fucking any of this shit. Yeah,

762
00:37:30,360 --> 00:37:32,320
Speaker 2: just let me hang out with my friends. I'll be quiet,

763
00:37:32,400 --> 00:37:34,040
Speaker 2: I'll be sitting in the back, and you just do

764
00:37:34,080 --> 00:37:36,080
Speaker 2: your thing, and.

765
00:37:36,040 --> 00:37:38,520
Speaker 1: Like and and so that's the thing is that that

766
00:37:39,440 --> 00:37:42,920
Speaker 1: has changed a lot as I've gotten older. I in fact,

767
00:37:44,239 --> 00:37:48,200
Speaker 1: now I love this old Broadway stuff, like I love

768
00:37:48,880 --> 00:37:52,120
Speaker 1: that kind of like we're gonna talk about Fossey obviously,

769
00:37:52,160 --> 00:37:54,560
Speaker 1: but like Sweet Charity, like the you know I love,

770
00:37:54,800 --> 00:37:59,200
Speaker 1: you know, any kind of like old like Busby Berkeley musicals,

771
00:37:59,239 --> 00:38:01,960
Speaker 1: like I love fred Astare so like all this stuff

772
00:38:02,000 --> 00:38:05,680
Speaker 1: now is very charming to me. But when I was young,

773
00:38:05,719 --> 00:38:08,719
Speaker 1: I was too cool for theater. I gotta admit I was.

774
00:38:09,719 --> 00:38:12,120
Speaker 2: But I've always loved this shit. I've always loved it.

775
00:38:12,280 --> 00:38:14,279
Speaker 2: But in the same vein, I feel like, as much

776
00:38:14,280 --> 00:38:17,120
Speaker 2: as I've always loved musicals, and I've always loved this

777
00:38:17,120 --> 00:38:21,800
Speaker 2: this medium, I also don't know a lot about individuals,

778
00:38:21,880 --> 00:38:23,560
Speaker 2: so like I don't know a ton about sound Time.

779
00:38:23,560 --> 00:38:26,080
Speaker 2: I don't know a ton about Fossy, and I want to,

780
00:38:26,560 --> 00:38:28,600
Speaker 2: but I feel like that's just gonna involve me putting

781
00:38:28,640 --> 00:38:31,000
Speaker 2: in the effort to like really dig it. Like I

782
00:38:31,000 --> 00:38:33,760
Speaker 2: had Julie Klaus and her friend of the pod former guests.

783
00:38:35,000 --> 00:38:37,560
Speaker 2: I told her, I'm like, I don't think I've ever

784
00:38:37,640 --> 00:38:43,520
Speaker 2: really listened to son Time, like beyond like West Side Story,

785
00:38:43,560 --> 00:38:47,279
Speaker 2: and she put together a playlist for me immediately, And

786
00:38:47,360 --> 00:38:49,759
Speaker 2: so that's kind of how you get in. I think

787
00:38:49,800 --> 00:38:51,839
Speaker 2: you just kind of have to dip in a toe

788
00:38:52,200 --> 00:38:53,280
Speaker 2: like with all that jazz.

789
00:38:54,520 --> 00:38:57,480
Speaker 1: To that point, though, I feel like, even if you

790
00:38:57,640 --> 00:39:02,600
Speaker 1: don't like theater, you have certainly have heard of Bob Fosse, right,

791
00:39:02,640 --> 00:39:06,360
Speaker 1: because he's just like an icon of dance and theater

792
00:39:06,400 --> 00:39:10,960
Speaker 1: production and movies. You know, he basically created his own

793
00:39:11,040 --> 00:39:14,920
Speaker 1: style of dance. Because I gotta tell you, if you've

794
00:39:14,920 --> 00:39:18,000
Speaker 1: ever thrown a jazz hand in your life, you can

795
00:39:18,080 --> 00:39:21,200
Speaker 1: think you can thank Bob Fosse for that's that's his

796
00:39:21,600 --> 00:39:24,520
Speaker 1: So know that about yourself if you don't like theater,

797
00:39:24,600 --> 00:39:28,200
Speaker 1: but you've thrown jazz hands. Okay, But what I think

798
00:39:28,239 --> 00:39:30,720
Speaker 1: is interesting about Bob Fosse too, is that he directed

799
00:39:30,719 --> 00:39:33,040
Speaker 1: a handful full of films, and you know, he started

800
00:39:33,080 --> 00:39:35,759
Speaker 1: out with stuff like Sweet Charity and Cabaret obviously, but

801
00:39:35,800 --> 00:39:39,279
Speaker 1: then you know his last movie was Star eighty. But

802
00:39:39,320 --> 00:39:43,280
Speaker 1: All That Jazz, I think for him, was very specifically

803
00:39:44,520 --> 00:39:48,520
Speaker 1: a project that was about his life. It's essentially an

804
00:39:48,560 --> 00:39:53,800
Speaker 1: autobiography fantasy, right, that was based on his real life

805
00:39:54,280 --> 00:39:59,719
Speaker 1: during the mid seventies as he was editing Lenny, which

806
00:39:59,800 --> 00:40:02,600
Speaker 1: is the biopic that he directed of Lenny Bruce starring

807
00:40:02,680 --> 00:40:11,520
Speaker 1: Dustin Hoffman, while also staging Chicago the Musical, and recovering

808
00:40:11,760 --> 00:40:14,040
Speaker 1: from a major heart attack and open heart.

809
00:40:13,800 --> 00:40:17,799
Speaker 2: Surgery all at the same time, like packing it in. Yes,

810
00:40:18,360 --> 00:40:20,320
Speaker 2: Homeboy did not know how to take a break.

811
00:40:20,719 --> 00:40:24,080
Speaker 1: Right, and like that is the movie. Because a one

812
00:40:24,120 --> 00:40:28,720
Speaker 1: sentenced synopsis of this movie would be a famous director

813
00:40:28,880 --> 00:40:33,360
Speaker 1: and choreographer has a dream like reckoning when he's faced

814
00:40:33,400 --> 00:40:38,600
Speaker 1: with a lifetime full of hard living and selfishness after

815
00:40:38,760 --> 00:40:45,560
Speaker 1: suffering a major coronary event wonderful. So, as I alluded

816
00:40:45,600 --> 00:40:50,040
Speaker 1: to Fosse's avatar in All That Jazz is this man

817
00:40:50,440 --> 00:40:55,360
Speaker 1: named Joe Gideon, and he's played by the great Roy Scheider.

818
00:40:57,080 --> 00:41:00,680
Speaker 1: Roy Scheider, as you probably know, was absolutely in the

819
00:41:00,760 --> 00:41:04,759
Speaker 1: fucking zone in the seventies because he started out with Clute,

820
00:41:05,239 --> 00:41:09,719
Speaker 1: moved through the French connection, Jaws, Marathon Man, Sorcerer, and

821
00:41:09,800 --> 00:41:12,319
Speaker 1: of course this movie, and I gotta tell you, just

822
00:41:12,560 --> 00:41:16,320
Speaker 1: like his character and Jaws, he continues to be the

823
00:41:16,440 --> 00:41:20,960
Speaker 1: king of acting with a cigarette hanging out of his mouth. Yeah, ye,

824
00:41:23,040 --> 00:41:25,920
Speaker 1: Do we have another actor in the history of modern

825
00:41:26,000 --> 00:41:28,440
Speaker 1: cinema who is as good as as him at that?

826
00:41:28,719 --> 00:41:29,200
Speaker 1: I don't know.

827
00:41:29,400 --> 00:41:32,960
Speaker 2: I don't even want to speculate. I don't want to speculate.

828
00:41:33,800 --> 00:41:40,040
Speaker 1: I couldn't even think of another. But he in this movie,

829
00:41:40,480 --> 00:41:44,680
Speaker 1: his whole vibe and his look is an obsession for me. Okay,

830
00:41:45,160 --> 00:41:49,520
Speaker 1: he it's like a swashbuckler meets a gay choreographer.

831
00:41:50,080 --> 00:41:52,760
Speaker 2: I mean the shoes alone, if you'll get his shoe

832
00:41:52,800 --> 00:41:56,000
Speaker 2: action in this movie. There's one point where he has

833
00:41:56,080 --> 00:42:00,120
Speaker 2: like garbage bags tied or like sised around out. I

834
00:42:00,120 --> 00:42:01,520
Speaker 2: think there are leg warmers, but they just look like

835
00:42:01,560 --> 00:42:03,320
Speaker 2: he's just sent some garbage bags around.

836
00:42:03,719 --> 00:42:07,080
Speaker 1: Yeah. Yeah, he's got like he's like always in these

837
00:42:07,160 --> 00:42:12,400
Speaker 1: very tight black clothes with like four or five buttons

838
00:42:12,400 --> 00:42:15,200
Speaker 1: on button on the shirt, like chest is out all

839
00:42:15,239 --> 00:42:18,920
Speaker 1: the time. He's got these like kind of like black

840
00:42:19,239 --> 00:42:23,600
Speaker 1: pirate looking shit boots with like the leg warmers, the

841
00:42:23,640 --> 00:42:27,600
Speaker 1: trash back leg warmers over it, and it's just constantly smoking.

842
00:42:27,680 --> 00:42:30,400
Speaker 1: I feel like Roy Scheider, like he's very thin in

843
00:42:30,440 --> 00:42:33,080
Speaker 1: this movie. And I don't know if if he did

844
00:42:33,120 --> 00:42:35,360
Speaker 1: something like did he do a Christian bale move or

845
00:42:35,440 --> 00:42:38,640
Speaker 1: he lost a bunch of weight or something. He definitely

846
00:42:38,680 --> 00:42:41,839
Speaker 1: bleached his hair, because like he's got like a little goate,

847
00:42:41,960 --> 00:42:44,560
Speaker 1: but his hair looks a little lighter. But all of this,

848
00:42:44,760 --> 00:42:47,680
Speaker 1: all of this is to say he looks amazing in

849
00:42:47,760 --> 00:42:51,120
Speaker 1: this movie. And here's the thing. So at the very

850
00:42:51,160 --> 00:42:55,399
Speaker 1: beginning of the of the film, Joe Gideon is he's

851
00:42:55,400 --> 00:42:58,160
Speaker 1: getting up out of bed, gets in the shower with

852
00:42:58,400 --> 00:43:04,000
Speaker 1: a cigarette, mind you, showering with a cigarette in his mouth.

853
00:43:05,080 --> 00:43:10,560
Speaker 1: So right off the back, these were so gross, they

854
00:43:10,640 --> 00:43:11,680
Speaker 1: were so gross.

855
00:43:12,160 --> 00:43:14,480
Speaker 2: The seventies were fucking depraved.

856
00:43:14,760 --> 00:43:20,440
Speaker 1: Okay, good lord, you know, I do you really gotta

857
00:43:21,000 --> 00:43:23,400
Speaker 1: be addicted to cigarettes if you're gonna smoke in the shower,

858
00:43:23,560 --> 00:43:29,160
Speaker 1: That's just unbelievable to me. But so he's in the

859
00:43:29,200 --> 00:43:33,799
Speaker 1: shower this classical music songs playing in the background. Then he,

860
00:43:33,880 --> 00:43:37,200
Speaker 1: you know, downs a couple al Selzer's saman fetamines, put

861
00:43:37,239 --> 00:43:39,600
Speaker 1: some viazine in the eyes, and then he finally like

862
00:43:39,640 --> 00:43:42,520
Speaker 1: looks himself in the mirror, claps his hands and tells

863
00:43:42,560 --> 00:43:48,479
Speaker 1: himself it's showtime, folks. And you soon realized that this

864
00:43:48,560 --> 00:43:52,560
Speaker 1: is his daily routine.

865
00:43:52,120 --> 00:43:55,040
Speaker 2: Like do a tea. Every part of that is every day.

866
00:43:55,320 --> 00:43:57,680
Speaker 1: Every day. It's a hell of a way to start

867
00:43:57,719 --> 00:44:00,600
Speaker 1: today for this guy, because I gotta tell you, he's

868
00:44:00,640 --> 00:44:03,520
Speaker 1: the type of dude who's professionally been on the brink

869
00:44:03,560 --> 00:44:07,600
Speaker 1: of death since birth. And he's one of those folks that,

870
00:44:07,680 --> 00:44:10,880
Speaker 1: like he knows just how to barely maintain himself to

871
00:44:10,920 --> 00:44:15,240
Speaker 1: live another day. Okay, like you're smoking in the shower,

872
00:44:15,400 --> 00:44:19,840
Speaker 1: you're taking amphetamines every day, you're like you like he

873
00:44:19,840 --> 00:44:22,960
Speaker 1: he drinks and smokes to access he has way too

874
00:44:23,000 --> 00:44:27,080
Speaker 1: many pills in the system. He womanizes. But then also

875
00:44:27,160 --> 00:44:29,640
Speaker 1: he works around the clock and his and his life

876
00:44:29,719 --> 00:44:32,080
Speaker 1: is just like this endless ball of stress. But here's

877
00:44:32,080 --> 00:44:35,440
Speaker 1: the thing. He loves it. Yeah, he loves it, and

878
00:44:35,480 --> 00:44:39,440
Speaker 1: he doesn't want to stop right So that's where you're

879
00:44:39,480 --> 00:44:45,040
Speaker 1: getting with Joe Gideon right now. Right after this is

880
00:44:45,040 --> 00:44:46,880
Speaker 1: probably my favorite part of the movie. We have already

881
00:44:46,880 --> 00:44:49,879
Speaker 1: alluded to it, but this might be my favorite part

882
00:44:49,880 --> 00:44:53,560
Speaker 1: of any movie in history. I don't know. But you

883
00:44:53,640 --> 00:44:56,759
Speaker 1: basically go from Joe's bathroom to this stage full of

884
00:44:56,840 --> 00:45:00,000
Speaker 1: dancers and they're packed in like sardines. They're in there

885
00:45:00,120 --> 00:45:03,240
Speaker 1: tights and their leotards and their sweat their sweaty pits,

886
00:45:03,640 --> 00:45:07,040
Speaker 1: and they're doing this routine for a cold try out. Okay,

887
00:45:07,200 --> 00:45:12,359
Speaker 1: And most importantly, this scene is set to George Benson's

888
00:45:12,440 --> 00:45:18,040
Speaker 1: On Broadway, which is a song that I love so much.

889
00:45:19,040 --> 00:45:26,440
Speaker 1: If you hate this song, I hate you. He recorded

890
00:45:26,480 --> 00:45:30,080
Speaker 1: it live in West Hollywood in the seventies and it

891
00:45:30,120 --> 00:45:32,319
Speaker 1: plays like you know the song. You've heard it on

892
00:45:32,520 --> 00:45:35,719
Speaker 1: like the radio, I'm sure, especially as you were a kid.

893
00:45:35,719 --> 00:45:37,160
Speaker 1: But like this song.

894
00:45:37,239 --> 00:45:37,560
Speaker 2: Is it.

895
00:45:40,040 --> 00:45:49,720
Speaker 1: That his version is so perfect for this time period

896
00:45:49,760 --> 00:45:51,399
Speaker 1: that I'm obsessed with, right?

897
00:45:51,800 --> 00:45:54,239
Speaker 2: I love that. You'll like elimulate it down. I hate you.

898
00:45:54,239 --> 00:45:56,960
Speaker 2: If you don't love that, this is my.

