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

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Speaker 1: You Did. My name is Millie to Jericho, I'm Danielle

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Speaker 1: Henderson and were the film podcast that comes on pretty

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Speaker 1: much every week for the rest of your life.

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Speaker 2: What a threat?

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Speaker 3: What a promise?

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Speaker 4: How's it going?

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Speaker 2: It's going great. I have my imass on as you

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Speaker 2: can tell.

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Speaker 3: Oh, yes, came to the recording with my my dermatology imasks.

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Speaker 4: Wait, they are dermatologists prescribed.

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Speaker 3: No, the brand name is Dermatology, and of course it's

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Speaker 3: spelled like you know, the modern way with no vowels,

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Speaker 3: So it's.

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Speaker 2: D R and TL out here.

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Speaker 5: Why letter birks, timbler, turlers or.

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Speaker 3: Its like no vowels in the future of no fucking vowels?

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Speaker 4: Who started that? Is it? The Swedes? Do they do that?

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Speaker 3: Like?

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Speaker 4: Who?

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Speaker 3: Why?

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Speaker 2: Got to go for the Swedes right away?

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Speaker 3: Miller, I don't know, because they're so nice, they've got

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Speaker 3: more education than us. They know better better than to

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Speaker 3: take vowels out of words. It's our dumb asses. It's

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Speaker 3: fucking America. Let's call it tumbler.

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Speaker 5: But the tumbler, Yeah, no, it's it's it's a very

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Speaker 5: specific group of rich men living in Northern California that

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Speaker 5: came up with them.

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Speaker 3: Oh lord, Yeah, they took the vowels out, but the

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Speaker 3: products still banging.

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Speaker 4: So it works. How are you feeling work those?

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Speaker 2: I like it.

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Speaker 3: I put them on in the morning. They're they're cold.

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Speaker 3: I keep them in the fridge so they're cold.

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Speaker 4: It's good.

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Speaker 2: And it's just for the dark circles, like I don't like.

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Speaker 2: I like my face.

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Speaker 3: I like my skin.

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Speaker 2: It's just the.

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Speaker 3: Dark circles when I don't sleep well or just because

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Speaker 3: you know, I'm alive, and it happens to your face

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Speaker 3: as you age.

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Speaker 4: Yeah, I have an eye, I think too. I use

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Speaker 4: peptides on my.

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Speaker 2: Oh shit, the peptide. Uh put you on the spot.

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Speaker 3: I know what it is.

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Speaker 2: If you just like it and it works, that's fine.

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Speaker 3: Yeah.

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Speaker 1: I feel like it's a thing that makes dark circles

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Speaker 1: go away, entiredness go away in the same way, in

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Speaker 1: the same way for you. But you know, it's a serum.

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Speaker 1: You know, you know the serums you've been in the

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Speaker 1: serum world.

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Speaker 3: I'm familiar.

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Speaker 4: I'm familiar.

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Speaker 3: I haven't used a lot, but I'm familiar with them. Yeah,

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Speaker 3: this has caffeine and like natural shit in it. Yeah,

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Speaker 3: And I'm like a hippie that way, Like I don't

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Speaker 3: like to put like chemicals on my face or in

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Speaker 3: my body besides di coke.

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Speaker 1: Yeah, I was gonna say if diet Coke made eye patches,

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Speaker 1: they make them. Actually, that light bulb just literally, like

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Speaker 1: did you see the light bulb that went off of

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Speaker 1: what if the Coca Cola company went into caffeinated under

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Speaker 1: eye patches.

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Speaker 2: Listen, you're in the fucking Motherland. Why don't you go

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Speaker 2: knock on a door.

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Speaker 1: I can't believe I don't have a job. Look at

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Speaker 1: all these ideas that I bring every week, and.

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Speaker 3: So knock on a door and be like, give you

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Speaker 3: a bag of money right now, let's scourge mcdug style

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Speaker 3: because you're going to be rolling in it. And I

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Speaker 3: don't think I don't want to be part of Coca

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Speaker 3: Cola getting any more money. I mean, like they get

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Speaker 3: enough from me with these diet cokes. But I can't

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Speaker 3: believe they haven't done it. They've got the chapstick. If

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Speaker 3: you can have like a cherry flavored diet coke chapstick,

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Speaker 3: why can't you do an ipatch?

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Speaker 4: Get in on the game, right, I mean, caffeine let's go.

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Speaker 4: I mean, I'm just saying.

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Speaker 1: If they wanted to rent me a house in West

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Speaker 1: Hollywood that costs nine thousand dollars a month and I

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Speaker 1: get to literally sit in that house all day long

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Speaker 1: and just spend weird marketing ideas for money, for lots

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Speaker 1: of money, I would do it.

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Speaker 3: They've given people more money for shittier ideas, that's for sure.

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Speaker 4: Exactly.

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Speaker 2: If that motherfucker from Boondock Sands.

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Speaker 3: Can get somebody to buy him a bar, you can

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Speaker 3: get Coca Cola to give you some money for an eepatch.

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Speaker 2: In it.

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Speaker 1: Yes, they definitely want a forty five year old woman

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Speaker 1: in a fun house in LA with like fucking coushballs

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Speaker 1: and pinball machines everywhere.

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Speaker 3: Like being creative, you can design the house, be like, look,

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Speaker 3: here's what I need to get through.

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Speaker 2: I need cream for my coffee, not milk. I need

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Speaker 2: this certain flavor food. Like you can just tell them

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Speaker 2: what you want.

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Speaker 3: You don't want to be all in there with coushballs

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Speaker 3: and fucking pool tables and shit, be in there with

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Speaker 3: goddamn be like. I need to have rocks around me.

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Speaker 3: I need crystals the size of your face. I need

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Speaker 3: some Spencer Pratt sized crystals.

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Speaker 4: I want a sauna.

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Speaker 1: After you talked about building a sauna in your home,

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Speaker 1: I was like, oh, yeah, now I got to have

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Speaker 1: one in my home.

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Speaker 4: Any home.

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Speaker 2: Listen.

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Speaker 3: If you got the time, the money, and the inclination,

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Speaker 3: you gotta do it. I am out here not having

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Speaker 3: kids and a husband, so I can spend money on

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Speaker 3: not cool things.

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Speaker 4: Plus, it's like, can you imagine what's the temp up

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Speaker 4: there right now?

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Speaker 3: It's today, it's like forty, but it's winter, so it

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Speaker 3: usually goes between you know, low teens to.

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Speaker 2: Forties this time of year.

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Speaker 3: And if it's you know, gets, it can get icy,

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Speaker 3: it can get really cold.

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Speaker 4: Yeah.

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Speaker 1: I mean imagine and low teens walking into your warm,

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Speaker 1: beautiful sauna.

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Speaker 2: That is the fucking plan.

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Speaker 3: And let me tell you so, I worked with an

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Speaker 3: architect last year who's amazing. And because I live in

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Speaker 3: Stars Hollow, I went out for dinner last week with

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Speaker 3: my sister in law and I saw he and his

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Speaker 3: family where I was at the same restaurant, and he

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Speaker 3: came over and we chatted and she was like, who's that.

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Speaker 3: I'm like, oh, that's my architect. Because you know, again,

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Speaker 3: small town living. Yeah, and he was like, oh, I

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Speaker 3: was just telling my wife when you know, we saw

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Speaker 3: you came in and she knows who you are, and

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Speaker 3: I was just telling her about all the cool ideas

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Speaker 3: that you're putting in your house and how much fun

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Speaker 3: it is to work on, like the design for it.

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Speaker 2: And he's like, I told her about the shower.

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Speaker 3: Bed and she almost like divorced me if I didn't

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Speaker 3: do it. She's like, she's going to divorce me if

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Speaker 3: I don't do that in our house. Because again, I

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Speaker 3: rarely reveal much of the interior of my home, but

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Speaker 3: you have seen the plans and you've seen the house now, yes, and.

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Speaker 2: I am taking over.

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Speaker 3: So essentially, there is a great, big primary bedroom upstairs

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Speaker 3: with a bathroom attached. That ain't enough for this homegirl,

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Speaker 3: So I'm taking over the bedroom next door. That bedroom

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Speaker 3: is going to become the bathroom. It is going to

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Speaker 3: have a secret bookcase skywalk that goes into the silo.

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Speaker 3: Who and when he asked me, I asked him about

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Speaker 3: designing the shower and I was like, all right, look,

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Speaker 3: I'm going to have a dry sauna on the other

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Speaker 3: side of the house in a guest room and it's

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Speaker 3: like a box that you buy and just a dry sauna. No,

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Speaker 3: you're not like putting water on stones and shit. It's

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Speaker 3: just you get in and it's hot as hell and

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Speaker 3: you get out. But in my actual bathroom one day soon,

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Speaker 3: I am going to have a wet sauna, like a.

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Speaker 2: Steam sauna in the shower.

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Speaker 4: Okay.

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Speaker 3: So in order to take full advantage of that, I

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Speaker 3: was like, look, can you you know, like the shower

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Speaker 3: benches like the one I have downstairs in my grandma's bathroom. Yes,

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Speaker 3: where you can sit down and cry and like scrub

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Speaker 3: your feet or whatever. Yes, I said, I want that,

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Speaker 3: but can you make it the size of like a

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Speaker 3: twin bed? And he laughed and he was like, what

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Speaker 3: are you saying to me? I said, I want to

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Speaker 3: shower bed. I don't want a shower bench. I want

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Speaker 3: to lay down and enjoy the steam sauna.

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Speaker 4: Yeah.

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Speaker 3: And then I'm also going to put rain shower heads

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Speaker 3: above it, so if it's not sauna time, it can

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Speaker 3: just be like, oh I'm curled up in the fetal

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Speaker 3: position with warm.

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Speaker 2: Water raining down on me time.

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Speaker 3: And he was like, not only will I do that,

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Speaker 3: but that is fucking incredible.

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Speaker 2: How did you think of this? And I was like,

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Speaker 2: oh easy.

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Speaker 3: I'm building this house around my life and emotions, so

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Speaker 3: I love to cry and a.

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Speaker 4: Shower you want to get on while lying down? This

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Speaker 4: is what you're telling me right now.

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Speaker 3: I want it to be like a nineteen nineties Tony

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Speaker 3: Tony Tony video in my house at any given minute.

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Speaker 2: What's that?

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Speaker 4: Promise me you'll play that song that's like release your inhibitions,

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Speaker 4: fill rain on your skin. No one ask you bet hillful,

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Speaker 4: you will you have that just blasting as you lie

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Speaker 4: down in a twin bed sized shower bed with water

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Speaker 4: dripping on you. Basically like like the rain.