899
00:45:58,160 --> 00:46:01,360
Speaker 1: Yes. If you hate on Broadway by George Benson, you

900
00:46:01,520 --> 00:46:04,400
Speaker 1: are dead to me. Seriously, But you know, look, look

901
00:46:04,680 --> 00:46:08,160
Speaker 1: this is all happening. It's very glamorous. Joe is at

902
00:46:08,160 --> 00:46:11,120
Speaker 1: the center and he's like hiring and firing dancers. He's

903
00:46:11,160 --> 00:46:14,879
Speaker 1: making people cry. He's you know, it's mesmerizing because you're like, oh,

904
00:46:14,960 --> 00:46:17,759
Speaker 1: here's what it's like to be on Broadway. It's like

905
00:46:17,840 --> 00:46:22,000
Speaker 1: a cattle call and then only the strong survive. But

906
00:46:22,080 --> 00:46:24,239
Speaker 1: and he's like showing the moves and everything. I love

907
00:46:24,320 --> 00:46:25,680
Speaker 1: when he does that, when he's like, here's how it

908
00:46:25,680 --> 00:46:29,239
Speaker 1: should be done. Yes, yes, and like and Roy Scheider, like,

909
00:46:29,280 --> 00:46:31,600
Speaker 1: you know, obviously I don't know if he had like

910
00:46:31,640 --> 00:46:34,719
Speaker 1: classical dance training ever in his career, but like he

911
00:46:34,719 --> 00:46:37,840
Speaker 1: he plays the part very well, Like he's very believable

912
00:46:37,880 --> 00:46:41,719
Speaker 1: as this character. So he's casting this musical obviously, which

913
00:46:41,960 --> 00:46:44,840
Speaker 1: instead of being called Chicago, which is what Fossy was

914
00:46:44,880 --> 00:46:47,560
Speaker 1: actually doing in his real life, in the film, it's

915
00:46:47,600 --> 00:46:51,359
Speaker 1: called New York La okay. And at the same time,

916
00:46:51,400 --> 00:46:55,840
Speaker 1: it's cutting back from all these tryouts to him, you know,

917
00:46:55,960 --> 00:47:00,880
Speaker 1: at the studio editing footage of a film that he's directed,

918
00:47:02,160 --> 00:47:05,600
Speaker 1: very similar to Lenny obviously, but it's called The Stand Up,

919
00:47:05,840 --> 00:47:12,160
Speaker 1: And it's basically like he's in this weird obsessive period

920
00:47:12,280 --> 00:47:15,680
Speaker 1: of editing where he very he's fixated on this very

921
00:47:15,760 --> 00:47:19,879
Speaker 1: specific part and he wants to get it perfect and

922
00:47:19,920 --> 00:47:23,080
Speaker 1: everybody in the studio is like, let it go, Like

923
00:47:23,160 --> 00:47:25,120
Speaker 1: you're at a time, you're out of budget, like, stop

924
00:47:25,160 --> 00:47:27,560
Speaker 1: obsessing over this thing. But you can just you can't

925
00:47:27,680 --> 00:47:31,239
Speaker 1: talk him out of it. He's just completely manic at

926
00:47:31,239 --> 00:47:32,200
Speaker 1: this point, right.

927
00:47:32,160 --> 00:47:35,959
Speaker 2: Yeah, and an obsession could be a connective point between

928
00:47:36,000 --> 00:47:37,000
Speaker 2: both of our films.

929
00:47:37,400 --> 00:47:42,919
Speaker 1: Oh my god. Absolutely, it's like what happens when men

930
00:47:43,520 --> 00:47:46,160
Speaker 1: leave their wife and children to follow a bass.

931
00:47:53,920 --> 00:47:56,040
Speaker 2: That's the real theme. That's the real theme.

932
00:47:56,680 --> 00:48:04,960
Speaker 1: There's always an alternate theme that surfaces. Oh shit, well,

933
00:48:05,840 --> 00:48:12,160
Speaker 1: so okay, to that point, though, Joe's family starts showing

934
00:48:12,239 --> 00:48:15,440
Speaker 1: up and you meet his girlfriend, who is named Katie.

935
00:48:15,520 --> 00:48:19,879
Speaker 1: She's played by Anne rain King, who was Fosse's real

936
00:48:19,880 --> 00:48:23,359
Speaker 1: life girlfriend during this period of his life. Right, And

937
00:48:23,560 --> 00:48:26,239
Speaker 1: in the film, Joe is constantly shating on Katie, as

938
00:48:26,280 --> 00:48:29,799
Speaker 1: you can imagine, specifically with a woman he literally just

939
00:48:29,920 --> 00:48:33,239
Speaker 1: hired to be in New York, LA. Right, And in fact,

940
00:48:33,360 --> 00:48:37,080
Speaker 1: Katie walks in on them in bed together. So that's

941
00:48:37,080 --> 00:48:40,160
Speaker 1: how he rolls. Okay, I think you know that by now.

942
00:48:40,520 --> 00:48:44,000
Speaker 1: But then you also meet his ex wife, Audrey, who

943
00:48:44,120 --> 00:48:49,319
Speaker 1: is played by Leland Palmer. Yes it's the same name

944
00:48:49,719 --> 00:48:55,480
Speaker 1: as the dad from Twin Peaks. I don't actually know

945
00:48:55,520 --> 00:48:59,719
Speaker 1: if David Lynch did that on purpose, but I love

946
00:48:59,760 --> 00:49:00,520
Speaker 1: that fact.

947
00:49:00,840 --> 00:49:04,560
Speaker 2: Let's start it. Let's start the rumor that Leland Palmer

948
00:49:04,640 --> 00:49:08,960
Speaker 2: in Twin Peaks was named so because all that jazz

949
00:49:09,000 --> 00:49:10,400
Speaker 2: is David Lynch's favorite movie.

950
00:49:10,640 --> 00:49:15,120
Speaker 1: Yes, let's just like change the Wikipedia. Casey changed the

951
00:49:15,120 --> 00:49:15,879
Speaker 1: Wikipedia right now.

952
00:49:15,880 --> 00:49:16,600
Speaker 2: Check with the lawyers.

953
00:49:18,560 --> 00:49:20,600
Speaker 1: So here's the thing about Audrey, his ex wife, Like,

954
00:49:20,800 --> 00:49:24,719
Speaker 1: she was apparently modeled after Gwen Vernon, who was Fosse's

955
00:49:24,719 --> 00:49:29,400
Speaker 1: wife and muse and longtime collaborator. And so you know,

956
00:49:29,440 --> 00:49:32,080
Speaker 1: there's all this these these characters that are based off

957
00:49:32,080 --> 00:49:35,040
Speaker 1: of real people in Fossy's life obviously, and then you

958
00:49:35,160 --> 00:49:39,400
Speaker 1: also meet his pre teen daughter named Michelle. And the

959
00:49:39,440 --> 00:49:41,840
Speaker 1: thing about Michelle is like, you can tell that Joe

960
00:49:41,960 --> 00:49:44,279
Speaker 1: has a genuine love for his kid, but at the

961
00:49:44,320 --> 00:49:48,640
Speaker 1: same time he knows that he disappoints her and that

962
00:49:48,680 --> 00:49:52,319
Speaker 1: he's just constantly a schmuck. So he kind of knows

963
00:49:52,320 --> 00:49:53,480
Speaker 1: the stuff about him already.

964
00:49:53,800 --> 00:49:57,360
Speaker 2: And the thing about Michelle grows up to be Lana

965
00:49:57,400 --> 00:49:57,759
Speaker 2: del Rey.

966
00:50:00,280 --> 00:50:07,239
Speaker 1: Ah, Well, you know what's really funny. This is a

967
00:50:07,280 --> 00:50:14,000
Speaker 1: side note, but I recently read Jennifer Gray's autobiography from

968
00:50:14,040 --> 00:50:16,440
Speaker 1: you Know, Dirty Dancing. I think you know Jennifer Gray,

969
00:50:17,480 --> 00:50:20,840
Speaker 1: and her father was Joel Gray, who was in cabaret,

970
00:50:20,880 --> 00:50:23,560
Speaker 1: and like, she grew up in this kind of life, right,

971
00:50:23,680 --> 00:50:29,440
Speaker 1: like this kind of New York performers, like Broadway acting

972
00:50:29,960 --> 00:50:33,480
Speaker 1: like life. And so every time I was like, every

973
00:50:33,480 --> 00:50:36,400
Speaker 1: time I saw Michelle in the movie this rewatch, I

974
00:50:36,440 --> 00:50:39,719
Speaker 1: kept thinking about that Jennifer Gray autobiography because I was like, Oh,

975
00:50:39,719 --> 00:50:42,239
Speaker 1: she's like the real life Michelle, right yea. Or her

976
00:50:42,360 --> 00:50:47,080
Speaker 1: dad's this like performer and you know, her parents have

977
00:50:47,160 --> 00:50:51,279
Speaker 1: this like crazy modern relationship and they got friends and

978
00:50:51,320 --> 00:50:55,680
Speaker 1: there's anyway it's it's fascinating. But I feel like the

979
00:50:55,719 --> 00:50:58,560
Speaker 1: thing that I love about this though, is that all

980
00:50:58,560 --> 00:51:02,080
Speaker 1: three of these characters, like Audrey, Michelle, and Katie, they're

981
00:51:02,120 --> 00:51:05,640
Speaker 1: all professional dancers. Like the actresses playing them are professional dancers,

982
00:51:06,040 --> 00:51:08,360
Speaker 1: which I think is really great because it obviously kicks

983
00:51:08,360 --> 00:51:13,960
Speaker 1: in later as Joe's kind of having his like hallucinations

984
00:51:14,040 --> 00:51:17,640
Speaker 1: right now. I think obviously what makes this movie a

985
00:51:17,680 --> 00:51:21,239
Speaker 1: sick day movie for me is that it's basically like, yes,

986
00:51:21,280 --> 00:51:24,760
Speaker 1: you're like in this glamorous fever dream all the time

987
00:51:24,880 --> 00:51:27,880
Speaker 1: of Joe where it's going back and forth between like

988
00:51:27,920 --> 00:51:30,320
Speaker 1: his kind of present reality of like the tryouts and

989
00:51:30,360 --> 00:51:33,759
Speaker 1: the editing and stuff, but then it's also presenting sort

990
00:51:33,760 --> 00:51:38,520
Speaker 1: of his inner reality too, which is expressed through these

991
00:51:38,520 --> 00:51:41,359
Speaker 1: conversations that he's having with this woman in white, right,

992
00:51:41,560 --> 00:51:45,240
Speaker 1: And you eventually deductor that this woman is the Angel

993
00:51:45,239 --> 00:51:51,200
Speaker 1: of Death, and she's played by Jessica Lang right, And

994
00:51:51,280 --> 00:51:53,080
Speaker 1: so when they're talking, it's kind of like the first

995
00:51:53,080 --> 00:51:56,279
Speaker 1: time you're really kind of getting sort of like a

996
00:51:56,320 --> 00:51:59,160
Speaker 1: look into like what he's actually thinking about his whole life.

997
00:51:59,239 --> 00:52:03,040
Speaker 1: And you know, he tells this woman, this Angel of

998
00:52:03,120 --> 00:52:05,880
Speaker 1: Death character, that he's he has a shithead and he

999
00:52:05,960 --> 00:52:08,560
Speaker 1: has a disappointment to his kid and his wife and

1000
00:52:08,600 --> 00:52:11,880
Speaker 1: he does live too hard. And then of course in

1001
00:52:11,960 --> 00:52:16,520
Speaker 1: real life, you know, all of these things, the stress,

1002
00:52:16,600 --> 00:52:19,879
Speaker 1: the boozing, the smoking, they catch up to him. Joe

1003
00:52:19,920 --> 00:52:22,399
Speaker 1: has a major heart attack and it's pretty much told

1004
00:52:22,400 --> 00:52:24,920
Speaker 1: by the doctors like straight up, you need to relax,

1005
00:52:24,960 --> 00:52:27,680
Speaker 1: you need to clean up your act, like no more dillydallying,

1006
00:52:27,680 --> 00:52:31,520
Speaker 1: because you will die. And of course he doesn't because

1007
00:52:31,560 --> 00:52:34,319
Speaker 1: he's in the hospital smoking and drinking, and he's like

1008
00:52:34,400 --> 00:52:36,719
Speaker 1: screwing the nurses, and you.

1009
00:52:36,680 --> 00:52:39,759
Speaker 2: Know, it is like he's the still a party, it

1010
00:52:39,840 --> 00:52:41,920
Speaker 2: is still apart. And that, to me is like a

1011
00:52:41,960 --> 00:52:45,719
Speaker 2: really interesting aspect of this film is that Foss's kind

1012
00:52:45,760 --> 00:52:49,400
Speaker 2: of seems to be projecting, you know, since this is

1013
00:52:49,440 --> 00:52:51,840
Speaker 2: a movie about his own life and his own experiences,

1014
00:52:51,920 --> 00:52:57,360
Speaker 2: that he's projecting almost like he knows that he's going

1015
00:52:57,400 --> 00:53:00,560
Speaker 2: too far, too fast, too much, and he takes it

1016
00:53:00,600 --> 00:53:04,799
Speaker 2: to an extreme conclusion that didn't end up happening to him.

1017
00:53:05,040 --> 00:53:09,239
Speaker 2: But it's like you're watching him process his own life

1018
00:53:09,320 --> 00:53:11,880
Speaker 2: and death. It's very very cool and weird.

1019
00:53:12,280 --> 00:53:14,360
Speaker 1: Yeah, it's very it's yeah, and like the rest of

1020
00:53:14,360 --> 00:53:17,959
Speaker 1: the movie at this point becomes very dreamlike, right, because

1021
00:53:18,000 --> 00:53:21,680
Speaker 1: he's imagining these events in his life. You know, he's

1022
00:53:21,719 --> 00:53:27,879
Speaker 1: imagining his life and death as these musical numbers, right,

1023
00:53:28,560 --> 00:53:31,320
Speaker 1: and all the women in his life are performing numbers

1024
00:53:31,360 --> 00:53:34,080
Speaker 1: about how he's such a shitthead and how he can't

1025
00:53:34,160 --> 00:53:37,040
Speaker 1: ever give up give up his vices, and you know,

1026
00:53:37,080 --> 00:53:40,040
Speaker 1: and there are times where he's imagining himself directing his

1027
00:53:40,120 --> 00:53:45,799
Speaker 1: own death, which is pretty pretty crazy. And like I said,

1028
00:53:45,840 --> 00:53:49,439
Speaker 1: I think at the beginning, you know, these are parts

1029
00:53:49,480 --> 00:53:51,440
Speaker 1: of the movie that I think are really impactful for

1030
00:53:51,520 --> 00:53:54,080
Speaker 1: me personally because you know, obviously, like I went through

1031
00:53:54,239 --> 00:53:56,640
Speaker 1: a pretty big illness like a few years ago, and

1032
00:53:56,680 --> 00:53:59,239
Speaker 1: I was in the ICU and I had had surgeries

1033
00:53:59,280 --> 00:54:02,759
Speaker 1: and I was top on all the drugs, right, And

1034
00:54:03,760 --> 00:54:05,759
Speaker 1: when you're in that situation, if you've ever been in

1035
00:54:05,800 --> 00:54:10,239
Speaker 1: that situation, unfortunately, like you're you're just in this You're

1036
00:54:10,320 --> 00:54:13,520
Speaker 1: in this passive mode, right, because you're being taken to

1037
00:54:13,640 --> 00:54:17,839
Speaker 1: like strange places with people standing over you. And it's

1038
00:54:17,920 --> 00:54:21,600
Speaker 1: weird because I feel like if like in a weird

1039
00:54:21,640 --> 00:54:25,279
Speaker 1: way like this, these moments of the film felt like

1040
00:54:25,360 --> 00:54:26,840
Speaker 1: they were happening to me when I was in that

1041
00:54:26,880 --> 00:54:30,680
Speaker 1: situation too. I mean, it's just like this absurd performance

1042
00:54:31,040 --> 00:54:34,040
Speaker 1: of things that you just have to sit there and

1043
00:54:34,080 --> 00:54:35,360
Speaker 1: bear witness too because you're.

1044
00:54:35,200 --> 00:54:38,200
Speaker 2: Sick, right, yeahs and a weird choreography of like people

1045
00:54:38,239 --> 00:54:40,799
Speaker 2: coming in and now and you'd understand what they're saying,

1046
00:54:40,840 --> 00:54:43,440
Speaker 2: and they're talking in terms you understand about you. It's

1047
00:54:43,480 --> 00:54:45,560
Speaker 2: like so strange, yeah.

1048
00:54:45,640 --> 00:54:47,600
Speaker 1: And it's something that I never I mean, I had

1049
00:54:47,640 --> 00:54:50,680
Speaker 1: never been to the hospital before, you know, before I

1050
00:54:50,719 --> 00:54:53,279
Speaker 1: actually did go to the hospital, and I don't know,

1051
00:54:53,320 --> 00:54:55,160
Speaker 1: I guess I just was always living in a fear

1052
00:54:55,160 --> 00:54:56,719
Speaker 1: of it ever happening. But then when I was in

1053
00:54:56,760 --> 00:54:58,360
Speaker 1: the moment, I was like, yeah, this is all just

1054
00:54:58,400 --> 00:55:00,759
Speaker 1: like a weird dream, and I just I just sit

1055
00:55:00,800 --> 00:55:04,360
Speaker 1: there and watch it happen. And there's also this moment

1056
00:55:04,400 --> 00:55:08,520
Speaker 1: too that really really hits me, where you know, Joe

1057
00:55:08,840 --> 00:55:11,400
Speaker 1: eventually he's you know, he's recovering, and he's having these

1058
00:55:11,480 --> 00:55:14,000
Speaker 1: dreams and these conversations and stuff like in his head,

1059
00:55:14,200 --> 00:55:16,080
Speaker 1: and they eventually gets tired of being in the room

1060
00:55:16,080 --> 00:55:19,719
Speaker 1: and he actually escapes and like starts wandering around the hospital.

1061
00:55:20,120 --> 00:55:22,840
Speaker 1: And there's this part where he goes to this random

1062
00:55:22,880 --> 00:55:25,640
Speaker 1: older lady's room and he kisses her and he tells

1063
00:55:25,680 --> 00:55:28,000
Speaker 1: her that he loves her. And there was like this

1064
00:55:28,120 --> 00:55:31,120
Speaker 1: moment that I remember when I was in the hospital

1065
00:55:31,600 --> 00:55:35,120
Speaker 1: why I felt this like huge wave of love, Like

1066
00:55:35,160 --> 00:55:37,840
Speaker 1: my heart just felt like so open, and I remember

1067
00:55:37,960 --> 00:55:42,280
Speaker 1: feeling like this weird kind of like genuine pure love

1068
00:55:42,400 --> 00:55:45,200
Speaker 1: for like the people that were coming to visit me

1069
00:55:45,280 --> 00:55:48,360
Speaker 1: and like the nurses and stuff. It was very wild.

1070
00:55:48,520 --> 00:55:51,000
Speaker 1: It was very like, it was a very wild moment,

1071
00:55:51,080 --> 00:55:54,920
Speaker 1: and it was definitely the drugs. But I'm just saying

1072
00:55:56,560 --> 00:55:59,560
Speaker 1: when that happens like in the movie. I'm like, yo,

1073
00:55:59,800 --> 00:56:03,279
Speaker 1: I totally get this, you know, like this feeling of

1074
00:56:03,360 --> 00:56:06,000
Speaker 1: like I just love you and I love everything and

1075
00:56:06,080 --> 00:56:09,400
Speaker 1: it's just right. Not to get too deep and weird.

1076
00:56:09,520 --> 00:56:12,400
Speaker 1: I'm just saying I felt like I can connect to

1077
00:56:12,480 --> 00:56:13,640
Speaker 1: that in a weird way.

1078
00:56:13,880 --> 00:56:16,080
Speaker 2: Well, no, I think it's important because I when I

1079
00:56:16,120 --> 00:56:18,000
Speaker 2: see that scene as someone who's not had a near

1080
00:56:18,040 --> 00:56:20,440
Speaker 2: death experience or spent an extended amount of time in

1081
00:56:20,440 --> 00:56:23,399
Speaker 2: the hospital, I think, you know, for me, it hit

1082
00:56:23,560 --> 00:56:25,640
Speaker 2: a little bit differently, and I felt like, oh, is

1083
00:56:25,680 --> 00:56:29,760
Speaker 2: this just him expressing a guilt that he had about

1084
00:56:29,800 --> 00:56:32,440
Speaker 2: like not loving his own mother enough not you know,

1085
00:56:32,440 --> 00:56:35,160
Speaker 2: because we do go back to his own life as

1086
00:56:35,160 --> 00:56:36,719
Speaker 2: we go through his life, we go back to the

1087
00:56:36,760 --> 00:56:40,239
Speaker 2: beginnings of his life. And for me, it was more

1088
00:56:40,360 --> 00:56:44,759
Speaker 2: like wondering, is he questioning his own actions? So I

1089
00:56:44,840 --> 00:56:47,160
Speaker 2: love hearing that, like, oh, yeah, it might be because

1090
00:56:47,200 --> 00:56:49,400
Speaker 2: of the drugs, but like this is a real feeling

1091
00:56:49,560 --> 00:56:51,520
Speaker 2: that people have when they're in that situation.

1092
00:56:52,680 --> 00:56:56,960
Speaker 1: Yeah, And like and that's I think why. I mean,

1093
00:56:58,160 --> 00:57:00,960
Speaker 1: I will say that when I first saw this movie,

1094
00:57:01,080 --> 00:57:05,200
Speaker 1: I was a lot closer to that event for me, Like, well,

1095
00:57:05,280 --> 00:57:07,480
Speaker 1: I was a lot closer to it than I was

1096
00:57:07,560 --> 00:57:11,840
Speaker 1: this time obviously watching it, and it was it was triggering,

1097
00:57:11,880 --> 00:57:13,919
Speaker 1: Like yeah, I mean there were moments where I felt

1098
00:57:14,120 --> 00:57:19,120
Speaker 1: very triggered by what was happening, you know, And I

1099
00:57:19,160 --> 00:57:22,160
Speaker 1: think that as the years have gone on, I've gotten like,

1100
00:57:22,560 --> 00:57:24,760
Speaker 1: you know, you just move further and further away from

1101
00:57:24,800 --> 00:57:26,840
Speaker 1: a traumatic event and you're able to think about it

1102
00:57:26,880 --> 00:57:29,200
Speaker 1: and process it more. But in this weird moment, I

1103
00:57:29,280 --> 00:57:31,880
Speaker 1: was also like connected to it. Like there were times

1104
00:57:31,880 --> 00:57:33,760
Speaker 1: where I thought, maybe this is too much. I shouldn't

1105
00:57:33,800 --> 00:57:38,280
Speaker 1: be watching this movie where you know, a guy's contemplating

1106
00:57:38,600 --> 00:57:41,120
Speaker 1: and directing his own death, and you know, it's like

1107
00:57:41,160 --> 00:57:44,280
Speaker 1: all about those hospital footage scenes and all that shit,

1108
00:57:44,280 --> 00:57:45,760
Speaker 1: and I'm like this is too much for me. But

1109
00:57:45,800 --> 00:57:47,760
Speaker 1: then I just kind of was like but also like

1110
00:57:47,880 --> 00:57:50,360
Speaker 1: I feel like connected to this and I'm gonna stick

1111
00:57:50,400 --> 00:57:52,160
Speaker 1: with it, and I'm just glad I did because I

1112
00:57:52,200 --> 00:57:54,919
Speaker 1: think it I don't know, I think it just hit

1113
00:57:55,000 --> 00:57:58,080
Speaker 1: me like a in a different way.

1114
00:57:58,680 --> 00:58:00,400
Speaker 2: And did did you see it for the first time

1115
00:58:00,440 --> 00:58:01,680
Speaker 2: after you were hospitalized?

1116
00:58:02,040 --> 00:58:06,640
Speaker 1: Correct? Yeah I did? Yeah, yeah, yeah, So I you know,

1117
00:58:07,640 --> 00:58:09,480
Speaker 1: like I said, I was like, what am I doing

1118
00:58:09,520 --> 00:58:11,920
Speaker 1: watching this weird movie where it felt like I was

1119
00:58:12,560 --> 00:58:15,080
Speaker 1: in a lot of these scenarios in a weird way.

1120
00:58:15,320 --> 00:58:18,440
Speaker 1: But then I also there's like an artistry to the

1121
00:58:18,440 --> 00:58:22,360
Speaker 1: movie that made it like almost like I could handle it,

1122
00:58:23,400 --> 00:58:27,160
Speaker 1: you know, versus watching something like Er or something where

1123
00:58:27,160 --> 00:58:30,640
Speaker 1: I'm like, this is immediate and intense and there's no

1124
00:58:31,720 --> 00:58:36,080
Speaker 1: filter of song and dance through it, you know what

1125
00:58:36,080 --> 00:58:36,439
Speaker 1: I mean?

1126
00:58:36,560 --> 00:58:38,800
Speaker 2: Like what Er needs is a fucking musical number to

1127
00:58:38,960 --> 00:58:41,720
Speaker 2: can bring some of this drama down. Some of these.

1128
00:58:41,640 --> 00:58:45,280
Speaker 1: Fucking doctors need to be wearing top hats. Come on,

1129
00:58:46,200 --> 00:58:49,200
Speaker 1: can we get Noah Wiley in some fucking character shoes?

1130
00:58:49,240 --> 00:58:53,240
Speaker 1: What the fuck? Yeah? But you know what I mean,

1131
00:58:53,280 --> 00:58:56,120
Speaker 1: Like it just felt like a little bit. I think

1132
00:58:56,160 --> 00:58:59,400
Speaker 1: the theatrics of it helps helped me and helped me

1133
00:59:00,120 --> 00:59:02,600
Speaker 1: to move through that. Like I said, when we were

1134
00:59:02,640 --> 00:59:04,640
Speaker 1: coming up with movies for this theme, it took me

1135
00:59:04,680 --> 00:59:07,040
Speaker 1: a while. I think it was like a very last

1136
00:59:07,080 --> 00:59:09,600
Speaker 1: minute choice for me. But then I was like, of course,

1137
00:59:09,680 --> 00:59:12,960
Speaker 1: because it was like, it is the movie that I

1138
00:59:13,000 --> 00:59:17,120
Speaker 1: think I could watch and have watched, like when I'm

1139
00:59:17,160 --> 00:59:19,960
Speaker 1: on the couch sort of just experiencing like you know,

1140
00:59:20,440 --> 00:59:22,720
Speaker 1: a cold or you know, a hangover, and it does

1141
00:59:22,840 --> 00:59:26,800
Speaker 1: feel like something that feels like a dream, you know, right.

1142
00:59:27,760 --> 00:59:30,600
Speaker 1: And the other thing that I love about this movie too,

1143
00:59:30,880 --> 00:59:34,240
Speaker 1: is that there's a lot of cameos in the film

1144
00:59:34,400 --> 00:59:37,240
Speaker 1: of people that we know now but back in this

1145
00:59:37,560 --> 00:59:40,480
Speaker 1: you know, seventy nine, they were probably all just working actors.

1146
00:59:40,480 --> 00:59:42,040
Speaker 1: So I mean, there were so many people in this movie.

1147
00:59:42,080 --> 00:59:45,720
Speaker 1: I mean, like you spoke about, there's early scenes of

1148
00:59:45,800 --> 00:59:49,080
Speaker 1: like Joe as a child working in like the burlesque

1149
00:59:49,200 --> 00:59:53,960
Speaker 1: circuit and like the you know, Keith Gordon plays Joe

1150
00:59:54,080 --> 00:59:57,000
Speaker 1: Gideon as a child and he is very young. I

1151
00:59:57,080 --> 00:59:59,440
Speaker 1: was like, wow, I forgot that that's Keith Gordon. But

1152
00:59:59,560 --> 01:00:04,080
Speaker 1: you have like John Lithgow, Ben Vereen. There's like a

1153
01:00:04,200 --> 01:00:07,480
Speaker 1: huge scene of him performing towards the end of the film.

1154
01:00:07,880 --> 01:00:12,600
Speaker 1: Wallace Sean fucking cch Pounder is in this movie, like

1155
01:00:12,680 --> 01:00:16,440
Speaker 1: she's like nurse. I'm like, and like, maybe even more shocking,

1156
01:00:17,640 --> 01:00:21,560
Speaker 1: or the most shocking is the fucking dad from alf is.

1157
01:00:21,520 --> 01:00:24,120
Speaker 2: In this Max Right. Max Right is in this movie,

1158
01:00:24,480 --> 01:00:28,120
Speaker 2: and when you see him, it's if you know anything

1159
01:00:28,160 --> 01:00:32,400
Speaker 2: about the scandalous end of his life, it is really

1160
01:00:32,440 --> 01:00:34,480
Speaker 2: wild to see him as like a younger man in

1161
01:00:34,520 --> 01:00:35,800
Speaker 2: this movie. Knowing what's coming.

1162
01:00:36,760 --> 01:00:42,160
Speaker 1: I don't know anything about what what happened to?

1163
01:00:42,840 --> 01:00:47,160
Speaker 2: What are you doing? Wait? What I knew that?

1164
01:00:47,280 --> 01:00:50,439
Speaker 1: Okay, I knew that the guy who created ALF, because

1165
01:00:50,520 --> 01:00:53,000
Speaker 1: isn't that what Permanent Midnight is about? Is like he

1166
01:00:53,160 --> 01:00:55,600
Speaker 1: was a drug addict at one point. So you're telling

1167
01:00:55,600 --> 01:00:58,160
Speaker 1: me the dad from ALF. Something else actually happened with

1168
01:00:58,200 --> 01:00:59,120
Speaker 1: the dad from ALF too.

1169
01:00:59,160 --> 01:01:02,360
Speaker 2: ALF. Let's just say that ELF was an enabler. He

1170
01:01:02,480 --> 01:01:07,480
Speaker 2: was the gateway for a lot of people. And it's

1171
01:01:07,560 --> 01:01:14,320
Speaker 2: kind of a sad story, but back's right ended up.

1172
01:01:15,040 --> 01:01:20,000
Speaker 2: There are photos of him smoking crack cocaine, and he

1173
01:01:20,160 --> 01:01:23,040
Speaker 2: was involved with like gay porn and like the end

1174
01:01:23,080 --> 01:01:24,800
Speaker 2: of his life was very scandalous.

1175
01:01:25,400 --> 01:01:26,160
Speaker 1: Wow.

1176
01:01:27,080 --> 01:01:29,520
Speaker 2: Yeah, Like they were like in the news, like in

1177
01:01:29,600 --> 01:01:32,280
Speaker 2: I remember in the news and in the newspapers it

1178
01:01:32,360 --> 01:01:34,480
Speaker 2: was him and Marion Barry. They're like, I'm like, these

1179
01:01:34,480 --> 01:01:36,160
Speaker 2: hotel cams do not miss.

1180
01:01:37,480 --> 01:01:41,360
Speaker 1: I what happened with the show ALF? Is it like

1181
01:01:41,400 --> 01:01:42,400
Speaker 1: a tainted production?

1182
01:01:42,560 --> 01:01:46,720
Speaker 2: Like what I know, ALF is cursed. I think everyone

1183
01:01:46,720 --> 01:01:49,240
Speaker 2: else came out kind of unscathed. Like the daughter is

1184
01:01:49,280 --> 01:01:52,840
Speaker 2: a yoga teacher now, and I think the son joined

1185
01:01:52,840 --> 01:01:57,960
Speaker 2: the military or something like that. Whoa, But yeah, Alf

1186
01:01:58,160 --> 01:01:59,200
Speaker 2: was not fucking around.

1187
01:02:00,520 --> 01:02:02,560
Speaker 1: Damn. How did I not know you have this party

1188
01:02:02,600 --> 01:02:07,120
Speaker 1: trick about knowing about everyone's after elf life?

1189
01:02:08,160 --> 01:02:10,200
Speaker 2: Because he was so shocking to me that I'm like,

1190
01:02:10,240 --> 01:02:13,680
Speaker 2: this was a family show on like NBC at eight o'clock,

1191
01:02:14,320 --> 01:02:17,080
Speaker 2: like a typical sitcom, and then when you read about

1192
01:02:17,160 --> 01:02:19,640
Speaker 2: the background of it, you're like, I will never forget this,

1193
01:02:19,800 --> 01:02:21,480
Speaker 2: that this is what was going on behind this like

1194
01:02:21,640 --> 01:02:23,040
Speaker 2: lighthearted family show.

1195
01:02:23,840 --> 01:02:25,320
Speaker 1: Well, and that's the thing is that when he shows

1196
01:02:25,360 --> 01:02:26,760
Speaker 1: up in the movie, I was like, who is that?

1197
01:02:27,040 --> 01:02:28,840
Speaker 1: I know that guy? You know you have that moment

1198
01:02:28,920 --> 01:02:30,880
Speaker 1: and then you're like, oh, it's the dad from ALF

1199
01:02:31,040 --> 01:02:33,840
Speaker 1: and that Wow. What everything you just told me has

1200
01:02:33,880 --> 01:02:37,280
Speaker 1: just blown me away. That's unbelievable.

1201
01:02:37,600 --> 01:02:39,600
Speaker 2: Yeah, it's sad. And he even like, you know, he

1202
01:02:39,640 --> 01:02:42,240
Speaker 2: died of a like a cancer related illness, I believe,

1203
01:02:42,280 --> 01:02:47,600
Speaker 2: and like he but he spoke about how his the

1204
01:02:47,640 --> 01:02:50,080
Speaker 2: time of his life where he was doing drugs kind

1205
01:02:50,080 --> 01:02:51,040
Speaker 2: of derailed his career.

1206
01:02:51,480 --> 01:02:51,760
Speaker 1: Wow.