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Speaker 2: I'm going to have.

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Speaker 3: I'm gonna make sure that there is a sound activated

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Speaker 3: when I set foot on one of the tiles, Like

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Speaker 3: I just step on the tile and the rain playlist begins.

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Speaker 1: Okay, let me at least get the first like three

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Speaker 1: or four songs off right now.

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Speaker 2: It's got to be Phil Collins, I know, okay.

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Speaker 4: But which Phil Collins you want in the air tonight?

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Speaker 2: Is that the No, it's all rain based. It's a

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Speaker 2: rain based down Okay.

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Speaker 4: So you want rain songs? Okay? So there's the Rain

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Speaker 4: by Missy Elliott.

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Speaker 1: Thank you, Okay, there's that rain song that I just sang.

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Speaker 4: I don't even remember who, like who was that.

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Speaker 6: Jus Vanessa something, Natasha Natasha something or is it what's

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Speaker 6: her name from Australia And I don't know one of

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Speaker 6: those women.

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Speaker 2: Kasey is saying, it's Natasha Bettingfield.

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Speaker 3: Okay, knocked and.

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Speaker 2: How quickly that came out?

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Speaker 4: Well, because he's like, do I have to clear this

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Speaker 4: with our legal department?

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Speaker 2: That hell?

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Speaker 4: Did that bitch say?

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Speaker 7: That song really just burst into song? And now I

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Speaker 7: have to find out if we can if it's edited

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Speaker 7: out later, then we know our answer. Okay, absolutely, it

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Speaker 7: wasn't cleared for you.

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Speaker 3: Okay, So Missy, I'm saying, Phil Collins, you remember that

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Speaker 3: I wish it would rain.

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Speaker 4: Down on Oh, I wish you would rain.

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Speaker 1: I can't sing it, Okay, If I sing it, then

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Speaker 1: we get sued.

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Speaker 4: Honors rain?

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Speaker 2: Yes, right, Well, I mean there's like.

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Speaker 1: It doesn't rain in southern California. I it never rains

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Speaker 1: in southern California.

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Speaker 3: It rains in southern California.

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Speaker 2: Yeah, I dare Tony, Tony Tony to sue me. I

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Speaker 2: dare you?

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Speaker 4: We have at least five that's a playlist.

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Speaker 2: Yeah, that's a good cry. That's a good twenty minute weep.

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Speaker 3: Yeah, just hop in there and weep, and you know,

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Speaker 3: I'll have my shower cap on. I can't always get

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Speaker 3: my hair wet. I am a black woman, but that

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Speaker 3: doesn't mean I can't curl up in a shower and cry.

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Speaker 3: Protect protect your neck, protect your hair, and just get

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Speaker 3: in there and fucking let it, let it go, let

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Speaker 3: it out.

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Speaker 4: Oh, I don't want you to cry in there. I

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Speaker 4: wish it to be relaxed.

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Speaker 2: That is relaxing. I love crying.

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Speaker 4: Is that weird?

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Speaker 3: China's talking about that in therapy?

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Speaker 2: Maybe, oh my god, want to release? What a release?

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Speaker 4: I it?

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Speaker 1: Maybe after, but in the moment, I'm like, yo, I

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Speaker 1: feel like shit.

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Speaker 4: But maybe it's not. That's just me obviously. Maybe for you,

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Speaker 4: it's like I feel amazing.

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Speaker 3: I feel like powerful after a good cry.

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Speaker 4: So how what's the ETA on the shower bed?

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Speaker 3: Within the year because the next phase of this renovation,

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Speaker 3: and it all of course depends on these jobs that

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Speaker 3: I'm possibly working, But within the year, because I refuse

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Speaker 3: to be one of those people who has a house

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Speaker 3: that is unrenovated and then she just renovates it before

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Speaker 3: she moves out for someone else to enjoy a happening.

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Speaker 3: They happening, so it will be within the next year.

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Speaker 3: But the shit part of that is I also decided

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Speaker 3: I'm not going to live through the next renovation, so

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Speaker 3: I have to take myself and three cats and move

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Speaker 3: out somewhere. And maybe I rent a trailer and I

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Speaker 3: live in my driveway. Maybe I rent an apartment in town.

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Speaker 3: Maybe I stay at a friend's guest room. But I

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Speaker 3: have three cats, so I can't be in one guest

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Speaker 3: room with three cats.

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Speaker 2: That's not fun for anybody.

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Speaker 1: Okay, so you previously had this idea about doing this

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Speaker 1: like mobile bookstore. Yeah, do you think that maybe you

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Speaker 1: could like kind of chill in an RV type of

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Speaker 1: thing maybe to test it out.

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Speaker 2: You know, oh, like live in my bookstore?

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Speaker 1: Well yeah, or just like get an RV and be like,

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Speaker 1: can I run a business out of here?

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Speaker 4: I'm living in here with three cats? Is this my future?

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Speaker 3: You know?

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Speaker 1: Just kind of doing like a dry run for the

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Speaker 1: mobile bookstore.

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Speaker 2: It could be my future in more ways than one.

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Speaker 3: But I do think it's worthwhile to see if I

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Speaker 3: can even stand up inside of one. Yeah, enough to

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Speaker 3: sell a book. Dude.

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Speaker 1: Listen, the more I live, the more I'm like, I

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Speaker 1: want an RV. I was like during the holidays, I

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Speaker 1: was like convincing my parents to buy one.

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Speaker 4: They were like, why would we do?

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Speaker 2: That?

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Speaker 1: Was because y'all like go on a lot of road trips.

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Speaker 1: You have to pee every five minutes. Now you know,

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Speaker 1: it's perfect. There's a shitter in the vehicle. You don't

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Speaker 1: have to stop.

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Speaker 4: You can like take a nap if you want, Like,

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Speaker 4: you can see America. Like, I don't know. I think

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Speaker 4: it's a great idea for travel.

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Speaker 3: You can take a nap, you can shit, you can

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Speaker 3: see America. What else do you need at this point

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Speaker 3: in your retired lives?

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Speaker 1: I know, and like, you know, I don't own a home,

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Speaker 1: and I'm like, should I just like take that money

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00:13:15,400 --> 00:13:19,079
Speaker 1: and just like buy a fucking RV. What's the downside

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Speaker 1: having to dump your shit?

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Speaker 4: You pump it in a hole, You.

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Speaker 2: Take it to a place, and you pump it.

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Speaker 4: Yeah. Gas is probably like what nine dollars a gallon

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Speaker 4: or something.

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Speaker 2: Gas is tremendously.

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Speaker 3: Gas will be more than any mortgage payment you could

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Speaker 3: ever make, unless you just drive somewhere in park for

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Speaker 3: a while.

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Speaker 2: Yeah, and then you're not paying gas.

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Speaker 3: You're just paying gas to get to the place that

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Speaker 3: the next place you're going.

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Speaker 4: Yeah. So I'm just trying to think what are the

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Speaker 4: downsides of this for you or me or anyone not?

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Speaker 3: And then look, if I try it out and it's

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Speaker 3: not for me, I will sell you the RV.

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Speaker 1: Dude, I love a used RV. I look at them

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Speaker 1: on Facebook Marketplace all the time.

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Speaker 3: Do you really, yes, are you looking at the rbs

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Speaker 3: where it's like you're not a not a trailer hitch right,

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Speaker 3: Like you're not attaching it to anything.

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Speaker 2: It's like the vehicle itself is mobile.

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Speaker 1: Yes, like for the most part. I mean I do

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Speaker 1: look at the trailer ones too. In the event that

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Speaker 1: I would have to like upgrade my car in order

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Speaker 1: to pull a trailer unless I got like one of

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Speaker 1: those little pop up things, like I could probably do

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Speaker 1: it with my car now if it was small enough,

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Speaker 1: But if I wanted to get like an airstream or

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Speaker 1: some shit like that, like I would have to you

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00:14:29,200 --> 00:14:31,920
Speaker 1: have to get like one of those like redneck trucks

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00:14:31,920 --> 00:14:35,360
Speaker 1: that has like eight wheels or something, which up there

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Speaker 1: I'm sure is like useful here. It's a status symbol.

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Speaker 3: Yeah, you know, the Christ the Redeemer trucks are here everywhere,

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Speaker 3: their mirror sticking out into fucking five lanes over.

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Speaker 1: Oh you know, I used to drive a truck at

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Speaker 1: one point when I was in my twenties. I had

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Speaker 1: a little red pickup truck and I loved it. It

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00:14:52,720 --> 00:14:55,800
Speaker 1: was so cute. But I think, like some of these

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00:14:55,840 --> 00:14:58,520
Speaker 1: trucks now are so big. If I had to like

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Speaker 1: literally climb, I'm into it. Like if I have to

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Speaker 1: do like a pull up or something to get into

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Speaker 1: my car, it ain't happening.

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Speaker 3: Like also, not for nothing, because you know, I love you.

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Speaker 3: You are tiny, and I see so many tiny people

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Speaker 3: driving big ash trucks and they cannot handle that vehicle.

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Speaker 3: And I know I'm making a generalization here. If you

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Speaker 3: are a tiny person who has a big truck and

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Speaker 3: you can drive it, great, But I'm seeing a lot

355
00:15:26,000 --> 00:15:30,400
Speaker 3: of booster seats, a lot of pedal help. They can't

356
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Speaker 3: drive those guys, and they're freaking the freak me the

357
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Speaker 3: fuck out. When you see a truck coming your way

358
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Speaker 3: and you can't see the head of the person who's

359
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Speaker 3: driving it, Like, did a child steal this and they're

360
00:15:39,000 --> 00:15:40,120
Speaker 3: going on like a rumspringer.

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Speaker 2: What the fuck's going on?

362
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Speaker 4: Yeah, I'm like tuneses and some of these Also, I've

363
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Speaker 4: never in my entire life been described as tiny, and

364
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Speaker 4: I thank you very much for that. I'm trying that

365
00:15:53,280 --> 00:15:57,360
Speaker 4: on on my own. I love it. Love it.

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Speaker 2: Well. Short, short feels offensive.

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00:15:59,320 --> 00:16:02,040
Speaker 3: Short, it feels like you're accusing somebody of something like, no,

368
00:16:02,120 --> 00:16:03,680
Speaker 3: you're just you're tiny. You can't help it.

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00:16:03,880 --> 00:16:07,040
Speaker 4: I'm just saying, no one has literally ever said that

370
00:16:07,120 --> 00:16:09,080
Speaker 4: about me, And I'm like, I kind of like it.