1207
01:02:51,800 --> 01:02:53,360
Speaker 2: And it's really sad because it was kind of the

1208
01:02:53,440 --> 01:02:56,600
Speaker 2: end of his life and he didn't know. I know

1209
01:02:56,680 --> 01:02:59,280
Speaker 2: a lot of sad shit, folks, A lot of sad shit.

1210
01:03:00,200 --> 01:03:03,960
Speaker 1: U it's information that I needed because I didn't know

1211
01:03:04,000 --> 01:03:04,440
Speaker 1: any of that.

1212
01:03:04,600 --> 01:03:04,840
Speaker 2: Well.

1213
01:03:05,560 --> 01:03:07,959
Speaker 1: I think here's the last thing I'll say too about

1214
01:03:07,960 --> 01:03:10,480
Speaker 1: all that jazz. You know, besides the fact that you know,

1215
01:03:10,800 --> 01:03:12,720
Speaker 1: I've I've shared a lot of personal information of why

1216
01:03:12,720 --> 01:03:15,280
Speaker 1: I'm so connected to this movie. But also there's this

1217
01:03:15,400 --> 01:03:20,200
Speaker 1: amazing performance sequence in the film where Joe's basically showing

1218
01:03:20,200 --> 01:03:23,160
Speaker 1: off his latest number for New York LA to like

1219
01:03:23,240 --> 01:03:27,600
Speaker 1: the investors or whatever. And I'll always remember it, not

1220
01:03:27,680 --> 01:03:33,760
Speaker 1: only because it's basically about like an erotic airline ah

1221
01:03:34,360 --> 01:03:40,320
Speaker 1: where it's like all these like these like airline stewards

1222
01:03:40,320 --> 01:03:44,800
Speaker 1: and stewardess is like being like, hi, welcome to like

1223
01:03:44,840 --> 01:03:50,200
Speaker 1: the topless airline or whatever. It's like very It's it's

1224
01:03:50,280 --> 01:03:54,040
Speaker 1: hilarious to me when I watch it. But also this sequence,

1225
01:03:54,920 --> 01:03:56,840
Speaker 1: by the way, might be the best dance sequence of

1226
01:03:56,840 --> 01:03:59,120
Speaker 1: the whole movie. I have to say. These dancers are

1227
01:03:59,200 --> 01:04:02,520
Speaker 1: fucking on believable. They just have like the most unbelievable

1228
01:04:02,560 --> 01:04:08,360
Speaker 1: bodies and the most unbelievable athletic prowess. It's it's incredible,

1229
01:04:08,400 --> 01:04:13,400
Speaker 1: But also it was the inspiration for Paula Abdul's cold

1230
01:04:13,440 --> 01:04:17,680
Speaker 1: hearted video No Yes, which I was obsessed with as

1231
01:04:17,720 --> 01:04:18,280
Speaker 1: a child.

1232
01:04:19,080 --> 01:04:20,440
Speaker 2: There's even a part of sense.

1233
01:04:20,800 --> 01:04:22,720
Speaker 1: Yeah, there's even a part of the beginning of the

1234
01:04:22,920 --> 01:04:26,640
Speaker 1: Paula Abdul video where the record execs are coming to

1235
01:04:26,680 --> 01:04:28,480
Speaker 1: see them dance and he says, oh, it's supposed to

1236
01:04:28,520 --> 01:04:29,439
Speaker 1: be like a fossy thing.

1237
01:04:29,920 --> 01:04:33,480
Speaker 2: So oh that makes so much sense because I'm like,

1238
01:04:33,480 --> 01:04:34,880
Speaker 2: why is As a kid, I'm like, why is she

1239
01:04:34,960 --> 01:04:37,439
Speaker 2: dancing on scaffolding? What's going on here? Yeah?

1240
01:04:37,440 --> 01:04:39,960
Speaker 1: Why are they humping on scaffold? But now you know

1241
01:04:40,000 --> 01:04:43,680
Speaker 1: where it's it comes from all that. So anyway, if

1242
01:04:43,720 --> 01:04:46,919
Speaker 1: you haven't seen this movie and and felt like maybe

1243
01:04:46,960 --> 01:04:49,160
Speaker 1: you didn't want to because it's like related to the

1244
01:04:49,160 --> 01:04:52,640
Speaker 1: theater or something, don't It's more than that. It's it's

1245
01:04:53,320 --> 01:04:58,919
Speaker 1: very visually stunning. It is a great kind of sit

1246
01:04:59,000 --> 01:05:01,960
Speaker 1: there and let it oak in type of film. And

1247
01:05:02,040 --> 01:05:04,200
Speaker 1: if you've got a couple hours to spare, it's a

1248
01:05:04,200 --> 01:05:04,680
Speaker 1: good time.

1249
01:05:04,800 --> 01:05:07,440
Speaker 2: So absolutely, I'm so glad you picked this. I'm so

1250
01:05:07,480 --> 01:05:10,000
Speaker 2: glad to revisit this movie at any point in time.

1251
01:05:10,880 --> 01:05:13,600
Speaker 2: And it's it's perfect for this theme. Perfect.

1252
01:05:14,000 --> 01:05:18,640
Speaker 1: Thank you. Well, look, let's crack yours wide open, because

1253
01:05:19,000 --> 01:05:20,040
Speaker 1: first watch for me.

1254
01:05:21,280 --> 01:05:24,120
Speaker 2: Cannot wait to talk about this because this is your

1255
01:05:24,160 --> 01:05:28,600
Speaker 2: first watch. I didn't know. So this is a movie

1256
01:05:28,800 --> 01:05:31,520
Speaker 2: that was released in nineteen seventy seven, the Best year,

1257
01:05:31,520 --> 01:05:34,800
Speaker 2: because the year I was born. The screenplay is by

1258
01:05:34,800 --> 01:05:37,920
Speaker 2: Steven Spielberg. It was directed by Steven Spielberg. And my

1259
01:05:38,000 --> 01:05:41,960
Speaker 2: movie is Close Encounters of the Third Kind? Why do

1260
01:05:42,040 --> 01:05:47,360
Speaker 2: you want? I just want to know it's really happening. Bee, Bobby,

1261
01:05:47,640 --> 01:05:56,120
Speaker 2: Bobby Bobby be boo boop bee. So your first question

1262
01:05:56,240 --> 01:05:58,760
Speaker 2: might be what are the first two fucking encounters? And

1263
01:05:58,760 --> 01:06:03,840
Speaker 2: I'm gonna tell you so the first why the third kind?

1264
01:06:04,240 --> 01:06:06,800
Speaker 2: Let me tell you because the first kind, the first

1265
01:06:06,880 --> 01:06:10,640
Speaker 2: encounter with alien life is a sighting, so you just

1266
01:06:10,720 --> 01:06:14,000
Speaker 2: see something, see ufo, you see some shit. The second

1267
01:06:14,080 --> 01:06:18,920
Speaker 2: encounter is physical evidence, so like they've dropped something, like

1268
01:06:19,000 --> 01:06:20,960
Speaker 2: you know, they dropped the log off the fucking plane

1269
01:06:21,040 --> 01:06:21,440
Speaker 2: or something.

1270
01:06:21,880 --> 01:06:22,200
Speaker 1: See.

1271
01:06:22,840 --> 01:06:28,800
Speaker 2: The third encounter is contact. So that's why this is

1272
01:06:28,880 --> 01:06:32,040
Speaker 2: Close Encounters of the Third Kind.

1273
01:06:32,360 --> 01:06:34,720
Speaker 1: Okay, I'm so glad that you clear that up for me,

1274
01:06:34,800 --> 01:06:38,200
Speaker 1: because I was in a moment going is this the

1275
01:06:38,240 --> 01:06:40,040
Speaker 1: third time that the aliens have come?

1276
01:06:40,560 --> 01:06:49,080
Speaker 2: A feel like it's because there's three ships, Like.

1277
01:06:47,160 --> 01:06:49,960
Speaker 1: Like the first kind was fun the second kind was sad,

1278
01:06:50,040 --> 01:06:53,920
Speaker 1: and the third kind is I don't know, like Zany,

1279
01:06:54,240 --> 01:06:54,640
Speaker 1: I don't know.

1280
01:06:56,280 --> 01:07:02,880
Speaker 2: It's the jazz hands fossy version of fuck. And I

1281
01:07:03,000 --> 01:07:04,920
Speaker 2: you know how I know this, and I'm sure it's

1282
01:07:04,960 --> 01:07:07,160
Speaker 2: part of some like larger chart that I should have

1283
01:07:07,200 --> 01:07:10,040
Speaker 2: researched or looked at. I know this because I remember

1284
01:07:10,080 --> 01:07:14,760
Speaker 2: it from the movie poster, this movie, like I remember

1285
01:07:14,840 --> 01:07:16,360
Speaker 2: from the box, like the VHS box.

1286
01:07:17,000 --> 01:07:22,040
Speaker 1: I gotta say for somebody who roast me every week

1287
01:07:22,080 --> 01:07:26,280
Speaker 1: for doing research and providing geeky information about things, you

1288
01:07:26,320 --> 01:07:30,680
Speaker 1: just fucking bring it sometimes, and I appreciate it. I'm

1289
01:07:30,680 --> 01:07:33,080
Speaker 1: so glad I know what this third kind thing is.

1290
01:07:33,240 --> 01:07:35,720
Speaker 2: Yeah, I don't want anyone getting hung up on what

1291
01:07:35,840 --> 01:07:37,840
Speaker 2: kind it is and then not being able to enjoy

1292
01:07:37,880 --> 01:07:40,160
Speaker 2: the movie. Yes, So I'm like, let me give you

1293
01:07:40,200 --> 01:07:43,800
Speaker 2: that information and then we can just move forward, because

1294
01:07:43,800 --> 01:07:48,880
Speaker 2: there's so many different ways to contact a fucking alien apparently,

1295
01:07:49,080 --> 01:07:51,280
Speaker 2: and we're on the third kind. We're coming in hot.

1296
01:07:52,600 --> 01:08:00,360
Speaker 2: So this movie, my one sentence synopsis, is an ordinary

1297
01:08:00,480 --> 01:08:03,600
Speaker 2: dead sees the UFO and it becomes the obsessive point

1298
01:08:03,680 --> 01:08:06,960
Speaker 2: of his life.

1299
01:08:05,720 --> 01:08:06,480
Speaker 1: One hundred percent.

1300
01:08:07,480 --> 01:08:10,240
Speaker 2: So this is a movie that has a great cast.

1301
01:08:10,920 --> 01:08:14,080
Speaker 2: Richard Dreyfus plays one of the main characters, Roy Neary,

1302
01:08:14,720 --> 01:08:18,759
Speaker 2: and his family includes Terry garr and a couple of kids.

1303
01:08:18,880 --> 01:08:23,639
Speaker 2: But like all seventies heavy hitters, the other affected person

1304
01:08:23,680 --> 01:08:27,760
Speaker 2: will say in the movie is Melinda Dylan, who you

1305
01:08:27,880 --> 01:08:31,760
Speaker 2: might know from a Christmas story. She was a mom

1306
01:08:31,800 --> 01:08:33,800
Speaker 2: of the Christmas Story, amongst many other things. And she

1307
01:08:33,880 --> 01:08:38,719
Speaker 2: plays Jillian and her son Barry, who is the cutest

1308
01:08:38,760 --> 01:08:41,320
Speaker 2: little kid, and I've got some background information about him too.

1309
01:08:42,560 --> 01:08:45,280
Speaker 2: So these are kind of like the main players. But

1310
01:08:45,320 --> 01:08:52,160
Speaker 2: we also have Francois Truffoe playing lack Homme, who's like

1311
01:08:52,240 --> 01:08:54,760
Speaker 2: the main scientists that we're going to deal with, and

1312
01:08:55,120 --> 01:08:59,680
Speaker 2: his sidekick slash translator is Bob Balaban. And you know,

1313
01:08:59,720 --> 01:09:01,800
Speaker 2: I love nothing more on this podcast than we get

1314
01:09:01,840 --> 01:09:07,920
Speaker 2: a surprise Balaban, Uh, surprise Balaban, experience.

1315
01:09:07,920 --> 01:09:11,519
Speaker 1: A surprise and delight. Balaban is always a good.

1316
01:09:11,360 --> 01:09:16,720
Speaker 2: Sign completely and he's kind of like a mirror for Spielberg.

1317
01:09:16,760 --> 01:09:19,280
Speaker 2: I feel like in this film and that you know,

1318
01:09:19,400 --> 01:09:22,680
Speaker 2: you kind of are introduced to these these scientists as

1319
01:09:22,720 --> 01:09:24,640
Speaker 2: they're in the desert. You know, they're in Mexico, and

1320
01:09:24,680 --> 01:09:28,639
Speaker 2: they're kind of we realized shortly after this first scene

1321
01:09:28,640 --> 01:09:33,439
Speaker 2: that they're kind of following sightings of UFOs. And one

1322
01:09:33,439 --> 01:09:35,360
Speaker 2: thing that was interesting to me, I haven't seen it yet,

1323
01:09:35,360 --> 01:09:40,120
Speaker 2: but The Fablemans is a recent movie that Spielberg released

1324
01:09:40,120 --> 01:09:44,280
Speaker 2: this last year, and it's autobiographical about him growing up

1325
01:09:44,479 --> 01:09:49,760
Speaker 2: in Arizona. And apparently I think the reason that I'm

1326
01:09:49,800 --> 01:09:52,479
Speaker 2: kind of making this connection now on like my ninetieth

1327
01:09:52,560 --> 01:09:55,880
Speaker 2: viewing of this this movie is that Bob Balaban like

1328
01:09:55,920 --> 01:09:57,960
Speaker 2: has the beard and the glasses and everything, but there

1329
01:09:58,000 --> 01:10:00,320
Speaker 2: was something about the time that he spent in the

1330
01:10:00,320 --> 01:10:04,479
Speaker 2: desert that I think is discussed in The Fableman's. Again,

1331
01:10:04,560 --> 01:10:07,640
Speaker 2: haven't seen it that kind of influenced him wanting to

1332
01:10:07,680 --> 01:10:11,280
Speaker 2: make this film and these kinds of films. So that

1333
01:10:11,439 --> 01:10:13,960
Speaker 2: was very interesting to me this time around. I also

1334
01:10:13,960 --> 01:10:18,920
Speaker 2: read in Vulture an article that's called with et Close Encounters,

1335
01:10:19,439 --> 01:10:23,560
Speaker 2: Spielberg told the same sad story from different eyes, and

1336
01:10:24,280 --> 01:10:28,759
Speaker 2: that article they discuss how he was inspired by watching

1337
01:10:29,120 --> 01:10:31,800
Speaker 2: meteor showers with his dad when he was younger to

1338
01:10:31,880 --> 01:10:36,439
Speaker 2: make this film. And there's a quote from that article

1339
01:10:36,479 --> 01:10:39,600
Speaker 2: that I want to read Neary's big priority shift, a

1340
01:10:39,680 --> 01:10:43,680
Speaker 2: kind of religious conversion comes at the expense of the

1341
01:10:43,720 --> 01:10:47,800
Speaker 2: people who once gave his life meaning. So that is

1342
01:10:47,840 --> 01:10:49,640
Speaker 2: a big thrust of the film is that there is

1343
01:10:49,680 --> 01:10:52,360
Speaker 2: a point and it's like midway through the film where

1344
01:10:52,360 --> 01:10:56,439
Speaker 2: his obsession becomes so intense that his family leaps. And

1345
01:10:56,479 --> 01:10:59,760
Speaker 2: so in this article, what they're saying is ET is

1346
01:10:59,800 --> 01:11:03,080
Speaker 2: telling that story from a different perspective because ET is

1347
01:11:03,120 --> 01:11:05,280
Speaker 2: about a single mom with three kids, or a mom

1348
01:11:05,280 --> 01:11:07,960
Speaker 2: with three kids who's recently split from her husband. So

1349
01:11:08,000 --> 01:11:10,880
Speaker 2: the dad's not there And I never thought of it

1350
01:11:10,880 --> 01:11:12,640
Speaker 2: that way, where they're kind of different sides of the

1351
01:11:12,640 --> 01:11:18,120
Speaker 2: same coin where they had this alien interaction, but it's

1352
01:11:18,200 --> 01:11:21,640
Speaker 2: like after the dad had this obsession with alien. So

1353
01:11:21,720 --> 01:11:24,000
Speaker 2: I think that's kind of cool and interesting that this writer.