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00:16:09,720 --> 00:16:12,200
Speaker 4: I want to be tiny me.

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00:16:12,760 --> 00:16:14,800
Speaker 2: Either, let's be let's both be tiny.

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Speaker 3: Okay, I'll have I'll have it as an ironic nickname

374
00:16:18,160 --> 00:16:19,760
Speaker 3: because then as I approach people that are like, look

375
00:16:19,760 --> 00:16:23,320
Speaker 3: at this beast, this fucking giant beast woman coming to

376
00:16:23,640 --> 00:16:24,840
Speaker 3: the dared collar tiny.

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00:16:25,200 --> 00:16:25,440
Speaker 2: I know.

378
00:16:25,520 --> 00:16:29,320
Speaker 1: It's like I always told myself that I should move

379
00:16:29,480 --> 00:16:33,600
Speaker 1: to like Eastern Europe or something in the places where

380
00:16:34,240 --> 00:16:35,960
Speaker 1: you know, I watch a lot of basketball, Like a

381
00:16:35,960 --> 00:16:38,680
Speaker 1: lot of basketball players come from like Eastern Europe, and

382
00:16:38,720 --> 00:16:41,240
Speaker 1: I'm like, I should just move there because all all

383
00:16:41,320 --> 00:16:44,160
Speaker 1: the people are like seven feet tall and I'd be

384
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Speaker 1: truly tiny.

385
00:16:45,800 --> 00:16:47,320
Speaker 3: This is why we also have to go to Scotland.

386
00:16:47,360 --> 00:16:48,920
Speaker 3: There are a lot of a lot of tall people

387
00:16:48,920 --> 00:16:51,280
Speaker 3: in Scotland. You'll be tiny in Scotland.

388
00:16:51,360 --> 00:16:53,760
Speaker 4: Let me just tell you. When I went to the Philippines,

389
00:16:54,320 --> 00:16:56,840
Speaker 4: I was the opposite of tiny. I was a man.

390
00:16:56,920 --> 00:17:00,640
Speaker 4: I was like Godzilla.

391
00:16:59,840 --> 00:17:04,560
Speaker 1: I was like this huge, massive beast and I was like, uh,

392
00:17:05,400 --> 00:17:08,119
Speaker 1: they don't even make my shoe size here. You can't

393
00:17:08,160 --> 00:17:14,560
Speaker 1: even get my shoe size in Manila, the largest city in.

394
00:17:14,000 --> 00:17:16,880
Speaker 4: The Philippines, so annoying possible.

395
00:17:16,920 --> 00:17:18,280
Speaker 2: You don't have that big feet.

396
00:17:18,720 --> 00:17:20,639
Speaker 3: Your feet are a little I mean I have tiny,

397
00:17:20,680 --> 00:17:22,920
Speaker 3: tiny feet for my size. I five, size eight eight

398
00:17:22,920 --> 00:17:25,000
Speaker 3: and a half feet for a six foot tall person.

399
00:17:25,000 --> 00:17:28,080
Speaker 2: That's small. But your feet are not like size fifteen.

400
00:17:28,320 --> 00:17:30,479
Speaker 1: No, I mean I weren't like a size ten and

401
00:17:30,520 --> 00:17:33,800
Speaker 1: a half usually or at eleven. But I'm telling you

402
00:17:34,400 --> 00:17:36,880
Speaker 1: they were size like five six there my mom wears

403
00:17:36,960 --> 00:17:41,040
Speaker 1: a six damn. So I'm like, okay, well, I guess

404
00:17:41,080 --> 00:17:44,480
Speaker 1: you got not Karen the double digits or anything.

405
00:17:45,080 --> 00:17:47,919
Speaker 3: When I went I went to Macau for an article

406
00:17:47,960 --> 00:17:52,159
Speaker 3: I wrote for Afar magazine a years ago. They do

407
00:17:52,320 --> 00:17:54,280
Speaker 3: a feature called spin the Globe where they just they

408
00:17:54,280 --> 00:17:56,760
Speaker 3: do the editors spin a globe, point their finger at it,

409
00:17:56,800 --> 00:17:59,360
Speaker 3: and then they send a writer somewhere. So I got

410
00:17:59,359 --> 00:18:01,399
Speaker 3: to go to Macaw, which is right outside of Hong Kong,

411
00:18:01,960 --> 00:18:05,119
Speaker 3: and I took a boat to Hong Kong. I was

412
00:18:05,119 --> 00:18:06,600
Speaker 3: there for like three days, and I took a boat

413
00:18:06,600 --> 00:18:08,600
Speaker 3: in Hong Kong, stayed with my former brother in law

414
00:18:08,680 --> 00:18:12,560
Speaker 3: and his family. And in both places people looked at

415
00:18:12,560 --> 00:18:15,720
Speaker 3: me like I was actually Godzilla, Like I stood head

416
00:18:15,800 --> 00:18:19,240
Speaker 3: and shoulders above ninety percent of that population.

417
00:18:19,560 --> 00:18:20,920
Speaker 2: Yeah, and everywhere I went.

418
00:18:20,960 --> 00:18:23,760
Speaker 3: I took the bus in Macaw, like downtown, and it

419
00:18:23,800 --> 00:18:25,480
Speaker 3: was like this little tiny I could barely fit in

420
00:18:25,520 --> 00:18:26,919
Speaker 3: the seat. And I was like this, this is not

421
00:18:26,960 --> 00:18:29,480
Speaker 3: good for the self esteem, Like travel should not be

422
00:18:29,640 --> 00:18:32,320
Speaker 3: something that makes you feel like you don't fit in

423
00:18:32,320 --> 00:18:36,760
Speaker 3: the world. But it's also a humbling and lovely experience

424
00:18:36,840 --> 00:18:41,080
Speaker 3: to go to a place where chairs are dubious. Yeah,

425
00:18:41,560 --> 00:18:43,200
Speaker 3: because your ass is too big.

426
00:18:44,560 --> 00:18:44,760
Speaker 4: I know.

427
00:18:45,119 --> 00:18:46,960
Speaker 2: I was like, man, hit everything.

428
00:18:47,600 --> 00:18:50,000
Speaker 1: Yeah, And all my relatives when I was there were like,

429
00:18:50,119 --> 00:18:51,119
Speaker 1: you're American.

430
00:18:51,560 --> 00:18:55,200
Speaker 2: You know what we can tell those feet, those.

431
00:18:55,040 --> 00:18:59,040
Speaker 1: Big ass feet, that big ass thanks guys appreciate that.

432
00:18:59,640 --> 00:19:04,200
Speaker 2: Anyway, Well, look, the shower bed will have room for all.

433
00:19:05,040 --> 00:19:07,480
Speaker 3: Yeah, and no one's ever gonna use it but me,

434
00:19:07,640 --> 00:19:10,160
Speaker 3: because that's the other thing my architect laughed at when

435
00:19:10,200 --> 00:19:12,160
Speaker 3: he looked at my plans. He's like, so you're basically

436
00:19:12,160 --> 00:19:17,440
Speaker 3: building an apartment within your house for yourself. I was like, yeah, kinda,

437
00:19:17,560 --> 00:19:21,720
Speaker 3: because also in between the bathroom and the primary bedroom

438
00:19:22,080 --> 00:19:25,640
Speaker 3: will be my new walk in closet with its little island,

439
00:19:25,680 --> 00:19:27,320
Speaker 3: and it's like gonna be big. It's got plenty of

440
00:19:27,359 --> 00:19:30,480
Speaker 3: space for my t shirts, no fancy ball gowns here,

441
00:19:30,520 --> 00:19:31,960
Speaker 3: but like, you know, you're.

442
00:19:31,880 --> 00:19:34,879
Speaker 1: Not putting a pair of one pair of Manolo blonnocks

443
00:19:34,880 --> 00:19:36,080
Speaker 1: in there or anything.

444
00:19:36,440 --> 00:19:39,480
Speaker 3: I'm jamming every pair of dunks I have in one bin.

445
00:19:40,760 --> 00:19:42,960
Speaker 3: It's gonna look like the bucket of shoes in my foyer.

446
00:19:43,040 --> 00:19:44,200
Speaker 3: But it'll just be in my closet.

447
00:19:44,240 --> 00:19:45,440
Speaker 4: Now, that's awesome.

448
00:19:45,680 --> 00:19:49,000
Speaker 3: But across from that is going to be he's like, oh,

449
00:19:49,080 --> 00:19:50,879
Speaker 3: you have some space. And because we're putting the plumbing

450
00:19:50,960 --> 00:19:53,200
Speaker 3: here for your tub, because the tub will be separate

451
00:19:53,200 --> 00:19:55,200
Speaker 3: as well. And he's like, oh, because I'm putting some

452
00:19:55,600 --> 00:19:58,480
Speaker 3: stuff here for your tub, this little space you can

453
00:19:58,560 --> 00:20:01,399
Speaker 3: kind of have like a hotel mini. And I was

454
00:20:01,440 --> 00:20:03,080
Speaker 3: like oh can I He's like, yeah, so in the morning,

455
00:20:03,119 --> 00:20:04,680
Speaker 3: if you want to make coffee or like you want

456
00:20:04,680 --> 00:20:07,040
Speaker 3: to have like, you know, glass of white wine at night,

457
00:20:07,080 --> 00:20:08,640
Speaker 3: and you don't want to go all the way downstairs.

458
00:20:08,960 --> 00:20:11,520
Speaker 3: And I was like, oh, yeah, Like, let's let's let's

459
00:20:11,640 --> 00:20:15,160
Speaker 3: use your design skills to make me lazier by far.

460
00:20:16,600 --> 00:20:17,040
Speaker 2: Let's do it.

461
00:20:17,040 --> 00:20:18,960
Speaker 3: So I'm gonna have a little refrigerator and a little

462
00:20:19,000 --> 00:20:21,600
Speaker 3: coffee bar in my closet basically.

463
00:20:22,160 --> 00:20:23,359
Speaker 2: And he's like, so this is like an.

464
00:20:23,280 --> 00:20:27,600
Speaker 3: Apartment now, like you have a kitchen, a bathroom, and

465
00:20:27,600 --> 00:20:29,679
Speaker 3: a bedroom. Like, yeah, it's bigger than most of the

466
00:20:29,680 --> 00:20:32,000
Speaker 3: apartments I've lived in my life. Yeah, and it will

467
00:20:32,040 --> 00:20:34,720
Speaker 3: just be within my house. So it's like a little

468
00:20:34,760 --> 00:20:36,119
Speaker 3: built in panic room. I guess.

469
00:20:36,280 --> 00:20:36,720
Speaker 4: Yeah.

470
00:20:36,880 --> 00:20:40,720
Speaker 1: Yeah, your having stated your house is so big that yes,

471
00:20:40,840 --> 00:20:44,280
Speaker 1: you definitely need like littler apartments inside the big house.

472
00:20:46,440 --> 00:20:48,520
Speaker 2: Multiple apartment I see it.

473
00:20:48,560 --> 00:20:50,119
Speaker 4: I see the vision. I see it.

474
00:20:50,200 --> 00:20:52,760
Speaker 3: Yeah, that's gonna happen. I'm taking two bedrooms and making

475
00:20:52,840 --> 00:20:57,520
Speaker 3: them one. And when my goddaughter inherits this house after

476
00:20:57,920 --> 00:20:59,960
Speaker 3: I die or she murders me, when she figures out

477
00:21:00,040 --> 00:21:02,040
Speaker 3: that I'm leaving her this house because she's only nine

478
00:21:02,119 --> 00:21:04,400
Speaker 3: right now. But when she gets to be a teenager

479
00:21:04,440 --> 00:21:07,919
Speaker 3: and realizes that she can have this, I'm gone, I

480
00:21:08,040 --> 00:21:09,679
Speaker 3: already know that motherfucker's.

481
00:21:09,119 --> 00:21:11,000
Speaker 2: Gonna kill me. But then she'll have like this nice

482
00:21:11,000 --> 00:21:11,520
Speaker 2: little house.

483
00:21:11,720 --> 00:21:16,120
Speaker 1: Do you think that she would be amenable to maybe

484
00:21:16,160 --> 00:21:20,600
Speaker 1: giving me that father John Misty recording studio room? Hell yeah, Like,

485
00:21:20,640 --> 00:21:23,399
Speaker 1: if she doesn't want the responsibility of that room, I

486
00:21:23,440 --> 00:21:25,480
Speaker 1: will happily take it and curate it.

487
00:21:25,720 --> 00:21:26,760
Speaker 4: If she doesn't want.

488
00:21:26,640 --> 00:21:29,560
Speaker 3: Hell ya, oh will, I will update and amend my

489
00:21:29,640 --> 00:21:31,560
Speaker 3: will that she will be the owner, but you will

490
00:21:31,600 --> 00:21:33,320
Speaker 3: be the curator of the home.

491
00:21:33,440 --> 00:21:37,119
Speaker 1: Okay, because you know, my quick and easy plan is

492
00:21:37,160 --> 00:21:39,120
Speaker 1: that I want to turn it into like a heavenly

493
00:21:39,240 --> 00:21:44,199
Speaker 1: body's aerobics dance studio so I can do likes my

494
00:21:44,359 --> 00:21:45,880
Speaker 1: interpretive dancing to that.

495
00:21:48,200 --> 00:21:51,080
Speaker 4: Why am I thinking of these random songs from like

496
00:21:51,160 --> 00:21:55,480
Speaker 4: twenty years ago? What's that song where it's like, is

497
00:21:55,520 --> 00:21:59,320
Speaker 4: it fucking shit? I forgot the name of that dude.

498
00:21:59,359 --> 00:22:03,679
Speaker 4: It's like, now you're just somebody that I used to know.

499
00:22:04,040 --> 00:22:05,439
Speaker 2: Oh yeah, that dude.

500
00:22:06,320 --> 00:22:09,119
Speaker 3: Yeah, you're gonna be skating around to that Gautier.

501
00:22:09,440 --> 00:22:10,080
Speaker 4: Gautier.

502
00:22:10,359 --> 00:22:14,199
Speaker 2: Okay, that's that cannot be his name. His name is

503
00:22:14,240 --> 00:22:16,840
Speaker 2: like steeper Ross or something not that you know what

504
00:22:16,880 --> 00:22:19,560
Speaker 2: I mean. It's like something super Scandinavian.

505
00:22:19,600 --> 00:22:24,080
Speaker 3: I thought his name is like hammer Scold or something

506
00:22:24,160 --> 00:22:25,520
Speaker 3: like that.

507
00:22:25,880 --> 00:22:28,520
Speaker 2: Goat a goatier.

508
00:22:28,960 --> 00:22:35,000
Speaker 1: Okay, I want to I want.

509
00:22:34,800 --> 00:22:40,040
Speaker 4: To perform an interpretive dance routine to that song in

510
00:22:40,520 --> 00:22:42,119
Speaker 4: that room in your house.

511
00:22:42,760 --> 00:22:44,320
Speaker 3: You will be able to do it because guess what

512
00:22:44,320 --> 00:22:46,320
Speaker 3: I've also decided for that room.

513
00:22:46,480 --> 00:22:49,200
Speaker 2: What Because I'm gonna have to change the flooring.

514
00:22:49,359 --> 00:22:51,679
Speaker 3: So right now, it's like an original barn flooring and

515
00:22:51,720 --> 00:22:55,080
Speaker 3: it's beautiful, but it's useless. So I'm gonna fix it up,

516
00:22:55,160 --> 00:22:57,000
Speaker 3: change it out, put it in the actual barn. When

517
00:22:57,000 --> 00:22:58,760
Speaker 3: I renovate the barn, it's gonna be the floor for

518
00:22:58,840 --> 00:23:01,919
Speaker 3: the hayloft in the barn. Ah. What I'm replacing it

519
00:23:01,960 --> 00:23:05,400
Speaker 3: with is a roller skating grade wood material.

520
00:23:05,960 --> 00:23:07,560
Speaker 2: It's gonna be a fucking roller rink up.

521
00:23:07,520 --> 00:23:09,600
Speaker 4: There, dude, I'm excited.

522
00:23:10,240 --> 00:23:14,800
Speaker 3: This is all great skateboarding and roller rink. Nobody should

523
00:23:14,840 --> 00:23:16,920
Speaker 3: I keep saying nobody should have let me buy a house.

524
00:23:17,040 --> 00:23:18,119
Speaker 2: This is why I'm.

525
00:23:17,960 --> 00:23:21,520
Speaker 1: Always gonna say, this is like, this is such a

526
00:23:21,560 --> 00:23:25,280
Speaker 1: blank slate for every insane idea you've ever had.

527
00:23:25,920 --> 00:23:28,600
Speaker 3: Absolutely and I can still live comfortably here like a

528
00:23:28,600 --> 00:23:31,080
Speaker 3: normal person and then have these pockets of what the fuck?

529
00:23:31,400 --> 00:23:33,200
Speaker 2: Yeah, and that's what I'm going for.

530
00:23:33,520 --> 00:23:35,119
Speaker 3: Oh, I'm gonna roller skate and then go hop in

531
00:23:35,160 --> 00:23:37,320
Speaker 3: my dry sauna and then maybe I'll go cry in

532
00:23:37,359 --> 00:23:38,520
Speaker 3: the steam steam sauna.

533
00:23:38,680 --> 00:23:40,040
Speaker 2: Yeah, let's do that.

534
00:23:40,840 --> 00:23:42,400
Speaker 4: Listen. I'm very proud of you.

535
00:23:42,400 --> 00:23:46,399
Speaker 1: You worked very hard to have this fucked up Winchester

536
00:23:46,600 --> 00:23:49,840
Speaker 1: mystery house type of thing going on for yourself.

537
00:23:50,520 --> 00:23:52,720
Speaker 3: And I'm never leaving it. I'm never leaving it. That's

538
00:23:52,760 --> 00:23:55,320
Speaker 3: the point I wouldn't. I'm putting. I'm putting everything in

539
00:23:55,359 --> 00:23:57,239
Speaker 3: here that I can ever dream of because I do

540
00:23:57,320 --> 00:23:59,680
Speaker 3: not want to go out into the world anymore. I'm

541
00:23:59,720 --> 00:24:02,840
Speaker 3: done with the world, I hear you. So I'm just

542
00:24:03,080 --> 00:24:05,960
Speaker 3: hacking this shit and I'm making a little compound. And

543
00:24:06,000 --> 00:24:08,200
Speaker 3: the barn's going to be sick. You think the roller

544
00:24:08,280 --> 00:24:10,520
Speaker 3: skating rinked in the in the home is going to

545
00:24:10,560 --> 00:24:12,199
Speaker 3: be wild? Wait do you see what I do with

546
00:24:12,200 --> 00:24:14,399
Speaker 3: the goddamn barn, which will be a three bedroom guest house.

547
00:24:14,680 --> 00:24:16,600
Speaker 4: Well, I can't wait. I cannot wait.

548
00:24:17,080 --> 00:24:23,320
Speaker 3: And the silo slide slide a slide in the silo,

549
00:24:23,680 --> 00:24:26,600
Speaker 3: like around at the interior, one.

550
00:24:26,520 --> 00:24:27,800
Speaker 2: Of those twisty slides.

551
00:24:28,119 --> 00:24:30,080
Speaker 3: It'll shoot you out into the backyard. Y.

552
00:24:30,560 --> 00:24:32,480
Speaker 1: I got a playlist for that shit too. Why don't

553
00:24:32,480 --> 00:24:34,640
Speaker 1: we put Calvin Harris on there. We'll put the fucking

554
00:24:34,720 --> 00:24:35,879
Speaker 1: Googoo dolls on there.

555
00:24:36,400 --> 00:24:39,240
Speaker 2: Come on, that's two, the electric slide.

556
00:24:39,280 --> 00:24:39,720
Speaker 3: Come on.

557
00:24:39,920 --> 00:24:42,679
Speaker 4: Uh no, that's three. Okay, we got a playlist for

558
00:24:42,720 --> 00:24:43,240
Speaker 4: that part.

559
00:24:43,280 --> 00:24:45,399
Speaker 3: You can get down that shit. And one of the

560
00:24:45,440 --> 00:24:48,840
Speaker 3: guest rooms upstairs it's going to have its It's going

561
00:24:48,880 --> 00:24:50,719
Speaker 3: to be like, basically, I have two guest rooms in

562
00:24:50,760 --> 00:24:53,000
Speaker 3: my house that have their own bathroom, and then I

563
00:24:53,040 --> 00:24:55,240
Speaker 3: will also have my own bathroom. So one of the

564
00:24:55,320 --> 00:24:57,720
Speaker 3: upstairs guest room that I'm renovating will still have the

565
00:24:57,720 --> 00:25:00,600
Speaker 3: tall ceilings. So I'm putting a rope swing in so

566
00:25:00,680 --> 00:25:02,880
Speaker 3: that way when my friends come and visit with their kids,

567
00:25:02,920 --> 00:25:04,439
Speaker 3: I'll be like, go in the rope swinging room and

568
00:25:04,520 --> 00:25:06,840
Speaker 3: knock yourself out literally or figuratively.