1354
01:11:24,080 --> 01:11:26,599
Speaker 2: I think it was Aa Dowd who wrote that who

1355
01:11:26,600 --> 01:11:31,439
Speaker 2: made that connection and ET also looking for facts about

1356
01:11:31,439 --> 01:11:35,120
Speaker 2: this movie. ET was not a sequel to Close Encounters,

1357
01:11:35,560 --> 01:11:38,280
Speaker 2: but it was inspired by Close Encounters because in one

1358
01:11:38,280 --> 01:11:42,439
Speaker 2: of the last scenes there is an alien that comes

1359
01:11:42,479 --> 01:11:46,639
Speaker 2: out a puppet, and Spielberg thought, as he was watching

1360
01:11:46,680 --> 01:11:50,559
Speaker 2: it back, what if that alien didn't leave? What if

1361
01:11:50,560 --> 01:11:53,519
Speaker 2: he stayed? So that is where the inspiration for ET

1362
01:11:53,760 --> 01:11:56,479
Speaker 2: came from. I love this shit because I just love

1363
01:11:57,320 --> 01:11:59,680
Speaker 2: digging into the minds of creative people and figuring out,

1364
01:11:59,680 --> 01:12:01,439
Speaker 2: like where does that idea come from? If you can

1365
01:12:01,479 --> 01:12:03,640
Speaker 2: even pinpoint it, because sometimes you can't, but like, if

1366
01:12:03,720 --> 01:12:07,320
Speaker 2: you can pinpoint it, where's that come from? Yeah, so

1367
01:12:07,400 --> 01:12:11,000
Speaker 2: it comes from this movie. And this movie was inspired

1368
01:12:11,000 --> 01:12:12,840
Speaker 2: by the meteor showers he watched with his dad. It's

1369
01:12:12,840 --> 01:12:16,360
Speaker 2: all connected, folks. There's also a behind the scenes video

1370
01:12:17,200 --> 01:12:21,000
Speaker 2: that's part of the twentieth anniversary Collector's Edition, which I

1371
01:12:21,320 --> 01:12:24,280
Speaker 2: you can find online if you're looking for it, and

1372
01:12:24,320 --> 01:12:27,639
Speaker 2: it's definitely worth seeing if you love this movie.

1373
01:12:27,920 --> 01:12:31,280
Speaker 1: Yeah, that was one thing that I did make sure

1374
01:12:31,280 --> 01:12:34,200
Speaker 1: of because you know, I think to your earlier point

1375
01:12:34,280 --> 01:12:38,040
Speaker 1: about how you know this movie feels like a very

1376
01:12:38,120 --> 01:12:41,400
Speaker 1: early Spielberg movie and that it's kind of like a

1377
01:12:41,439 --> 01:12:44,200
Speaker 1: little unpredictable in that way, like you can tell he's

1378
01:12:44,280 --> 01:12:47,680
Speaker 1: moving through a lot of different ideas. Yeah, And I

1379
01:12:48,000 --> 01:12:51,400
Speaker 1: always feel that that's the case whenever there's like lots

1380
01:12:51,479 --> 01:12:54,760
Speaker 1: of directors cuts quote unquote, like there's a lot of

1381
01:12:54,760 --> 01:12:59,880
Speaker 1: different cuts of a movie where directors come back and

1382
01:13:00,520 --> 01:13:03,160
Speaker 1: re edit things and add things and that kind of stuff.

1383
01:13:03,280 --> 01:13:04,800
Speaker 1: And that was the one thing that I really wanted

1384
01:13:04,800 --> 01:13:06,639
Speaker 1: to make sure I got right. Was when I watched

1385
01:13:06,640 --> 01:13:08,040
Speaker 1: this for the first time, I'm like, all right, what's

1386
01:13:08,080 --> 01:13:11,840
Speaker 1: the what's his version? What's the version that he has sanctioned,

1387
01:13:12,040 --> 01:13:15,519
Speaker 1: you know? And it is that like whatever director's cut

1388
01:13:15,640 --> 01:13:19,559
Speaker 1: version is that one one hundred and thirty seven minute version,

1389
01:13:19,560 --> 01:13:22,879
Speaker 1: which I think is like his most complete vision or whatever.

1390
01:13:23,040 --> 01:13:26,439
Speaker 2: So same, I watched the director's cut. I own the

1391
01:13:26,520 --> 01:13:30,960
Speaker 2: director's cut, but I watched the director's cut because I

1392
01:13:31,000 --> 01:13:33,519
Speaker 2: do feel like when a director's cut is available that

1393
01:13:33,720 --> 01:13:35,519
Speaker 2: I should watch it, like I should see how it

1394
01:13:35,560 --> 01:13:38,240
Speaker 2: was meant to be seen. And sometimes it adds a

1395
01:13:38,240 --> 01:13:40,559
Speaker 2: different flavor, it gives me different thoughts or kind of

1396
01:13:40,600 --> 01:13:42,559
Speaker 2: like you know, has scenes in it that explain things

1397
01:13:42,560 --> 01:13:44,960
Speaker 2: more or make things more confusing. But I feel like

1398
01:13:45,000 --> 01:13:46,960
Speaker 2: it's worth it to watch, you know what, the most

1399
01:13:46,960 --> 01:13:49,479
Speaker 2: pure version of that that movie is.

1400
01:13:49,960 --> 01:13:52,720
Speaker 1: Yeah, and we you know, it's funny because that is

1401
01:13:52,760 --> 01:13:58,320
Speaker 1: something that I think a lot of like hardcore and

1402
01:13:58,400 --> 01:14:02,840
Speaker 1: of files really care about, almost like too much in

1403
01:14:02,880 --> 01:14:07,200
Speaker 1: a weird way, like they're very passionate about run times

1404
01:14:07,240 --> 01:14:09,120
Speaker 1: and versions and stuff. And I think a lot of

1405
01:14:09,160 --> 01:14:12,320
Speaker 1: like casual film people like don't really care but I

1406
01:14:12,360 --> 01:14:16,480
Speaker 1: think in the cases of things like this, it is important,

1407
01:14:16,520 --> 01:14:20,360
Speaker 1: Like if you want to watch like the movie the

1408
01:14:20,560 --> 01:14:24,240
Speaker 1: director intended to make, you know, you will have to

1409
01:14:24,280 --> 01:14:27,160
Speaker 1: seek out a director's cut or like you know, whatever

1410
01:14:27,280 --> 01:14:31,120
Speaker 1: kind of special edition or whatever that director has. And

1411
01:14:31,160 --> 01:14:34,720
Speaker 1: a lot of times, like when home video companies put

1412
01:14:34,760 --> 01:14:39,240
Speaker 1: out releases, you know, sometimes those DVDs or those versions

1413
01:14:39,240 --> 01:14:42,439
Speaker 1: that are on Amazon or wherever aren't the versions that

1414
01:14:42,479 --> 01:14:44,880
Speaker 1: the direct like. You have to actually seek it out,

1415
01:14:44,920 --> 01:14:46,920
Speaker 1: and like you might have to buy it. You might

1416
01:14:46,960 --> 01:14:49,080
Speaker 1: have to buy the Blu ray or get but you know,

1417
01:14:49,280 --> 01:14:52,040
Speaker 1: it takes a little bit of legwork. But if that's

1418
01:14:52,080 --> 01:14:54,559
Speaker 1: something you want, if you want to see like the

1419
01:14:54,600 --> 01:14:58,040
Speaker 1: purest version of a movie from the director's perspective, then

1420
01:14:58,439 --> 01:14:59,880
Speaker 1: you'll have to care.

1421
01:15:00,240 --> 01:15:03,880
Speaker 2: I guess absolutely, yeah, absolutely, yeah, I completely agree, and

1422
01:15:03,920 --> 01:15:06,360
Speaker 2: it's it's worth it. Like I think that again, I've

1423
01:15:06,400 --> 01:15:08,599
Speaker 2: seen this movie so many times. When I first watched

1424
01:15:08,600 --> 01:15:10,760
Speaker 2: the director's cut, there were things in there that I

1425
01:15:10,800 --> 01:15:13,439
Speaker 2: didn't see the first few times i'd watched it, and

1426
01:15:13,479 --> 01:15:16,080
Speaker 2: it changed the story for me, or made the story.

1427
01:15:16,080 --> 01:15:17,840
Speaker 2: I should say it made the story deeper for me,

1428
01:15:18,120 --> 01:15:20,679
Speaker 2: because usually the director's cut is not meant to be confusing.

1429
01:15:20,680 --> 01:15:22,840
Speaker 2: It's not meant to be you know, kind of adding

1430
01:15:22,880 --> 01:15:24,920
Speaker 2: things that don't make sense. It's meant to kind of

1431
01:15:24,960 --> 01:15:28,519
Speaker 2: deepen the story and help with the narrative. So it

1432
01:15:28,560 --> 01:15:30,080
Speaker 2: really did that for me the first time I saw

1433
01:15:30,080 --> 01:15:32,200
Speaker 2: the director's cut, and I loved it because I'm like,

1434
01:15:32,200 --> 01:15:33,880
Speaker 2: this is a movie I'm familiar with. It won't be

1435
01:15:33,920 --> 01:15:35,960
Speaker 2: that different, and it really was. Yeah.

1436
01:15:36,000 --> 01:15:39,519
Speaker 1: And to your point though, especially about this movie, just

1437
01:15:39,520 --> 01:15:42,439
Speaker 1: from you know, basically reading the Wikipedia article before I

1438
01:15:42,680 --> 01:15:45,200
Speaker 1: press play, you know, there was a lot of like

1439
01:15:45,280 --> 01:15:48,400
Speaker 1: studio notes too, which they wanted certain scenes to happen

1440
01:15:48,439 --> 01:15:50,560
Speaker 1: and Spielberg didn't or whatever. So yeah, I mean it

1441
01:15:51,000 --> 01:15:54,479
Speaker 1: is in that way important to see his version of it.

1442
01:15:54,560 --> 01:15:58,519
Speaker 2: So I love it, and I love that there's there's

1443
01:15:58,560 --> 01:16:01,760
Speaker 2: something that like, this is a movie that when you

1444
01:16:01,800 --> 01:16:06,519
Speaker 2: meet the Neery family, when you meet Jillian, they're in Munsey, Indiana.

1445
01:16:06,600 --> 01:16:10,439
Speaker 2: But through the scientists we get this more expansive view

1446
01:16:11,200 --> 01:16:15,439
Speaker 2: of what these UFO sightings mean to people. So there's

1447
01:16:15,439 --> 01:16:17,559
Speaker 2: a scene in Mexico where they're talking to this man

1448
01:16:18,120 --> 01:16:21,400
Speaker 2: who has a sunburn on his face and he says,

1449
01:16:21,400 --> 01:16:23,439
Speaker 2: the sun came out at night and sang to me,

1450
01:16:23,920 --> 01:16:25,599
Speaker 2: and at first you're like, what is he talking about?

1451
01:16:25,720 --> 01:16:28,920
Speaker 2: And it is explained. But then you get to see

1452
01:16:28,960 --> 01:16:32,600
Speaker 2: these scientists in India where people who have seen this

1453
01:16:32,800 --> 01:16:35,960
Speaker 2: UFO sighting are kind of chanting the same five notes

1454
01:16:36,000 --> 01:16:39,479
Speaker 2: over and over again. And there's something I think. That's

1455
01:16:39,600 --> 01:16:41,439
Speaker 2: why I get so emotional about shit like this, why

1456
01:16:41,439 --> 01:16:44,160
Speaker 2: I get so emotional about sci fi movies. There's something

1457
01:16:44,760 --> 01:16:48,280
Speaker 2: so connective of thinking about ourselves as a micro part

1458
01:16:48,360 --> 01:16:51,920
Speaker 2: of a huge universe. And so whenever sci fi movies

1459
01:16:51,920 --> 01:16:55,479
Speaker 2: start to connect countries and nations and you know, things

1460
01:16:55,520 --> 01:16:58,400
Speaker 2: where we've arbitrarily made these man made decisions about what

1461
01:16:58,520 --> 01:17:01,880
Speaker 2: separates us. I think my connection to sci fi is

1462
01:17:01,920 --> 01:17:04,559
Speaker 2: that it's more about what unites us. So I just

1463
01:17:04,640 --> 01:17:07,960
Speaker 2: really love those scenes in the movie as well, and

1464
01:17:08,000 --> 01:17:12,679
Speaker 2: that chant, that five note chant, is a really crucial

1465
01:17:12,720 --> 01:17:15,639
Speaker 2: part of the storyline. And John Williams did the music

1466
01:17:15,640 --> 01:17:17,280
Speaker 2: for this movie, and he does the music for most

1467
01:17:17,320 --> 01:17:21,360
Speaker 2: of Spielberg's movies. But it's this five notes system that

1468
01:17:21,400 --> 01:17:22,920
Speaker 2: I think, what did they base it on? They based

1469
01:17:22,960 --> 01:17:27,320
Speaker 2: it on the soul fag system of musical education. So

1470
01:17:27,320 --> 01:17:29,800
Speaker 2: if you're familiar with music at all, feel free to

1471
01:17:29,840 --> 01:17:33,880
Speaker 2: tell me what that is. But it's based on something

1472
01:17:33,920 --> 01:17:36,960
Speaker 2: real and it took them a long time to figure

1473
01:17:36,960 --> 01:17:39,559
Speaker 2: out like what the five Notes would be. So again,

1474
01:17:40,360 --> 01:17:42,880
Speaker 2: all of the details of this film are very, very,

1475
01:17:42,960 --> 01:17:45,720
Speaker 2: very interesting, and they gel in such a way that

1476
01:17:45,880 --> 01:17:48,640
Speaker 2: by the time they're telling the full story, it just

1477
01:17:48,680 --> 01:17:52,559
Speaker 2: becomes again so much more emotional for me. So the

1478
01:17:52,600 --> 01:17:55,720
Speaker 2: way we're first, you know, introduced to these notes is

1479
01:17:55,720 --> 01:18:00,479
Speaker 2: with this chant, and then we see it through the characters.

1480
01:18:00,520 --> 01:18:04,679
Speaker 2: So what basically happens is one night in Muncie. Roy

1481
01:18:04,760 --> 01:18:08,240
Speaker 2: is this electrician. He gets a call because all the

1482
01:18:08,280 --> 01:18:11,080
Speaker 2: electricity is going out all over town and nobody can

1483
01:18:11,120 --> 01:18:15,000
Speaker 2: figure out what's going on. And we're seeing this event

1484
01:18:15,400 --> 01:18:17,760
Speaker 2: happen through two different sets of eyes. So first we

1485
01:18:17,840 --> 01:18:21,880
Speaker 2: have Roy, who's like, you know, one person that we

1486
01:18:21,880 --> 01:18:24,439
Speaker 2: have is Roy, who's like running around at work. They're

1487
01:18:24,439 --> 01:18:27,240
Speaker 2: trying to figure it out. There's one guy in the

1488
01:18:27,320 --> 01:18:29,599
Speaker 2: scene who's like, Eh, just let it break and we'll

1489
01:18:29,600 --> 01:18:31,479
Speaker 2: fix it when it's when it's done. And I'm like,

1490
01:18:31,520 --> 01:18:33,120
Speaker 2: I do not ever want to meet that guy. I

1491
01:18:33,160 --> 01:18:35,120
Speaker 2: hate that guy. I don't want to know that guy.