569
00:25:06,960 --> 00:25:09,639
Speaker 2: Just get out of here. Go play in that room.

570
00:25:10,320 --> 00:25:13,560
Speaker 4: God, what a paradise you're creating.

571
00:25:14,240 --> 00:25:17,120
Speaker 3: Hell yeah, padded walls, fucking go in there and swing

572
00:25:17,160 --> 00:25:21,480
Speaker 3: yourself to death. We got to drink and talk about

573
00:25:21,640 --> 00:25:29,080
Speaker 3: your dad being a chump. It's gonna be a fun literal,

574
00:25:29,359 --> 00:25:31,560
Speaker 3: literal funhouse. It'll be a fun house, but it'll also

575
00:25:31,600 --> 00:25:33,840
Speaker 3: be you know, tasteful.

576
00:25:33,400 --> 00:25:37,160
Speaker 1: A tasteful, tasteful funhouse. Well, I cannot wait to come

577
00:25:37,200 --> 00:25:38,880
Speaker 1: back for I just say.

578
00:25:38,800 --> 00:25:40,600
Speaker 3: People to check in on me every once in a while, like,

579
00:25:40,640 --> 00:25:41,960
Speaker 3: is she still in that fucking sauna?

580
00:25:42,040 --> 00:25:42,720
Speaker 2: Is she dead in there?

581
00:25:42,760 --> 00:25:44,280
Speaker 3: What's going on? What's happening?

582
00:25:44,320 --> 00:25:46,000
Speaker 4: Oh, yeah, she's crying in that shower.

583
00:25:46,080 --> 00:25:50,520
Speaker 1: But and then she moved to the padded wall room.

584
00:25:50,560 --> 00:25:53,000
Speaker 4: So if you're wondering.

585
00:25:54,600 --> 00:25:58,680
Speaker 2: How, I'm just gonna use this house to go literally

586
00:25:58,800 --> 00:26:01,000
Speaker 2: nuts in and you can't stop.

587
00:26:00,920 --> 00:26:02,800
Speaker 4: Telling you it's your Winchester mystery House.

588
00:26:02,800 --> 00:26:06,600
Speaker 1: You're gonna make it a museum of your own mind.

589
00:26:08,000 --> 00:26:10,320
Speaker 3: How else do we honor pewe Herman, who had such

590
00:26:10,400 --> 00:26:12,680
Speaker 3: an incredible influence on all of our lives. Once I

591
00:26:12,680 --> 00:26:14,520
Speaker 3: saw Peebe's playhouse and I was like, Oh, you can

592
00:26:14,560 --> 00:26:17,880
Speaker 3: live like that. Not really, it's a TV show, you idiot,

593
00:26:17,920 --> 00:26:20,440
Speaker 3: But I'm like, Oh, you can have like a door

594
00:26:20,480 --> 00:26:24,200
Speaker 3: that's all fucking slashed and crooked. Yeah, you can have

595
00:26:24,240 --> 00:26:26,000
Speaker 3: a little box for your genie head. You can have

596
00:26:26,000 --> 00:26:30,040
Speaker 3: a fucking chair that talks to you. Yeah, guys, a limit, baby.

597
00:26:29,960 --> 00:26:34,320
Speaker 4: He completely ruined us for the rest of our lives

598
00:26:34,400 --> 00:26:38,000
Speaker 4: in that way. Well, I can't wait to see it.

599
00:26:38,520 --> 00:26:40,399
Speaker 3: So yes, So that that is the evolution of the

600
00:26:40,400 --> 00:26:44,080
Speaker 3: conversation from my imasks to the paddage room I plan

601
00:26:44,160 --> 00:26:45,280
Speaker 3: to build in my house one day.

602
00:26:45,840 --> 00:26:49,879
Speaker 4: Are you ready to make another evolution into our theme?

603
00:26:50,640 --> 00:26:53,359
Speaker 2: Oh? What a saga?

604
00:26:53,840 --> 00:26:54,960
Speaker 3: What a say?

605
00:26:58,000 --> 00:26:59,280
Speaker 4: That's our segue music?

606
00:27:00,000 --> 00:27:00,040
Speaker 3: No?

607
00:27:00,160 --> 00:27:05,399
Speaker 4: No, no, no, no, I don't even remember. I gress.

608
00:27:06,200 --> 00:27:09,840
Speaker 1: So we are on our second week of Black History Month,

609
00:27:10,720 --> 00:27:13,880
Speaker 1: and I feel like this was something that you pitched

610
00:27:13,920 --> 00:27:17,840
Speaker 1: and then I was like, of course, uh but uh yes,

611
00:27:18,240 --> 00:27:21,600
Speaker 1: it's a kind of a no brainer, i'd say, yeah.

612
00:27:21,400 --> 00:27:24,840
Speaker 3: And it's a continuation because we did black female directors

613
00:27:24,920 --> 00:27:27,479
Speaker 3: is our theme this week, and we have done this

614
00:27:27,520 --> 00:27:31,359
Speaker 3: before for Black History Month and other episodes. And I

615
00:27:31,440 --> 00:27:34,560
Speaker 3: just feel like the movies that we picked compliment each

616
00:27:34,560 --> 00:27:39,000
Speaker 3: other very nicely, of course, And yeah, I just kind

617
00:27:39,000 --> 00:27:42,440
Speaker 3: of love looking at looking a little more closely at

618
00:27:42,520 --> 00:27:47,240
Speaker 3: these influential women who have made these visually striking films

619
00:27:47,280 --> 00:27:49,840
Speaker 3: that are now classics, but even at the time that

620
00:27:49,880 --> 00:27:53,119
Speaker 3: they first came out, we're just revelatory. So to me,

621
00:27:53,160 --> 00:27:55,280
Speaker 3: it's always worth looking at a black female director.

622
00:27:55,680 --> 00:27:57,679
Speaker 4: Yeah, yeah, you're right about these two movies.

623
00:27:57,840 --> 00:28:02,280
Speaker 1: I don't think we necessarily and it like that kind

624
00:28:02,320 --> 00:28:04,200
Speaker 1: of this always happens where we just kind of pick

625
00:28:04,280 --> 00:28:07,360
Speaker 1: movies and then later figure out that they're kind of

626
00:28:07,760 --> 00:28:11,880
Speaker 1: either related, you know, directly, or they're just vibe. They

627
00:28:11,880 --> 00:28:13,400
Speaker 1: both have the same kind of vibe. I would say

628
00:28:13,400 --> 00:28:15,280
Speaker 1: that that's like both of these movies. They both seem

629
00:28:15,320 --> 00:28:19,520
Speaker 1: to be about like southern locations and dealing with like what,

630
00:28:19,760 --> 00:28:24,639
Speaker 1: like I guess the African diaspora communities.

631
00:28:24,520 --> 00:28:30,399
Speaker 3: You know, diaspora family. Yeah, struggles and all kinds of

632
00:28:31,000 --> 00:28:32,359
Speaker 3: intertwined legacies.

633
00:28:32,640 --> 00:28:35,000
Speaker 4: Yes, families for sure.

634
00:28:35,560 --> 00:28:37,800
Speaker 3: Psch And you're you're going first this week, So if

635
00:28:37,800 --> 00:28:40,000
Speaker 3: you want in your movie, I haven't seen your movie

636
00:28:40,000 --> 00:28:40,720
Speaker 3: in a long time.

637
00:28:40,840 --> 00:28:45,080
Speaker 4: Both know, I know I love it. But listen.

638
00:28:45,520 --> 00:28:49,040
Speaker 1: My movie for our theme this week, black History Month

639
00:28:49,760 --> 00:28:53,680
Speaker 1: we're doing black female directors, was written and directed by

640
00:28:53,720 --> 00:28:56,800
Speaker 1: Casey Lemons. It's from nineteen ninety seven and it's called

641
00:28:56,840 --> 00:28:58,480
Speaker 1: Eves by you Wes.

642
00:28:59,280 --> 00:29:02,760
Speaker 2: He's never He's supposed to be home sometime.

643
00:29:03,240 --> 00:29:07,719
Speaker 1: So we've obviously talked about Casey Lemons before in our

644
00:29:07,760 --> 00:29:10,880
Speaker 1: episode about Candy Man and Silence of the Lambs.

645
00:29:10,920 --> 00:29:13,240
Speaker 4: Right, because she's in both of those films.

646
00:29:13,840 --> 00:29:16,480
Speaker 1: I don't think we talked about her background, so I

647
00:29:16,560 --> 00:29:18,880
Speaker 1: kind of wanted to do that a little bit at first.

648
00:29:19,000 --> 00:29:23,600
Speaker 1: So she was born in Saint Louis, Missouri. Her parents

649
00:29:23,640 --> 00:29:27,560
Speaker 1: were both in education. Her dad was a teacher, her

650
00:29:27,560 --> 00:29:31,600
Speaker 1: mom was a psychologist, and eventually her mom went to

651
00:29:31,680 --> 00:29:35,280
Speaker 1: Harvard for her PhD in education. At some time her

652
00:29:35,320 --> 00:29:38,680
Speaker 1: parents divorced, and I think the family, I think she

653
00:29:39,200 --> 00:29:42,560
Speaker 1: and her mom, you know, obviously moved to Boston because

654
00:29:42,560 --> 00:29:48,320
Speaker 1: of the Harvard thing, and so Casey spent summers basically

655
00:29:48,360 --> 00:29:51,400
Speaker 1: an acting school in New York as a child and

656
00:29:51,480 --> 00:29:54,240
Speaker 1: eventually became an actor, right, because.

657
00:29:53,880 --> 00:29:56,800
Speaker 4: That's kind of like how she was introduced to the business.

658
00:29:56,800 --> 00:29:59,520
Speaker 4: You know, she did a lot of television and commercials

659
00:29:59,520 --> 00:30:03,280
Speaker 4: and stuff very early in her acting career, and then

660
00:30:03,320 --> 00:30:06,560
Speaker 4: you know, obviously starred in the movies that we've already

661
00:30:06,600 --> 00:30:09,760
Speaker 4: mentioned on the podcast, but then she'd had other roles

662
00:30:09,880 --> 00:30:14,480
Speaker 4: in you know, movies by other really famous black directors

663
00:30:14,520 --> 00:30:19,000
Speaker 4: like Spike Lee and Robert Townsend and Rusty Kundiff, who

664
00:30:19,000 --> 00:30:21,959
Speaker 4: we actually talked about in twenty twenty two when we

665
00:30:22,000 --> 00:30:26,280
Speaker 4: did Tales from the Hood. But from what I read,

666
00:30:26,480 --> 00:30:29,760
Speaker 4: it sounded like Casey even though she was, you know,

667
00:30:30,040 --> 00:30:32,520
Speaker 4: starting her acting career and everything, she always wanted to

668
00:30:32,520 --> 00:30:35,640
Speaker 4: direct and make her own films and write her own

669
00:30:35,640 --> 00:30:37,560
Speaker 4: films too. She's very into writing.