1492
01:18:35,680 --> 01:18:39,080
Speaker 2: He's like corners guy, Yeah, kind of corners guy's like, ah,

1493
01:18:39,200 --> 01:18:40,960
Speaker 2: let the whole thing fail and then we'll figure out

1494
01:18:40,960 --> 01:18:44,439
Speaker 2: what happened. And I'm like hate that, But then we

1495
01:18:44,560 --> 01:18:47,680
Speaker 2: also get to see this experience through Barry's eyes. And

1496
01:18:47,720 --> 01:18:51,600
Speaker 2: Barry is this three year old he's Jillian's son and

1497
01:18:51,640 --> 01:18:57,320
Speaker 2: he's played by Carrie Guffey, and he all the toys

1498
01:18:57,360 --> 01:18:59,439
Speaker 2: in his room start coming on and like the TV

1499
01:18:59,560 --> 01:19:01,920
Speaker 2: comes on in his mom's room, like there's an electrical

1500
01:19:01,920 --> 01:19:05,519
Speaker 2: event happening that wakes him up, and he goes down

1501
01:19:05,560 --> 01:19:07,800
Speaker 2: to his kitchen. It looks like there's a fucking frat

1502
01:19:07,840 --> 01:19:11,000
Speaker 2: party that happened. Like the refrigerator is just like smashed open,

1503
01:19:11,120 --> 01:19:15,040
Speaker 2: everything's pulled out, and he kind of goes outside and

1504
01:19:15,080 --> 01:19:18,320
Speaker 2: he's running around and he's laughing, and his mom wakes

1505
01:19:18,360 --> 01:19:19,840
Speaker 2: up and is like what the fuck and she goes

1506
01:19:19,880 --> 01:19:22,559
Speaker 2: to get him and they end. He ends up like

1507
01:19:22,680 --> 01:19:25,240
Speaker 2: he's running, like he's running up a hill and she

1508
01:19:25,439 --> 01:19:28,240
Speaker 2: kind of follows him up this hill and he almost

1509
01:19:28,240 --> 01:19:30,280
Speaker 2: gets hit by a truck and the truck is driven

1510
01:19:30,320 --> 01:19:34,640
Speaker 2: by Roy Roy Neary because Roy is sent out for

1511
01:19:34,760 --> 01:19:38,280
Speaker 2: work to investigate one of these outages, and the same

1512
01:19:38,400 --> 01:19:40,479
Speaker 2: kind of electrical shit happens to him. So he's sitting

1513
01:19:40,520 --> 01:19:42,920
Speaker 2: in his truck at a railroad stop and shit just

1514
01:19:42,920 --> 01:19:45,920
Speaker 2: starts going haywire and his truck turns off, and like

1515
01:19:46,280 --> 01:19:50,080
Speaker 2: papers are flying, like the mailboxes are rattling next to him,

1516
01:19:50,120 --> 01:19:52,799
Speaker 2: like it is just like everything is like there's something

1517
01:19:52,880 --> 01:19:57,920
Speaker 2: happening that he cannot describe. So he then sees he

1518
01:19:57,960 --> 01:20:00,599
Speaker 2: looks up in the sky and he sees this dark

1519
01:20:00,760 --> 01:20:03,639
Speaker 2: ship just passing through the night, and they're so creepy

1520
01:20:03,680 --> 01:20:05,679
Speaker 2: and eerie. Something that I really love about this movie

1521
01:20:05,720 --> 01:20:07,759
Speaker 2: is that the way that you sound or don't you sound,

1522
01:20:07,800 --> 01:20:11,519
Speaker 2: is so important because in that moment, you have all

1523
01:20:11,520 --> 01:20:14,479
Speaker 2: this commotion going on, and then it stops. All the

1524
01:20:14,560 --> 01:20:17,240
Speaker 2: lights in town are out, and there's just this kind

1525
01:20:17,240 --> 01:20:19,679
Speaker 2: of hint of a ship just floating through the sky.

1526
01:20:20,240 --> 01:20:22,639
Speaker 2: So he decides to fucking follow it. He's like, I'm

1527
01:20:22,640 --> 01:20:24,799
Speaker 2: gonna go see what the hell this is all about.

1528
01:20:25,120 --> 01:20:28,479
Speaker 2: Like his obsession point is almost immediate. And so as

1529
01:20:28,520 --> 01:20:31,400
Speaker 2: he's driving crazily trying to figure out like what this

1530
01:20:31,439 --> 01:20:33,840
Speaker 2: thing is and where it's going, and he's listening, like

1531
01:20:33,920 --> 01:20:35,840
Speaker 2: once his truck comes back on, he's hearing all these

1532
01:20:35,880 --> 01:20:39,800
Speaker 2: reports of people citing this thing as well and he

1533
01:20:39,840 --> 01:20:42,080
Speaker 2: almost hits Barry as he drives up this hill. That's

1534
01:20:42,080 --> 01:20:47,360
Speaker 2: how he meets Jillian, and these three little ships come down,

1535
01:20:47,400 --> 01:20:50,280
Speaker 2: These three dots of light just kind of come down.

1536
01:20:51,080 --> 01:20:52,920
Speaker 2: And I have to say that for a movie that

1537
01:20:53,040 --> 01:20:57,320
Speaker 2: is forty five years old, somehow the graphics still hold up.

1538
01:20:57,720 --> 01:20:59,880
Speaker 2: Like it doesn't come across as cheesy. It doesn't come

1539
01:21:00,000 --> 01:21:01,960
Speaker 2: across it's like, you know, you're looking at like an

1540
01:21:02,000 --> 01:21:04,880
Speaker 2: old Edwood movie with like a fucking flying saucer on

1541
01:21:04,920 --> 01:21:05,880
Speaker 2: a string, it.

1542
01:21:05,880 --> 01:21:10,920
Speaker 1: Real album or whatever exactly.

1543
01:21:11,120 --> 01:21:13,240
Speaker 2: No, just it holds up. And so they just kind

1544
01:21:13,240 --> 01:21:15,000
Speaker 2: of are on top of this hill with one or

1545
01:21:15,040 --> 01:21:17,600
Speaker 2: two other people, like a family and a guy, and

1546
01:21:17,640 --> 01:21:20,720
Speaker 2: they have this kind of shared experience together and then

1547
01:21:20,760 --> 01:21:23,000
Speaker 2: the ships go away and everyone has to go home

1548
01:21:23,040 --> 01:21:25,160
Speaker 2: and go back to their lives. But what they don't

1549
01:21:25,200 --> 01:21:28,800
Speaker 2: realize is that having shared this event, they've all kind

1550
01:21:28,840 --> 01:21:33,960
Speaker 2: of been infected by a thought. And the thought is

1551
01:21:34,040 --> 01:21:38,960
Speaker 2: this image of this kind of mound they can't explain.

1552
01:21:39,600 --> 01:21:42,160
Speaker 2: And Roy's got like, you know, like the half sunburned face,

1553
01:21:42,200 --> 01:21:44,080
Speaker 2: and he's kind of explaining to his wife, like we

1554
01:21:44,120 --> 01:21:47,439
Speaker 2: got to go and see this thing, like it's super special,

1555
01:21:47,520 --> 01:21:49,120
Speaker 2: and she gets in the car and they go out

1556
01:21:49,120 --> 01:21:52,800
Speaker 2: and nothing happens, and she's skeptical almost instantly, like she

1557
01:21:52,960 --> 01:21:55,360
Speaker 2: goes along with it the first night, but then she's like, hmmm,

1558
01:21:55,640 --> 01:21:57,880
Speaker 2: I don't love this, even though there are reports in

1559
01:21:57,920 --> 01:22:01,240
Speaker 2: the paper of a UFO sighting, so everyone's kind of

1560
01:22:01,320 --> 01:22:05,880
Speaker 2: seeing this image. And then they're also hearing those five notes,

1561
01:22:06,439 --> 01:22:09,240
Speaker 2: so Barry starts playing them on his little toy xylophone

1562
01:22:10,080 --> 01:22:15,880
Speaker 2: that they're all individually afflicted, and they don't they don't

1563
01:22:15,920 --> 01:22:18,599
Speaker 2: know that they've all been individually afflicted. So we're seeing

1564
01:22:18,640 --> 01:22:22,800
Speaker 2: it play out in each individual character. One thing that

1565
01:22:22,960 --> 01:22:27,519
Speaker 2: is hilarious to me about the UFO scene that first

1566
01:22:27,600 --> 01:22:30,599
Speaker 2: night is that the cops are chasing the ships, and

1567
01:22:30,640 --> 01:22:36,560
Speaker 2: you're like, why why are you cops chasing the ships

1568
01:22:37,080 --> 01:22:42,080
Speaker 2: that are clearly from another planet like zipping through the sky.

1569
01:22:42,520 --> 01:22:45,080
Speaker 2: But also what cracks me up is the ships. At

1570
01:22:45,120 --> 01:22:50,120
Speaker 2: one point they raised the gates at a toll booth

1571
01:22:50,720 --> 01:22:52,160
Speaker 2: and just kind of slide in, and I'm like, that's

1572
01:22:52,200 --> 01:22:56,320
Speaker 2: really polite. They didn't just smash in the gates, they

1573
01:22:56,400 --> 01:23:01,080
Speaker 2: raised them up. Yeah, it's so polite. So so Roy

1574
01:23:01,120 --> 01:23:04,400
Speaker 2: gets his whole family and is like, I have had

1575
01:23:04,439 --> 01:23:07,200
Speaker 2: this vision. I see this shape. His wife is skeptical,

1576
01:23:07,920 --> 01:23:10,479
Speaker 2: and then he goes back out the next night to

1577
01:23:10,560 --> 01:23:14,080
Speaker 2: look and it's a fucking party. Jillian is there and

1578
01:23:14,120 --> 01:23:16,080
Speaker 2: she also kind of has a sunburn, so they're talking

1579
01:23:16,080 --> 01:23:19,599
Speaker 2: about how weird it is, and he sees Barry making

1580
01:23:19,680 --> 01:23:23,040
Speaker 2: this shape in the mud, and that's when Roy starts

1581
01:23:23,040 --> 01:23:27,960
Speaker 2: to realize, like I we are having a shared experience here,

1582
01:23:28,000 --> 01:23:30,160
Speaker 2: like we're both seeing this shape and we don't know why,

1583
01:23:30,720 --> 01:23:33,719
Speaker 2: and they're obsessively starting to kind of make the shape

1584
01:23:34,080 --> 01:23:37,000
Speaker 2: everywhere you go. So one thing that makes for me,

1585
01:23:37,080 --> 01:23:40,400
Speaker 2: that makes us a really good couch sick day bacchiotomy movie,

1586
01:23:40,960 --> 01:23:43,920
Speaker 2: is that there's so much to dig into right away,

1587
01:23:43,960 --> 01:23:47,519
Speaker 2: because even though we're focusing on Roy neary, we're looking

1588
01:23:47,520 --> 01:23:50,160
Speaker 2: at this event from the perspective of so many different eyes.

1589
01:23:51,120 --> 01:23:56,879
Speaker 2: And that is never more true than when we see

1590
01:23:57,080 --> 01:24:00,640
Speaker 2: Barry get abducted. So prior to this, we've got the

1591
01:24:00,640 --> 01:24:04,960
Speaker 2: French team chasing the UFOs. They come to the US.

1592
01:24:05,800 --> 01:24:08,880
Speaker 2: They've been working with these five notes that they heard

1593
01:24:08,920 --> 01:24:12,080
Speaker 2: in India, and Bob Balaban is the one who's finally like, yo,

1594
01:24:12,160 --> 01:24:16,640
Speaker 2: these are fucking coordinates, Like these are coordinates in Wyoming.

1595
01:24:16,880 --> 01:24:20,520
Speaker 2: These are longitude numbers, so they figure out that Wyoming

1596
01:24:20,640 --> 01:24:23,639
Speaker 2: is kind of a ground zero for something, some kind

1597
01:24:23,680 --> 01:24:26,080
Speaker 2: of event, like this is what the ship is beaming

1598
01:24:26,120 --> 01:24:29,519
Speaker 2: back to them after they start playing this note out

1599
01:24:29,560 --> 01:24:33,280
Speaker 2: to the sky. So the ships come back. They do

1600
01:24:33,360 --> 01:24:42,000
Speaker 2: come back eventually, and Barry is kind of like joyfully

1601
01:24:42,080 --> 01:24:45,000
Speaker 2: drawn to them, like he's not fearful of them. But

1602
01:24:45,160 --> 01:24:48,599
Speaker 2: what I read about this scene is that the way

1603
01:24:48,840 --> 01:24:52,080
Speaker 2: that Spielberg got such strong reactions out of this three

1604
01:24:52,120 --> 01:24:56,640
Speaker 2: year old is that off screen he was like he

1605
01:24:56,680 --> 01:24:59,639
Speaker 2: had people dressed as clowns and he had people playing

1606
01:24:59,680 --> 01:25:03,439
Speaker 2: with and so his reactions are really pure when he's

1607
01:25:03,479 --> 01:25:06,800
Speaker 2: like ice cream and you know, toys like he because

1608
01:25:06,800 --> 01:25:09,640
Speaker 2: that's what Spielberg was doing off screen. And then to

1609
01:25:09,680 --> 01:25:12,960
Speaker 2: get the kind of jump scare, scary reactions for him,

1610
01:25:13,000 --> 01:25:15,680
Speaker 2: he had people jump out in like gorilla suits and

1611
01:25:15,920 --> 01:25:19,639
Speaker 2: jump out like as clowns and shit. So maybe scarring

1612
01:25:19,680 --> 01:25:23,320
Speaker 2: for life, but what a performance. What a performance. Don't

1613
01:25:23,320 --> 01:25:26,680
Speaker 2: think it would be sanctioned today, but what a performance

1614
01:25:26,720 --> 01:25:29,160
Speaker 2: from this kid who's just like this pure little sweet

1615
01:25:29,160 --> 01:25:33,720
Speaker 2: face and really seems too like he's not afraid of

1616
01:25:33,760 --> 01:25:37,880
Speaker 2: these of the ship or these beings. So there's this

1617
01:25:38,120 --> 01:25:42,479
Speaker 2: crucial scene. It's so it's been parodied, it's so well known.

1618
01:25:42,520 --> 01:25:44,439
Speaker 2: Even if you haven't seen the movie, I guarantee you've

1619
01:25:44,439 --> 01:25:47,720
Speaker 2: seen a part of this scene where he opens the

1620
01:25:47,760 --> 01:25:51,720
Speaker 2: door and it's just this red light all outside, like

1621
01:25:51,760 --> 01:25:56,040
Speaker 2: he's just kind of just this silhouette bathed in this

1622
01:25:56,120 --> 01:25:59,080
Speaker 2: red light, and his mom gets up and snatches him,

1623
01:25:59,400 --> 01:26:02,479
Speaker 2: and then there is side and the aliens are like,

1624
01:26:02,520 --> 01:26:05,240
Speaker 2: oh man, we are coming in. And they start like

1625
01:26:05,520 --> 01:26:07,920
Speaker 2: they're like, we will send a vacuum after you. We

1626
01:26:08,000 --> 01:26:11,800
Speaker 2: will unscrew this fucking event, Like there's something We're gonna

1627
01:26:11,800 --> 01:26:14,040
Speaker 2: come down through the fucking chimney. Like she is trying

1628
01:26:14,080 --> 01:26:17,679
Speaker 2: to fight them from getting in, and she's constantly running

1629
01:26:17,720 --> 01:26:20,080
Speaker 2: around and like you know, plugging the holes of her

1630
01:26:20,080 --> 01:26:22,160
Speaker 2: house so to speak, so that they can't get in.

1631
01:26:23,400 --> 01:26:26,360
Speaker 2: And Barry sweet as he is just cross out through

1632
01:26:26,400 --> 01:26:29,760
Speaker 2: the doggy door, and she's like, I'm sorry, did you

1633
01:26:29,800 --> 01:26:31,519
Speaker 2: not see me running around trying to keep these fucking

1634
01:26:31,560 --> 01:26:34,719
Speaker 2: things out? And this is again an iconic scene because

1635
01:26:34,720 --> 01:26:37,479
Speaker 2: he's crawling through the door and she's holding onto him

1636
01:26:37,880 --> 01:26:39,280
Speaker 2: and they just snatch him.

1637
01:26:39,600 --> 01:26:43,479
Speaker 1: Yeah, something, I mean, we talked about this at the

1638
01:26:43,479 --> 01:26:47,400
Speaker 1: beginning of this episode about homes like I could never

1639
01:26:47,520 --> 01:26:49,479
Speaker 1: I would never have a doggy door in my house,

1640
01:26:49,560 --> 01:26:53,240
Speaker 1: obviously because it's locked up pretty tight. But there's been

1641
01:26:53,320 --> 01:26:58,280
Speaker 1: so many movies where the doggy door plays into the

1642
01:26:58,320 --> 01:27:01,080
Speaker 1: plot in a very not go way, like.

1643
01:27:01,000 --> 01:27:02,080
Speaker 2: Oh, yeah, home alone.

1644
01:27:02,400 --> 01:27:05,639
Speaker 1: They're just robbers were coming through the doggy door. Kevin

1645
01:27:05,680 --> 01:27:08,360
Speaker 1: had to shoot that one guy in the face. This

1646
01:27:08,479 --> 01:27:10,760
Speaker 1: kid gets abducted through the doggy door. I don't know.

1647
01:27:10,800 --> 01:27:13,479
Speaker 1: I'm just saying, why do people still have those things?