670
00:30:38,200 --> 00:30:43,600
Speaker 1: But Ives Bayou was her debut feature film, and it

671
00:30:43,800 --> 00:30:48,560
Speaker 1: started out as a collection of short stories and she

672
00:30:49,200 --> 00:30:53,360
Speaker 1: kind of had this these ideas and then thought, well,

673
00:30:53,360 --> 00:30:57,160
Speaker 1: maybe I can turn this into one novel. And then

674
00:30:57,400 --> 00:31:00,280
Speaker 1: eventually she said, you know what, I think, I want

675
00:31:00,280 --> 00:31:03,560
Speaker 1: to turn this into a screenplay. Nice, And I wanted

676
00:31:03,560 --> 00:31:06,400
Speaker 1: to ask you something about that. Is that something that

677
00:31:06,800 --> 00:31:12,000
Speaker 1: like as a writer, do you have that kind of

678
00:31:12,360 --> 00:31:14,280
Speaker 1: like when you write something, when you have like a

679
00:31:14,320 --> 00:31:18,680
Speaker 1: seed of an idea, right, do you think this is

680
00:31:18,720 --> 00:31:21,280
Speaker 1: definitely a short story or this is a screenplay or

681
00:31:21,640 --> 00:31:23,640
Speaker 1: a script and then this is a novel, like or

682
00:31:23,640 --> 00:31:25,719
Speaker 1: do you ever think, like in the moment and you're

683
00:31:25,760 --> 00:31:28,720
Speaker 1: writing it, hey, maybe this would work better as something else.

684
00:31:29,240 --> 00:31:31,440
Speaker 3: Yeah, that's a great question because it does happen to

685
00:31:31,480 --> 00:31:35,760
Speaker 3: me frequently. And I think it's because I do write

686
00:31:35,800 --> 00:31:40,520
Speaker 3: in several different forms and formats that I often have

687
00:31:40,600 --> 00:31:43,280
Speaker 3: to decide like what is this going to be? So

688
00:31:43,960 --> 00:31:46,240
Speaker 3: sometimes it's just a matter of thinking through the idea

689
00:31:46,440 --> 00:31:49,440
Speaker 3: and doing an outline and then seeing what comes out

690
00:31:49,440 --> 00:31:53,560
Speaker 3: of that. And sometimes it's just really the economy of information.

691
00:31:54,200 --> 00:31:56,080
Speaker 3: So it's something that I feel like, this just happened

692
00:31:56,120 --> 00:31:58,800
Speaker 3: to me recently where I'm finishing up my first novel

693
00:31:58,920 --> 00:32:00,760
Speaker 3: and I was having this other RD for something, and

694
00:32:00,800 --> 00:32:02,160
Speaker 3: I was like, this will be my next book, my

695
00:32:02,200 --> 00:32:04,800
Speaker 3: next novel. I'll just roll right into it. But the

696
00:32:04,800 --> 00:32:07,080
Speaker 3: more I thought about it, I'm like, this is requiring

697
00:32:07,120 --> 00:32:09,360
Speaker 3: so much research, and the story just kept getting bigger

698
00:32:09,360 --> 00:32:10,640
Speaker 3: and bigger and bigger, and I'm like, you know, I

699
00:32:10,680 --> 00:32:12,040
Speaker 3: don't I think if this were a book it would

700
00:32:12,040 --> 00:32:14,680
Speaker 3: be like a seven thousand page book. It might be

701
00:32:14,720 --> 00:32:17,640
Speaker 3: a TV show. So sometimes the idea just has to

702
00:32:17,680 --> 00:32:20,520
Speaker 3: dictate where the story ends up going.

703
00:32:21,200 --> 00:32:21,720
Speaker 2: Yeah.

704
00:32:21,760 --> 00:32:23,520
Speaker 3: So I love that she was able to think of

705
00:32:23,560 --> 00:32:26,080
Speaker 3: it as this is just an idea short stories. Maybe

706
00:32:26,120 --> 00:32:28,120
Speaker 3: I'll turn it into something else. Actually, maybe I'll make

707
00:32:28,120 --> 00:32:31,440
Speaker 3: it a movie. Like kind of that feels very organic

708
00:32:31,480 --> 00:32:32,680
Speaker 3: and natural to me as a writer.

709
00:32:33,280 --> 00:32:33,560
Speaker 4: Yeah.

710
00:32:33,680 --> 00:32:36,080
Speaker 1: Yeah, yeah, I was just I was very curious about

711
00:32:36,080 --> 00:32:39,720
Speaker 1: that because structurally, you know, obviously a screenplay is so

712
00:32:39,800 --> 00:32:42,520
Speaker 1: different than a novel, and I kept thinking, like, yeah,

713
00:32:42,560 --> 00:32:45,440
Speaker 1: I don't know if I was writing something, would I

714
00:32:45,480 --> 00:32:48,360
Speaker 1: ever think, oh, this could easily become a screenplay just

715
00:32:48,400 --> 00:32:50,840
Speaker 1: because it just flows differently obviously.

716
00:32:51,280 --> 00:32:53,280
Speaker 4: So I was just very curious about that from a

717
00:32:53,280 --> 00:32:54,920
Speaker 4: professional writer like yourself.

718
00:32:57,040 --> 00:33:00,840
Speaker 1: But yeah, so like from what I've read, you know,

719
00:33:01,120 --> 00:33:03,440
Speaker 1: Casey Lemons is very food. She very much likes to

720
00:33:03,480 --> 00:33:07,480
Speaker 1: write and direct when she can, and she directed a

721
00:33:07,520 --> 00:33:10,440
Speaker 1: couple of great films already. I mean, she's done much

722
00:33:10,600 --> 00:33:13,200
Speaker 1: great work obviously, but a couple of my faves is

723
00:33:13,240 --> 00:33:15,800
Speaker 1: that that Dawn sheet Ole movie she did in two

724
00:33:15,800 --> 00:33:18,960
Speaker 1: thousand and seven called Talk to Me, where he plays

725
00:33:19,040 --> 00:33:23,240
Speaker 1: the talk show host Pete Green. And then I gotta say,

726
00:33:23,840 --> 00:33:27,920
Speaker 1: I saw that Whitney Houston biopic that she directed semi recently,

727
00:33:28,120 --> 00:33:29,080
Speaker 1: and I liked.

728
00:33:28,960 --> 00:33:31,960
Speaker 3: It a lot, loved it. If I knocked out a Park.

729
00:33:32,320 --> 00:33:33,120
Speaker 4: I thought so too.

730
00:33:33,360 --> 00:33:37,160
Speaker 1: I'll just say this when I saw that biopic before

731
00:33:37,200 --> 00:33:39,480
Speaker 1: I even knew she directed it, because I actually didn't

732
00:33:39,480 --> 00:33:42,600
Speaker 1: know she directed it until like the credits at the end,

733
00:33:42,680 --> 00:33:44,600
Speaker 1: and then of course I was like, holy fucking shit.

734
00:33:45,240 --> 00:33:48,200
Speaker 1: There was a moment where I thought a woman has

735
00:33:48,240 --> 00:33:49,560
Speaker 1: definitely directed this film.

736
00:33:49,920 --> 00:33:51,880
Speaker 3: Yes, it's like we talked about a few weeks ago

737
00:33:51,920 --> 00:33:55,960
Speaker 3: with that, you know the wait there's more episode, Yes,

738
00:33:56,120 --> 00:33:58,680
Speaker 3: where you can sometimes tell the mark of oh, this

739
00:33:58,800 --> 00:34:00,720
Speaker 3: is a this is a thought whole project in a

740
00:34:00,720 --> 00:34:02,640
Speaker 3: way that I'm it has to be attributed to a

741
00:34:02,680 --> 00:34:06,080
Speaker 3: certain thing like a right, gender, race, whatever.

742
00:34:05,920 --> 00:34:08,920
Speaker 1: Because you know, obviously, when you're when you're doing the

743
00:34:09,000 --> 00:34:13,080
Speaker 1: story of someone's life, right, there's all this biographical information

744
00:34:14,280 --> 00:34:17,000
Speaker 1: that you could either I guess as a creator choose

745
00:34:17,560 --> 00:34:21,440
Speaker 1: or not choose to use in your work. And the

746
00:34:21,640 --> 00:34:26,200
Speaker 1: choices that were made in that movie were like, oh,

747
00:34:26,360 --> 00:34:30,279
Speaker 1: that feels like a woman who could understand a woman's story, right,

748
00:34:30,320 --> 00:34:31,560
Speaker 1: And I loved that.

749
00:34:32,280 --> 00:34:33,799
Speaker 4: So I was really impressed by that and.

750
00:34:33,840 --> 00:34:36,360
Speaker 3: Seemed to be a fan of Whitney Houston as a person.

751
00:34:36,800 --> 00:34:39,880
Speaker 2: Yes, like that came through as well, definitely.

752
00:34:40,080 --> 00:34:42,359
Speaker 4: And yeah, I mean, and she's just really great. I mean,

753
00:34:42,400 --> 00:34:47,960
Speaker 4: she's into mentoring other filmmakers and actors and she teaches

754
00:34:48,080 --> 00:34:50,280
Speaker 4: at the Tish School of the Arts in New York City,

755
00:34:50,719 --> 00:34:53,360
Speaker 4: where she all also attended that school at one point.

756
00:34:53,440 --> 00:34:57,000
Speaker 4: She also went to UCLA and the New School and

757
00:34:57,080 --> 00:35:01,480
Speaker 4: so She's very well educated, very smart. She considers herself

758
00:35:01,480 --> 00:35:02,759
Speaker 4: an artist, which I just love.

759
00:35:02,840 --> 00:35:05,239
Speaker 1: I love it when people can like really own that

760
00:35:05,400 --> 00:35:09,520
Speaker 1: term and describe themselves that way. It's really inspiring to me.