1648
01:27:13,720 --> 01:27:15,439
Speaker 2: Yeah, movies have been telling us for years this is

1649
01:27:15,479 --> 01:27:22,480
Speaker 2: not a good idea. Now, counterpoint windows, windows, counter windows,

1650
01:27:22,840 --> 01:27:27,080
Speaker 2: but a doggy door just seems like an invitation to

1651
01:27:27,160 --> 01:27:29,719
Speaker 2: come in. Like there's a fucking hole in my house

1652
01:27:30,160 --> 01:27:34,120
Speaker 2: that is unmanned at all hours. Yeah, that my dog uses,

1653
01:27:34,200 --> 01:27:37,080
Speaker 2: so there's not alarmed at all. I just come on

1654
01:27:37,160 --> 01:27:38,280
Speaker 2: in and I know you can said.

1655
01:27:38,120 --> 01:27:41,599
Speaker 1: The rubber flap. That is, Yeah, protecting your child from

1656
01:27:41,640 --> 01:27:43,160
Speaker 1: alien abduction, that is.

1657
01:27:43,120 --> 01:27:45,639
Speaker 2: I mean been telling us for years, y'all get rid

1658
01:27:45,640 --> 01:27:48,479
Speaker 2: of those doggy doors. So he's gone, Barry's fucking gone,

1659
01:27:48,520 --> 01:27:52,200
Speaker 2: and Mom's like, freaking Ashley, what the fuck this happened.

1660
01:27:52,800 --> 01:27:54,920
Speaker 2: Like I was cool with the sunburn, I was cool

1661
01:27:54,960 --> 01:27:58,320
Speaker 2: with the mud like sculpture. I am not cool with

1662
01:27:58,360 --> 01:28:02,040
Speaker 2: my child being snatched. So she fucking panics and then

1663
01:28:02,200 --> 01:28:04,719
Speaker 2: we kind of go back to Roy, who was again

1664
01:28:04,760 --> 01:28:08,760
Speaker 2: in another iconic scene. We're seeing his obsession build and

1665
01:28:08,840 --> 01:28:10,640
Speaker 2: he's a dinner sitting it down at dinner with his

1666
01:28:10,680 --> 01:28:13,240
Speaker 2: family one night, and he takes the mashed potato bowl

1667
01:28:13,840 --> 01:28:16,519
Speaker 2: and just starts loading him on his plate and he

1668
01:28:16,600 --> 01:28:22,240
Speaker 2: starts sculpting this thing. And what's to me so memorable

1669
01:28:22,240 --> 01:28:24,880
Speaker 2: about this scene and so impactful about this scene is

1670
01:28:24,920 --> 01:28:27,960
Speaker 2: that you just see you're kind of focused on Roy,

1671
01:28:28,000 --> 01:28:30,439
Speaker 2: but then right in the background is his son, and

1672
01:28:30,479 --> 01:28:33,880
Speaker 2: his son just silently starts crying, like tears are just

1673
01:28:34,000 --> 01:28:37,759
Speaker 2: streaming down his face because he's like something is absolutely wrong.

1674
01:28:38,400 --> 01:28:40,240
Speaker 2: We don't know what it is, but like he's kind

1675
01:28:40,240 --> 01:28:43,520
Speaker 2: of watching his dad go a little bit insane.

1676
01:28:44,240 --> 01:28:46,160
Speaker 1: Yeah, and that was just so emotional.

1677
01:28:46,640 --> 01:28:50,960
Speaker 2: Yeah, it hits so hard, Oh so hard. I think

1678
01:28:51,000 --> 01:28:53,719
Speaker 2: it was Toby who was justin Dreyfus, who's his actual

1679
01:28:53,760 --> 01:28:57,439
Speaker 2: son in that scene, but it just really hit very,

1680
01:28:57,720 --> 01:29:03,759
Speaker 2: very hard. And post that scene, we see the government

1681
01:29:03,840 --> 01:29:06,280
Speaker 2: again is like Uh, so we know something's gonna happen

1682
01:29:06,280 --> 01:29:08,839
Speaker 2: in Wyoming, why don't we create a fake train accident,

1683
01:29:09,080 --> 01:29:13,559
Speaker 2: a gas leak so we can go to this Devil's

1684
01:29:13,720 --> 01:29:17,240
Speaker 2: tower at Wyoming and figure out what's gonna happen here. So,

1685
01:29:17,400 --> 01:29:22,320
Speaker 2: as it turns out, what they've been sculpting, and you know,

1686
01:29:22,560 --> 01:29:25,439
Speaker 2: Roy gets to a point where he's truly obsessed and

1687
01:29:25,479 --> 01:29:30,000
Speaker 2: he sculpts the whole thing in his basement by chucking

1688
01:29:30,080 --> 01:29:34,519
Speaker 2: trees into his house and demolishing the garden. He like

1689
01:29:34,600 --> 01:29:39,520
Speaker 2: goes out one morning and is like fences, trees, shrubs, flowers,

1690
01:29:39,760 --> 01:29:42,840
Speaker 2: everything mud dirt, Like, let's get it into the house

1691
01:29:42,880 --> 01:29:43,920
Speaker 2: through the windows.

1692
01:29:44,760 --> 01:29:48,400
Speaker 1: I have to say this part cracks me up because

1693
01:29:48,560 --> 01:29:51,400
Speaker 1: you know, he's got this like nosy neighbor lady that's

1694
01:29:51,439 --> 01:29:54,880
Speaker 1: like blow drying her hair outside of a window. I'm like,

1695
01:29:56,880 --> 01:29:59,280
Speaker 1: what a weird vibe. I don't know why you're doing that.

1696
01:29:59,400 --> 01:30:01,320
Speaker 1: Just put the blow dry around and look up the window.

1697
01:30:01,320 --> 01:30:04,920
Speaker 1: Why are you doing it? As you're poking your head out. Okay,

1698
01:30:05,160 --> 01:30:07,960
Speaker 1: but then you realize because he takes up her like

1699
01:30:08,640 --> 01:30:12,479
Speaker 1: kind of chicken wire fencing, and you realize that she's

1700
01:30:12,520 --> 01:30:14,240
Speaker 1: put that shit out there because she's got like a

1701
01:30:14,320 --> 01:30:18,720
Speaker 1: duck pond, and it just looks so terrible, like this

1702
01:30:18,840 --> 01:30:23,320
Speaker 1: duck pound looks like shit. Lady, Like you put just

1703
01:30:23,400 --> 01:30:26,880
Speaker 1: like rinky ink home depot fucking fake fence around these ducks.

1704
01:30:26,880 --> 01:30:29,479
Speaker 1: And I'm like, if I was somebody's neighbor and they

1705
01:30:29,479 --> 01:30:34,000
Speaker 1: had that like shitty ass little pond, I'd be like, yo,

1706
01:30:34,120 --> 01:30:36,519
Speaker 1: do a better job. This is terrible looking.

1707
01:30:36,640 --> 01:30:38,599
Speaker 2: Also, you know that shit was bad because those ducks

1708
01:30:38,600 --> 01:30:40,760
Speaker 2: were cruising. They couldn't wait to get away from that shit.

1709
01:30:40,800 --> 01:30:50,840
Speaker 2: They were fucking gone, run, We're going to a real pond, bye.

1710
01:30:49,880 --> 01:30:50,240
Speaker 1: Not this.

1711
01:30:50,560 --> 01:30:53,720
Speaker 2: She hadn't like packed the fucking They're like sardines. And

1712
01:30:53,800 --> 01:30:55,680
Speaker 2: he's looking at her like, oh, I'm the weirdo. Look

1713
01:30:55,720 --> 01:30:59,000
Speaker 2: what you've been doing this whole time. But it is truly, again,

1714
01:30:59,040 --> 01:31:01,439
Speaker 2: a super memorable, iconic scene. And I think it was

1715
01:31:01,520 --> 01:31:05,400
Speaker 2: amped up in that way to kind of ramp up

1716
01:31:05,400 --> 01:31:07,800
Speaker 2: his psychosis a little bit and ramp up his obsession,

1717
01:31:07,840 --> 01:31:10,280
Speaker 2: because that is now the point in the movie where

1718
01:31:10,320 --> 01:31:13,040
Speaker 2: his family leaves and he can just give himself fully

1719
01:31:13,080 --> 01:31:16,360
Speaker 2: over to his obsession and his passion. And it's so strange.

1720
01:31:16,760 --> 01:31:20,439
Speaker 2: But because of the government saying, hey, we're gonna put

1721
01:31:20,479 --> 01:31:24,360
Speaker 2: this fake train crash on the news. He finally sees

1722
01:31:24,400 --> 01:31:27,200
Speaker 2: the thing that he's been sculpting. He sees Devil's Tower

1723
01:31:27,600 --> 01:31:30,400
Speaker 2: in Wyoming, which was the first national park in the US.

1724
01:31:31,240 --> 01:31:33,000
Speaker 2: Seems like a real cool place to go. I think

1725
01:31:33,000 --> 01:31:36,360
Speaker 2: they do still have people do like like alien festivals

1726
01:31:36,360 --> 01:31:40,360
Speaker 2: and shit there, But it's a really incredible place to

1727
01:31:40,560 --> 01:31:46,360
Speaker 2: set the end of this film because it is visually stunning,

1728
01:31:46,880 --> 01:31:49,040
Speaker 2: but then it also gives you all the space you need.

1729
01:31:49,240 --> 01:31:53,040
Speaker 2: So that's what happens. He takes off for fucking Devil's

1730
01:31:53,040 --> 01:31:57,040
Speaker 2: Tower Wyoming, meets up with Jillian, figures out there are

1731
01:31:57,040 --> 01:32:00,000
Speaker 2: twelve other people there that have been kind of called

1732
01:32:00,000 --> 01:32:02,559
Speaker 2: old to come here by this ship. They've had the

1733
01:32:02,560 --> 01:32:06,200
Speaker 2: same passion, the same kind of obsession driving them. They're

1734
01:32:06,240 --> 01:32:09,599
Speaker 2: there and they don't know why, and they get kind

1735
01:32:09,640 --> 01:32:12,160
Speaker 2: of tackled by the military like you can't come in,

1736
01:32:12,760 --> 01:32:16,400
Speaker 2: we don't want you here, and then three of them escape.

1737
01:32:16,439 --> 01:32:19,120
Speaker 2: So it's Roy, this guy named Larry, and Jillian, and

1738
01:32:19,160 --> 01:32:22,320
Speaker 2: they start climbing the fucking mountain and like we're gonna

1739
01:32:22,320 --> 01:32:24,479
Speaker 2: figure out what's on the other side of this. Larry

1740
01:32:24,479 --> 01:32:28,639
Speaker 2: gets crop dusted with some fucking sleep dust and he

1741
01:32:28,680 --> 01:32:31,559
Speaker 2: misses the whole thing, Like Larry misses the whole show.

1742
01:32:31,600 --> 01:32:32,880
Speaker 2: He's like, good nights.

1743
01:32:33,920 --> 01:32:37,000
Speaker 1: So I'm glad they explained that away, by the way,

1744
01:32:37,040 --> 01:32:41,160
Speaker 1: because there's like those scenes where you know they've obviously

1745
01:32:41,240 --> 01:32:45,000
Speaker 1: faked this like disaster, and but you see these animals

1746
01:32:45,000 --> 01:32:46,400
Speaker 1: on the side of the road that are like you

1747
01:32:46,439 --> 01:32:49,320
Speaker 1: thought they were dead. I'm like, yoh, these animals are dead.

1748
01:32:49,479 --> 01:32:51,920
Speaker 1: But I'm so glad they came back around and said, actually,

1749
01:32:52,000 --> 01:32:53,439
Speaker 1: we just put them shits to sleep.

1750
01:32:53,760 --> 01:32:55,320
Speaker 2: Yeah, because six hours.

1751
01:32:55,800 --> 01:32:57,679
Speaker 1: Ache and they wake up and they have a headache.

1752
01:32:57,680 --> 01:33:01,080
Speaker 1: And these lamas don't know any difference, much like this

1753
01:33:01,200 --> 01:33:04,760
Speaker 1: man who is gonna be in in the ground on

1754
01:33:04,800 --> 01:33:05,879
Speaker 1: the side of a mountain.

1755
01:33:08,240 --> 01:33:11,160
Speaker 2: Both the alpacas and Larry will be fine. And look

1756
01:33:11,200 --> 01:33:13,200
Speaker 2: they're not going up there looking for Larry. They're like,

1757
01:33:13,240 --> 01:33:16,479
Speaker 2: he will come down when he's awake, Like we're gonna.

1758
01:33:16,360 --> 01:33:19,240
Speaker 1: Let his headache, We'll gut him home. I bet he.

1759
01:33:19,280 --> 01:33:22,080
Speaker 2: Might be bitten up by snakes or whatever's happened in Wyoming,

1760
01:33:22,680 --> 01:33:28,280
Speaker 2: but we're gonna let him sleep this off. We might

1761
01:33:28,320 --> 01:33:30,479
Speaker 2: find him with half a face, but that's the price

1762
01:33:30,520 --> 01:33:36,720
Speaker 2: you pay for escaping from our helicopter. And what's incredible

1763
01:33:36,880 --> 01:33:39,600
Speaker 2: is that, like Jillian and Roy make it to the

1764
01:33:39,600 --> 01:33:42,040
Speaker 2: other side and they see this huge setup where it's

1765
01:33:42,040 --> 01:33:43,840
Speaker 2: like they've got lights and landing trips and it's like

1766
01:33:43,880 --> 01:33:47,400
Speaker 2: a total scientific like landscape has happened, Like they set

1767
01:33:47,479 --> 01:33:50,160
Speaker 2: up this whole outdoor lab essentially for the looks like

1768
01:33:50,200 --> 01:33:50,719
Speaker 2: the damn.

1769
01:33:50,640 --> 01:33:53,120
Speaker 1: Super Bowl down there. Yes, like, what in the world

1770
01:33:53,240 --> 01:33:53,680
Speaker 1: is all this.

1771
01:33:54,560 --> 01:33:56,400
Speaker 2: Rihanna came out and she's like, I'm pregnant.

1772
01:33:56,400 --> 01:34:05,080
Speaker 1: Beep beep, play some tones from a baby.

1773
01:34:03,560 --> 01:34:08,680
Speaker 2: They had the left shark down there. Prince came back

1774
01:34:08,720 --> 01:34:14,719
Speaker 2: to life and was like, it looks like the fucking

1775
01:34:14,880 --> 01:34:19,200
Speaker 2: Super Bowl, and they start playing this goddamn five notes

1776
01:34:19,760 --> 01:34:23,639
Speaker 2: and they're like signaling basically to the ships, like it's cool,

1777
01:34:23,680 --> 01:34:24,920
Speaker 2: you can come out and play with us. And the

1778
01:34:24,960 --> 01:34:27,719
Speaker 2: three little ships come back and they're like all right, thanks,

1779
01:34:28,040 --> 01:34:31,160
Speaker 2: and then they're like that was great, guys, high five

1780
01:34:31,360 --> 01:34:34,439
Speaker 2: and then the real show starts, Like as they're leaving

1781
01:34:35,080 --> 01:34:37,519
Speaker 2: triple the amount of ships come down. These little ships

1782
01:34:37,560 --> 01:34:40,840
Speaker 2: come down and start playing. They're playing the notes and

1783
01:34:40,840 --> 01:34:43,639
Speaker 2: they're going back and forth, and then the fucking mother

1784
01:34:43,720 --> 01:34:46,519
Speaker 2: load comes down and I'm not going to ruin the

1785
01:34:46,720 --> 01:34:49,400
Speaker 2: entire end of the movie, but I will say because

1786
01:34:49,439 --> 01:34:52,599
Speaker 2: in order to talk about my feelings from this movie.

1787
01:34:53,400 --> 01:34:56,719
Speaker 2: The big ship comes down and they're trying to play

1788
01:34:56,760 --> 01:34:59,479
Speaker 2: the notes, and the ship finally gets it and they're

1789
01:34:59,479 --> 01:35:02,000
Speaker 2: starting to communicate. And when the ship finally hits those

1790
01:35:02,080 --> 01:35:04,320
Speaker 2: last two notes and the windows blow out and like

1791
01:35:04,760 --> 01:35:07,759
Speaker 2: it is explosive. It gives me fucking chills. I fucking

1792
01:35:07,800 --> 01:35:12,120
Speaker 2: love it. But also the ship starts kind of communicating

1793
01:35:12,120 --> 01:35:14,920
Speaker 2: through sound and it's like this tonal language that they've developed.

1794
01:35:15,880 --> 01:35:19,120
Speaker 2: But then the fucking door's open and that fucking hatch

1795
01:35:19,160 --> 01:35:22,360
Speaker 2: opens and people start coming out, and it's all these

1796
01:35:22,400 --> 01:35:25,720
Speaker 2: pilots from World War Two, like they found these planes

1797
01:35:25,840 --> 01:35:28,040
Speaker 2: that looked brand new, and now they find this pilots

1798
01:35:28,040 --> 01:35:30,920
Speaker 2: who haven't aged. And Barry comes running out of that

1799
01:35:30,960 --> 01:35:35,000
Speaker 2: ship and he's so happy to see his mom and

1800
01:35:35,760 --> 01:35:37,760
Speaker 2: he's like, oh, they have to go away now. She's

1801
01:35:37,800 --> 01:35:40,639
Speaker 2: like yeah, and he says the cutest goodbye. He's like goodbye,

1802
01:35:41,720 --> 01:35:45,599
Speaker 2: like he had a fucking blast on that ship. And again,

1803
01:35:45,640 --> 01:35:48,679
Speaker 2: I'm not gonna ruin the very end because more happens

1804
01:35:48,720 --> 01:35:52,880
Speaker 2: after that, but there is some shit that goes down

1805
01:35:53,600 --> 01:35:55,599
Speaker 2: that brings me to fucking tears. I don't know how

1806
01:35:55,640 --> 01:35:57,559
Speaker 2: to explain it. It just makes me say, like, there's

1807
01:35:57,600 --> 01:36:01,000
Speaker 2: like a big old spider looking alien. Be scary. It

1808
01:36:01,040 --> 01:36:02,440
Speaker 2: makes me really emotional.

1809
01:36:02,760 --> 01:36:06,240
Speaker 1: Well, I'm like, and I think I read that Carlo Rambaldi,

1810
01:36:06,360 --> 01:36:10,120
Speaker 1: the guy that did the creature from Possession.

1811
01:36:10,200 --> 01:36:13,120
Speaker 2: Yeah, did the special effs.

1812
01:36:13,160 --> 01:36:14,439
Speaker 1: Yeah yeah, Yeah, that's awesome.

1813
01:36:14,840 --> 01:36:17,720
Speaker 2: Yeah yeah. So it's like, it's just an incredible to me,

1814
01:36:17,760 --> 01:36:21,880
Speaker 2: it's an incredible fucking movie. It is perfect for any day,

1815
01:36:22,400 --> 01:36:24,880
Speaker 2: but especially when you just want to chill out and

1816
01:36:24,920 --> 01:36:28,439
Speaker 2: be told a good story. It's beautiful. I think it's

1817
01:36:28,439 --> 01:36:31,919
Speaker 2: a beautiful movie. It absolutely holds up. It is probably

1818
01:36:31,920 --> 01:36:35,680
Speaker 2: my favorite Spielberg movie. And I also love that at

1819
01:36:35,720 --> 01:36:39,960
Speaker 2: some point during the the ships trying to communicate, he

1820
01:36:40,040 --> 01:36:41,719
Speaker 2: starts to play the theme from Jaws.

1821
01:36:42,400 --> 01:36:45,080
Speaker 1: Yes, what a little easter egg.

1822
01:36:46,400 --> 01:36:48,559
Speaker 2: There. But yeah, I just I just find it to

1823
01:36:48,600 --> 01:36:54,080
Speaker 2: be fucking fascinating and wonderful, And I just I love

1824
01:36:54,120 --> 01:36:56,719
Speaker 2: this movie. It's a It's a perfect sick day movie.

1825
01:36:56,760 --> 01:36:59,200
Speaker 2: Anytime I'm feeling down, anytime I'm feeling like I just

1826
01:36:59,240 --> 01:37:01,559
Speaker 2: want to connect to it. Good story. This is a

1827
01:37:01,560 --> 01:37:03,320
Speaker 2: great movie to watch well.

1828
01:37:03,360 --> 01:37:07,439
Speaker 1: And like, honestly, when when I turned it on and

1829
01:37:08,400 --> 01:37:11,960
Speaker 1: watched it first time, watch, like I said, I was like, oh,

1830
01:37:12,000 --> 01:37:14,240
Speaker 1: of course, this is such a like to me, this

1831
01:37:14,320 --> 01:37:18,000
Speaker 1: seems like such a comfort film for people of a

1832
01:37:18,000 --> 01:37:25,160
Speaker 1: certain age, especially like I I've had that moment where

1833
01:37:25,760 --> 01:37:29,640
Speaker 1: you know, when you see something that is so a

1834
01:37:29,680 --> 01:37:33,280
Speaker 1: part of our popular culture and it's just but you

1835
01:37:33,400 --> 01:37:36,160
Speaker 1: just for some reason haven't seen it, and then when

1836
01:37:36,240 --> 01:37:39,160
Speaker 1: you finally do, you just like connect the dots for

1837
01:37:39,200 --> 01:37:41,679
Speaker 1: the last forty five years of like, oh my god,

1838
01:37:41,760 --> 01:37:45,439
Speaker 1: like this is how the shot of the guys putting

1839
01:37:45,479 --> 01:37:48,080
Speaker 1: the sunglasses on and stuff I mean that you know

1840
01:37:48,240 --> 01:37:52,240
Speaker 1: has been parodied so often, but also just like it

1841
01:37:52,320 --> 01:37:57,760
Speaker 1: really made me remember how fondly people of our age

1842
01:37:57,760 --> 01:38:00,840
Speaker 1: group think of Spielberg. Like I was like, oh, of course,

1843
01:38:00,920 --> 01:38:03,840
Speaker 1: Like this is kind of like the prototype for like

1844
01:38:03,880 --> 01:38:07,360
Speaker 1: all these other movies that you know, obviously et but

1845
01:38:07,520 --> 01:38:09,840
Speaker 1: just all these other movies that he would create like

1846
01:38:09,960 --> 01:38:14,439
Speaker 1: in his career, which were very like like fantastical things happening,

1847
01:38:14,520 --> 01:38:17,240
Speaker 1: but there's also like these human elements to them, like

1848
01:38:17,400 --> 01:38:21,000
Speaker 1: families and kids and like, and the pacing of it

1849
01:38:21,040 --> 01:38:25,360
Speaker 1: I think is because something I will say about science fiction,

1850
01:38:25,439 --> 01:38:27,720
Speaker 1: and I don't want to like generalize too much, but like,

1851
01:38:28,160 --> 01:38:29,960
Speaker 1: you know, a lot of the science fiction that I've

1852
01:38:29,960 --> 01:38:32,280
Speaker 1: seen in my life is very tense, since very like

1853
01:38:32,360 --> 01:38:34,200
Speaker 1: you know, in that very X Files kind of way

1854
01:38:34,240 --> 01:38:36,479
Speaker 1: where it's like everyone's talking like this and we have

1855
01:38:36,520 --> 01:38:39,479
Speaker 1: to figure this mystery out. I feel like this movie

1856
01:38:40,400 --> 01:38:42,559
Speaker 1: breathes a lot, Like there's a lot of like the

1857
01:38:42,600 --> 01:38:47,160
Speaker 1: first like half two thirds of the film is essentially

1858
01:38:47,200 --> 01:38:51,360
Speaker 1: like family drama. Like it's basically like Richard Drevis's kids

1859
01:38:51,400 --> 01:38:54,200
Speaker 1: and the families and like you know, when he's outside

1860
01:38:54,240 --> 01:38:56,479
Speaker 1: go and book with the chicken wire and the ducks

1861
01:38:56,479 --> 01:38:58,680
Speaker 1: and all the families are coming out, Like it's just

1862
01:38:58,720 --> 01:39:00,479
Speaker 1: that thing where it's like, oh, yeah, this is like

1863
01:39:00,520 --> 01:39:07,400
Speaker 1: the human side of this like spectacular story that's happening, right, yes,

1864
01:39:07,600 --> 01:39:09,639
Speaker 1: And I feel like, yeah, that's the Spielberg thing.

1865
01:39:10,960 --> 01:39:15,080
Speaker 2: Absolutely, Yeah, it really is. And it really is. Again,

1866
01:39:15,120 --> 01:39:17,720
Speaker 2: because it's an earlier take, it's in one of his

1867
01:39:17,800 --> 01:39:20,400
Speaker 2: earlier films, I think you're starting to see the artistry

1868
01:39:20,400 --> 01:39:22,360
Speaker 2: that he has for bringing those stories to life and

1869
01:39:22,400 --> 01:39:26,200
Speaker 2: his own connection to wanting to tell family stories and

1870
01:39:26,280 --> 01:39:28,360
Speaker 2: human stories that would bring him to something like The

1871
01:39:28,760 --> 01:39:32,000
Speaker 2: Fableman's Now Like through all of the Schindler's Lists and

1872
01:39:32,080 --> 01:39:34,519
Speaker 2: all of the things that he's done, it's like he's

1873
01:39:35,040 --> 01:39:39,680
Speaker 2: he's really great at creating suspense and creating drama in

1874
01:39:39,680 --> 01:39:43,800
Speaker 2: a way that doesn't feel saccharine. It doesn't feel like

1875
01:39:43,840 --> 01:39:47,200
Speaker 2: he's reaching too hard or too far. Like I believe

1876
01:39:47,280 --> 01:39:49,640
Speaker 2: the families that he presents in these films, and he

1877
01:39:49,760 --> 01:39:52,200
Speaker 2: clearly has always had something to say about the family

1878
01:39:52,240 --> 01:39:55,760
Speaker 2: structure and how it impacts, you know, our development, and

1879
01:39:55,760 --> 01:39:58,520
Speaker 2: how it impacts our ability to imagine.

1880
01:39:58,640 --> 01:40:04,599
Speaker 1: So right, yeah, no, definitely definitely. Well honestly, like I

1881
01:40:04,320 --> 01:40:09,120
Speaker 1: I'm so happy again that you brought a movie to

1882
01:40:09,280 --> 01:40:11,760
Speaker 1: the podcast that I hadn't seen before and it was

1883
01:40:11,920 --> 01:40:14,120
Speaker 1: a real treat for me to have finally seen it.

1884
01:40:14,240 --> 01:40:15,960
Speaker 1: Like I, like I said, I felt like such a

1885
01:40:16,000 --> 01:40:18,920
Speaker 1: big gap for me and I just got to fill

1886
01:40:18,960 --> 01:40:21,519
Speaker 1: it and it was wonderful. And when it comes to

1887
01:40:22,120 --> 01:40:24,759
Speaker 1: a baciotomy, I was like, oh, yeah, this is definitely

1888
01:40:25,240 --> 01:40:28,960
Speaker 1: what you need for a Backtomyase.

1889
01:40:27,640 --> 01:40:29,960
Speaker 2: Absolutely you need to sit down and watch some ships

1890
01:40:30,000 --> 01:40:33,200
Speaker 2: and watch someone having a nightmare fever dream of his

1891
01:40:33,280 --> 01:40:34,240
Speaker 2: full life.

1892
01:40:34,320 --> 01:40:39,439
Speaker 1: And watched France watch Truffau act exactly just always, which

1893
01:40:39,479 --> 01:40:42,720
Speaker 1: is always a pleasure because he's normally a director.

1894
01:40:42,400 --> 01:40:46,040
Speaker 2: So exactly. I love it, I love and I watched

1895
01:40:46,040 --> 01:40:48,519
Speaker 2: this as a true double feature and it was really nice.

1896
01:40:48,800 --> 01:40:50,479
Speaker 2: It was a whole day where I did nothing but

1897
01:40:50,600 --> 01:40:52,320
Speaker 2: like knit and watch these movies.

1898
01:40:52,880 --> 01:40:56,000
Speaker 1: Well, we we do hope that you guys will watch

1899
01:40:56,080 --> 01:40:58,920
Speaker 1: these sometimes as double features. And hey, if you if

1900
01:40:58,920 --> 01:41:01,800
Speaker 1: you got something going on on with your body or

1901
01:41:02,080 --> 01:41:05,280
Speaker 1: your brain and you need a little break, sit on

1902
01:41:05,280 --> 01:41:07,760
Speaker 1: the couch watch these two. I feel like it's a

1903
01:41:07,800 --> 01:41:12,160
Speaker 1: good pairing. And yeah, I think that's all for this

1904
01:41:12,240 --> 01:41:15,320
Speaker 1: for this episode, right, Yeah, I mean listen, if you

1905
01:41:15,320 --> 01:41:17,920
Speaker 1: want to email us by all means, we're at I

1906
01:41:17,920 --> 01:41:20,160
Speaker 1: Saw what you Did Pod at gmail dot com. Please

1907
01:41:20,200 --> 01:41:23,080
Speaker 1: send us questions for bonus episodes. They're on the main

1908
01:41:23,080 --> 01:41:25,599
Speaker 1: feed now, so you'll be featured if we pick you.

1909
01:41:26,200 --> 01:41:28,360
Speaker 2: And you can find us on our socials at I

1910
01:41:28,400 --> 01:41:30,400
Speaker 2: Saw a pod on Instagram and Twitter.

1911
01:41:31,120 --> 01:41:33,120
Speaker 1: Absolutely and we've got merch. Go to the I Saw

1912
01:41:33,120 --> 01:41:35,160
Speaker 1: What You Did section of the exactly Right shop to

1913
01:41:35,200 --> 01:41:39,080
Speaker 1: find our hoodie and things and.

1914
01:41:39,040 --> 01:41:41,439
Speaker 2: Our movies next week are pretty great.

1915
01:41:41,960 --> 01:41:43,519
Speaker 1: Oh my god, do I tell them?

1916
01:41:44,520 --> 01:41:44,760
Speaker 2: Yeah?

1917
01:41:44,760 --> 01:41:47,000
Speaker 1: Of course, I do. Our movies for next week are

1918
01:41:47,040 --> 01:41:50,800
Speaker 1: An American Crime from two thousand and seven and Times

1919
01:41:50,960 --> 01:41:55,040
Speaker 1: Square from nineteen eighty so good.

1920
01:41:55,160 --> 01:41:58,400
Speaker 2: And I will also say that An American Crime stars

1921
01:41:58,520 --> 01:42:04,160
Speaker 2: Elliott Page and the if you see the the photo

1922
01:42:04,200 --> 01:42:06,759
Speaker 2: that I'm gonna post for next week on our Instagram

1923
01:42:06,760 --> 01:42:11,120
Speaker 2: on our socials, the movie poster still says their former name,

1924
01:42:11,200 --> 01:42:13,879
Speaker 2: so we're not doing that intentionally. We do recognize Elliott

1925
01:42:13,880 --> 01:42:17,799
Speaker 2: Page as Elliott Page, so yeah.

1926
01:42:18,120 --> 01:42:19,599
Speaker 1: Good to watch those films.

1927
01:42:19,640 --> 01:42:21,599
Speaker 2: He's such a great actor. I can't wait till you.

1928
01:42:21,720 --> 01:42:23,120
Speaker 2: Have you seen my movie before?

1929
01:42:23,439 --> 01:42:26,240
Speaker 1: Absolutely not so two thou seven?

1930
01:42:26,800 --> 01:42:30,880
Speaker 2: Come on me, you know my last Oh, it's gonna

1931
01:42:30,920 --> 01:42:31,920
Speaker 2: be good. It's gonna be good.

1932
01:42:32,360 --> 01:42:34,960
Speaker 1: I'm excited. Daniel as always a fucking pleasure to this

1933
01:42:35,000 --> 01:42:35,720
Speaker 1: podcast with you.

1934
01:42:36,240 --> 01:42:38,160
Speaker 2: I love it. I love it so much. Thank you,

1935
01:42:38,840 --> 01:42:39,479
Speaker 2: I need it back.

1936
01:42:39,560 --> 01:42:47,160
Speaker 1: You out to me right now, hie bye.

1937
01:42:49,439 --> 01:42:52,479
Speaker 2: This has been an exactly right production. Produced by Casey O'Brien,

1938
01:42:52,680 --> 01:42:55,240
Speaker 2: mixed by Edson Choi. Our theme song is by Tom

1939
01:42:55,280 --> 01:42:59,040
Speaker 2: bry Fogel, artwork by Garrett Ross. Our executive producers are

1940
01:42:59,080 --> 01:43:02,120
Speaker 2: Georgia Hart Stark, Heringkle Garriff and Daniel Kramer. You can

1941
01:43:02,160 --> 01:43:04,840
Speaker 2: follow us on Instagram and Twitter at I Saw Pod,

1942
01:43:05,280 --> 01:43:07,280
Speaker 2: and you can email us at I Saw what you

1943
01:43:07,320 --> 01:43:08,519
Speaker 2: Did Pod at gmail