761
00:35:10,120 --> 00:35:14,279
Speaker 1: She's married to the actor Vondie Curtis Hall. I think

762
00:35:14,320 --> 00:35:16,800
Speaker 1: he's in this movie, rights in this movie, yeah, yeah,

763
00:35:16,840 --> 00:35:19,880
Speaker 1: and they have four kids, and yeah, it's you know,

764
00:35:20,200 --> 00:35:22,880
Speaker 1: just like such a great director. I was so excited

765
00:35:23,480 --> 00:35:26,360
Speaker 1: to see this movie again because the reason why I

766
00:35:26,360 --> 00:35:28,880
Speaker 1: picked it, besides the fact that we had talked about

767
00:35:28,880 --> 00:35:32,800
Speaker 1: her before in a previous episode, is that I haven't

768
00:35:32,840 --> 00:35:36,920
Speaker 1: seen this movie since it came out, basically, and I

769
00:35:37,000 --> 00:35:39,480
Speaker 1: really wanted to watch it again because I recently finished

770
00:35:39,560 --> 00:35:43,840
Speaker 1: that Robin Means Coleman and Mark Harris's book about black horror,

771
00:35:44,200 --> 00:35:47,160
Speaker 1: which is called The Black Eyed Dice. First, I actually

772
00:35:47,160 --> 00:35:54,120
Speaker 1: have it right, but the context in which they talk

773
00:35:54,160 --> 00:35:57,359
Speaker 1: about Eaves Bayou in the book is that it's in

774
00:35:57,360 --> 00:36:02,440
Speaker 1: this chapter that's about the U voodoo in horror, right,

775
00:36:02,880 --> 00:36:04,320
Speaker 1: And I thought it was interesting because you know, this

776
00:36:04,440 --> 00:36:07,600
Speaker 1: movie does get classified as a horror movie a lot.

777
00:36:07,800 --> 00:36:10,080
Speaker 1: You know, I think when you look at the film,

778
00:36:10,200 --> 00:36:13,560
Speaker 1: it's not like the horror that you would just like

779
00:36:13,840 --> 00:36:17,600
Speaker 1: immediately imagine at the multiplex like a slasher or something

780
00:36:17,680 --> 00:36:20,400
Speaker 1: like that. You know, it's it's definitely more of a

781
00:36:20,400 --> 00:36:24,839
Speaker 1: gothic tale to me, certainly a Southern Gothic story for sure, Yes,

782
00:36:25,120 --> 00:36:26,920
Speaker 1: but I also think it's a big coming of age

783
00:36:26,960 --> 00:36:28,240
Speaker 1: film for a lot of people.

784
00:36:28,920 --> 00:36:31,399
Speaker 4: I saw it that way a lot.

785
00:36:31,200 --> 00:36:35,239
Speaker 1: This time with this rewatch and I was watching this

786
00:36:35,560 --> 00:36:40,560
Speaker 1: interview that Casey did with the journalist Jabelle Hill on YouTube,

787
00:36:40,960 --> 00:36:45,640
Speaker 1: and she mentioned that the character of Eve was inspired

788
00:36:45,680 --> 00:36:49,880
Speaker 1: partially by her own childhood, but also Scout from the

789
00:36:50,000 --> 00:36:50,840
Speaker 1: Kill a Mockingbird.

790
00:36:51,040 --> 00:36:53,520
Speaker 2: Oh that's fantastic.

791
00:36:53,600 --> 00:36:55,520
Speaker 3: Yeah, that makes a lot of that makes a lot

792
00:36:55,560 --> 00:36:58,800
Speaker 3: of narrative sense because the Eve in the play.

793
00:36:58,640 --> 00:37:00,640
Speaker 2: By Journey Smollet, which will talk about, but.

794
00:37:01,120 --> 00:37:05,960
Speaker 3: It's so fears and feisty and hilarious, but also so

795
00:37:06,239 --> 00:37:11,920
Speaker 3: tender and sensitive and emotive, and I think that the

796
00:37:11,960 --> 00:37:14,480
Speaker 3: mix of the two is something that you don't often

797
00:37:14,520 --> 00:37:17,920
Speaker 3: get to see in young black girls on screen. And

798
00:37:18,000 --> 00:37:20,840
Speaker 3: it did evoke feelings of like that kind of Southern Gothic,

799
00:37:20,880 --> 00:37:23,319
Speaker 3: like you said, Scout and Kill a Mockingbird and like

800
00:37:23,400 --> 00:37:26,680
Speaker 3: kind of the way we've seen that represented in white

801
00:37:26,920 --> 00:37:30,719
Speaker 3: girls before. But I love that she was able to

802
00:37:30,800 --> 00:37:33,160
Speaker 3: kind of be inspired by that but take it to

803
00:37:33,239 --> 00:37:35,759
Speaker 3: a place where it was also talking about the black

804
00:37:35,800 --> 00:37:36,719
Speaker 3: experience in the South.

805
00:37:37,120 --> 00:37:38,960
Speaker 4: Totally. Yeah, Eve is totally.

806
00:37:39,960 --> 00:37:42,320
Speaker 1: Certainly when I was a girl, I loved that type

807
00:37:42,360 --> 00:37:47,240
Speaker 1: of kind of girl hero it like the inquisitive, smart,

808
00:37:47,760 --> 00:37:47,960
Speaker 1: you know.

809
00:37:48,640 --> 00:37:49,920
Speaker 4: She wore jeans and.

810
00:37:49,960 --> 00:37:52,200
Speaker 1: Kind of ran around her town and kind of was

811
00:37:52,280 --> 00:37:54,400
Speaker 1: just like, you know, she just was like always in

812
00:37:54,440 --> 00:37:57,640
Speaker 1: the mix and wasn't afraid of things, and she just

813
00:37:57,719 --> 00:37:58,560
Speaker 1: was scrappy, you know.

814
00:37:58,680 --> 00:38:00,480
Speaker 4: And so that's I was so happy to hear that

815
00:38:00,520 --> 00:38:01,720
Speaker 4: because it's like, I really love.

816
00:38:01,600 --> 00:38:03,880
Speaker 1: Scout obviously as a character, and I love Eve, so

817
00:38:03,920 --> 00:38:09,360
Speaker 1: it's perfect that they're kind of connected. So, like you mentioned,

818
00:38:09,719 --> 00:38:13,279
Speaker 1: the character of Eve is played by Journey's Bullet, and

819
00:38:14,160 --> 00:38:17,279
Speaker 1: she's i'd say like ten, ten years old, twelve years old,

820
00:38:18,040 --> 00:38:21,600
Speaker 1: and she's one of three kids who are part of

821
00:38:21,640 --> 00:38:25,760
Speaker 1: this successful black family who are living in Louisiana.

822
00:38:25,120 --> 00:38:26,160
Speaker 4: In the nineteen sixties.

823
00:38:26,360 --> 00:38:26,760
Speaker 3: Okay.

824
00:38:27,719 --> 00:38:30,560
Speaker 1: And the one thing that gets established really quickly in

825
00:38:30,600 --> 00:38:33,719
Speaker 1: this movie, and I think is a huge reason why

826
00:38:33,760 --> 00:38:36,600
Speaker 1: people love it and why this movie is still so memorable,

827
00:38:37,160 --> 00:38:40,000
Speaker 1: is that it's a very beautiful, lush film.

828
00:38:40,239 --> 00:38:40,839
Speaker 3: Absolutely.

829
00:38:41,280 --> 00:38:44,359
Speaker 1: I mean it takes place in the sixties, so you've

830
00:38:44,400 --> 00:38:47,759
Speaker 1: got the clothes, the homes, but also it's in this

831
00:38:47,880 --> 00:38:51,880
Speaker 1: like southern location, so you've got these like beautiful like

832
00:38:52,640 --> 00:38:55,160
Speaker 1: trees with the Spanish moss hanging off.

833
00:38:55,360 --> 00:38:58,319
Speaker 3: It's swamps in the water wave gorgeous.

834
00:38:59,120 --> 00:39:01,719
Speaker 1: And then you've got this this family in this community

835
00:39:01,920 --> 00:39:04,680
Speaker 1: who are kind of steeped in this like creole culture

836
00:39:05,360 --> 00:39:07,719
Speaker 1: and the way that they speak to each other, which

837
00:39:07,760 --> 00:39:11,720
Speaker 1: is sort of like a Petois half English, yeah.

838
00:39:11,360 --> 00:39:13,040
Speaker 4: Half French. It's gorgeous.

839
00:39:13,400 --> 00:39:17,160
Speaker 1: And then at the very beginning of the film, Eve's

840
00:39:17,200 --> 00:39:20,960
Speaker 1: family is holding this party at their home and everybody's

841
00:39:21,040 --> 00:39:23,759
Speaker 1: dancing and he's like gorgeous party dresses. I mean, it's

842
00:39:23,800 --> 00:39:27,680
Speaker 1: just like such an amazing setup and gives you kind

843
00:39:27,719 --> 00:39:31,040
Speaker 1: of the stylistic tone for the film, which I love.

844
00:39:31,520 --> 00:39:37,279
Speaker 1: So Eve's father, who is played by Samuel Jackson, he

845
00:39:37,360 --> 00:39:41,920
Speaker 1: is kind of the beloved town doctor, right. He's I

846
00:39:41,920 --> 00:39:43,759
Speaker 1: think they actually say this at the beginning of the film.

847
00:39:43,800 --> 00:39:47,480
Speaker 1: He's the only successful black doctor that works in their community, right,

848
00:39:48,120 --> 00:39:50,440
Speaker 1: and you know, everybody just loves him. He's just like

849
00:39:50,560 --> 00:39:54,240
Speaker 1: the guy. He is the guy in town. Eve's mother,

850
00:39:54,400 --> 00:39:56,960
Speaker 1: who is played by Lynn Woodfield. She's just this beautiful,

851
00:39:57,080 --> 00:39:59,920
Speaker 1: graceful woman, very stylish, and they just seem like the

852
00:40:00,040 --> 00:40:03,319
Speaker 1: perfect couple. Eve has an older sister named Cecily, who

853
00:40:03,360 --> 00:40:06,160
Speaker 1: is played by Megan Good, and then she's got this

854
00:40:06,239 --> 00:40:12,040
Speaker 1: younger brother who is played by Journey Smollet's actual younger brother, Jake.

855
00:40:12,640 --> 00:40:14,640
Speaker 4: You know, so you got these like three kids.

856
00:40:14,920 --> 00:40:18,120
Speaker 1: They're always running around the house being like classically annoying

857
00:40:18,280 --> 00:40:21,279
Speaker 1: siblings to each other. There's kind of a setup at

858
00:40:21,320 --> 00:40:24,879
Speaker 1: the beginning where I think Eve sort of winces at

859
00:40:25,080 --> 00:40:27,440
Speaker 1: the fact that her dad seems to pay a lot

860
00:40:27,480 --> 00:40:30,600
Speaker 1: more attention to Cicily than she does her, and you know,

861
00:40:30,640 --> 00:40:32,040
Speaker 1: she's just feeling some type of way about it.

862
00:40:32,080 --> 00:40:34,880
Speaker 3: You know, well, they're so different, Like Cicily is very proper,

863
00:40:34,960 --> 00:40:38,279
Speaker 3: and she speaks like an adult, and she's you know,

864
00:40:38,520 --> 00:40:41,840
Speaker 3: very you know, kind of stern, and she's kind of

865
00:40:41,840 --> 00:40:43,959
Speaker 3: the she gives the feeling of perfect.

866
00:40:43,719 --> 00:40:50,480
Speaker 1: Child exactly, which as a sister, I know what that's like, right, right, sisters.

867
00:40:50,880 --> 00:40:54,040
Speaker 1: So during the party, Eve goes out to the barn

868
00:40:54,719 --> 00:40:59,400
Speaker 1: and falls asleep, okay, and then she wakes up and

869
00:40:59,440 --> 00:41:03,120
Speaker 1: she sees her father is drunk, and he's out in

870
00:41:03,160 --> 00:41:07,040
Speaker 1: the barn with Mattie Moreau, who is one of her

871
00:41:07,080 --> 00:41:13,440
Speaker 1: parents married friends, and they are going to town basically

872
00:41:13,680 --> 00:41:14,960
Speaker 1: in this barn or.

873
00:41:15,200 --> 00:41:19,000
Speaker 2: You know, carriage house, ye, carriage and.

874
00:41:19,680 --> 00:41:24,160
Speaker 4: It's like a shock to Eve. So she's just like

875
00:41:25,080 --> 00:41:25,680
Speaker 4: freaked out.

876
00:41:26,000 --> 00:41:30,080
Speaker 1: The one thing that is so so deeply.

877
00:41:29,920 --> 00:41:32,600
Speaker 4: Uncomfortable is that they figure out that she's there.

878
00:41:33,120 --> 00:41:37,040
Speaker 1: To me, I would have been like, scoot away, have

879
00:41:37,280 --> 00:41:40,920
Speaker 1: my trauma to myself and never speak of it ever again.

880
00:41:41,440 --> 00:41:44,080
Speaker 3: I would have dropped to the ground and slithered away

881
00:41:44,120 --> 00:41:44,720
Speaker 3: like a snake.

882
00:41:48,080 --> 00:41:50,640
Speaker 4: I would like roll my body off that like lock

883
00:41:50,800 --> 00:41:53,920
Speaker 4: or whatever, and then just roll out of the door

884
00:41:54,480 --> 00:41:55,280
Speaker 4: into a bush.

885
00:41:55,440 --> 00:42:00,680
Speaker 1: And I just would be there until everybody went everybody

886
00:42:00,680 --> 00:42:02,200
Speaker 1: at the party went home, because I was like the

887
00:42:02,360 --> 00:42:07,359
Speaker 1: fact that like they noticed that she's there and they're like, oh,

888
00:42:07,400 --> 00:42:11,200
Speaker 1: what's happening. I'm just stared talking to this lady. We're

889
00:42:11,239 --> 00:42:14,279
Speaker 1: looking for something. It was like so uncomfortable. I really

890
00:42:14,320 --> 00:42:15,200
Speaker 1: felt that by the way.

891
00:42:15,239 --> 00:42:19,280
Speaker 3: I was like, yeah, and she's hyperventilating, like she genuinely

892
00:42:19,320 --> 00:42:19,880
Speaker 3: can't breathe.

893
00:42:19,880 --> 00:42:20,919
Speaker 2: She's shocked so much.

894
00:42:21,320 --> 00:42:23,840
Speaker 3: Yes, her Dad's like just breathe, just breathe, and the woman,

895
00:42:24,000 --> 00:42:26,239
Speaker 3: you know, Maddie Moreau, is just standing there. If I

896
00:42:26,280 --> 00:42:28,560
Speaker 3: were Maddie Moraue, I also dropped to the ground, slither

897
00:42:28,640 --> 00:42:30,479
Speaker 3: away like a snake, like I would not have stood

898
00:42:30,520 --> 00:42:32,239
Speaker 3: there for whatever was coming.

899
00:42:32,280 --> 00:42:36,879
Speaker 2: After that discussion between father and daughter, here's the thing.

900
00:42:36,920 --> 00:42:41,120
Speaker 4: Eve is like, runs home, tries to tell her sister

901
00:42:41,200 --> 00:42:44,680
Speaker 4: Cecily about it, and Cecil's like, shut it down. She's like,

902
00:42:45,080 --> 00:42:48,120
Speaker 4: that actually didn't happen. That would never happen.

903
00:42:48,280 --> 00:42:51,400
Speaker 1: Our dad is amazing, and you thought you saw something,

904
00:42:51,680 --> 00:42:55,719
Speaker 1: it actually wasn't anything, and that was it, which is

905
00:42:55,760 --> 00:42:57,320
Speaker 1: a very weird response.

906
00:42:57,000 --> 00:43:00,400
Speaker 3: To have completely, but also speaks to the character, you know,

907
00:43:00,440 --> 00:43:03,799
Speaker 3: the Sicily character that she's kind of learned how to

908
00:43:04,400 --> 00:43:08,279
Speaker 3: maneuver these situations that she doesn't want to witness or

909
00:43:08,320 --> 00:43:09,760
Speaker 3: has maybe witnessed in the past.

910
00:43:10,080 --> 00:43:14,239
Speaker 4: Yeah. And I generally think that, you know, if you're

911
00:43:14,320 --> 00:43:19,960
Speaker 4: lucky and you hold reverence for your parents, that there's

912
00:43:20,080 --> 00:43:23,120
Speaker 4: like a moment where you just, I think, as a child,

913
00:43:23,160 --> 00:43:23,920
Speaker 4: you just don't think.

914
00:43:23,800 --> 00:43:25,759
Speaker 1: That they could ever do anything bad, Like you just

915
00:43:25,840 --> 00:43:29,759
Speaker 1: really are not programmed to think that could happen if

916
00:43:29,800 --> 00:43:33,560
Speaker 1: you're lucky. So yeah, so I guess Eve now is like, Okay, well,

917
00:43:33,600 --> 00:43:36,120
Speaker 1: I guess this thing happened to me and nobody believes me,

918
00:43:36,200 --> 00:43:37,560
Speaker 1: and I just have to sit with it.

919
00:43:37,600 --> 00:43:39,000
Speaker 4: But here's the thing about Eve is.

920
00:43:38,960 --> 00:43:41,120
Speaker 1: That she does seem to have this kind of I

921
00:43:41,160 --> 00:43:43,279
Speaker 1: don't know, like a second sense, right, She's got this

922
00:43:43,360 --> 00:43:47,640
Speaker 1: kind of maybe psychic ability, something that she kind of

923
00:43:47,680 --> 00:43:54,320
Speaker 1: shares with her aunt, Mozelle, who is played by Debbie Morgan.

924
00:43:55,280 --> 00:43:57,239
Speaker 1: Mozelle is like one of the best characters in the

925
00:43:57,239 --> 00:43:58,360
Speaker 1: film for my money.

926
00:43:59,040 --> 00:43:59,279
Speaker 3: Yep.

927
00:44:00,120 --> 00:44:04,560
Speaker 1: She's kind of a psychic and she's like a voodoo

928
00:44:04,600 --> 00:44:08,040
Speaker 1: practitioner in town, and you know, she takes clients. People

929
00:44:08,040 --> 00:44:11,080
Speaker 1: come to her when they're in trouble and she helps them.

930
00:44:11,800 --> 00:44:15,279
Speaker 1: But Amazel also is called the Black Widow, and it's

931
00:44:15,320 --> 00:44:19,760
Speaker 1: because every husband she's ever had mysteriously.

932
00:44:19,160 --> 00:44:21,040
Speaker 4: Dies and it's a curse.

933
00:44:21,520 --> 00:44:24,920
Speaker 3: It's wild. It's I love that just the imagery of her,

934
00:44:25,680 --> 00:44:29,520
Speaker 3: her current husband in the film, we meet her hit

935
00:44:29,600 --> 00:44:31,960
Speaker 3: them driving away and him kind of like with his

936
00:44:32,040 --> 00:44:34,400
Speaker 3: head back, laughing and waving out of the car window.

937
00:44:34,440 --> 00:44:37,840
Speaker 2: It's so eerie. Yeah, it's so beautiful.

938
00:44:38,200 --> 00:44:41,680
Speaker 3: And how the way that that information unfolds is wild,

939
00:44:41,760 --> 00:44:44,400
Speaker 3: because you know, Moselle's in bed and she's upset and

940
00:44:44,440 --> 00:44:47,879
Speaker 3: she's crying, and you know, Eve goes to visit her

941
00:44:48,040 --> 00:44:50,040
Speaker 3: and she says to her, which I always thought was

942
00:44:50,040 --> 00:44:51,840
Speaker 3: such a great line, She's like, you know, it's okay,

943
00:44:51,960 --> 00:44:55,000
Speaker 3: you can't help it that they die. So she really

944
00:44:55,080 --> 00:44:57,360
Speaker 3: is connected to her aunt knowing that like, this is

945
00:44:57,400 --> 00:44:59,920
Speaker 3: not this is something cosmic, this is beyond your control.

946
00:45:00,480 --> 00:45:02,200
Speaker 3: And for her as a little kid to kind of

947
00:45:02,239 --> 00:45:06,239
Speaker 3: have that knowledge is very interesting too. It's a great

948
00:45:06,400 --> 00:45:09,799
Speaker 3: simple insight into their relationship and in who they are individually,

949
00:45:09,920 --> 00:45:14,120
Speaker 3: into kind of how this black widowness is a part

950
00:45:14,160 --> 00:45:15,120
Speaker 3: of Mozelle.

951
00:45:15,520 --> 00:45:17,880
Speaker 1: Yeah, is that the scene where it's kind of this

952
00:45:18,080 --> 00:45:22,239
Speaker 1: incredible it's really incredible piece of filmmaking. The scene where

953
00:45:22,239 --> 00:45:26,719
Speaker 1: she is talking about her husband's and it's kind of

954
00:45:26,840 --> 00:45:29,960
Speaker 1: like you can tell she's having a memory and it's

955
00:45:30,000 --> 00:45:32,839
Speaker 1: played out in a kind of a mirror in the room,

956
00:45:33,000 --> 00:45:36,800
Speaker 1: and then she like walks into the mirror and participates

957
00:45:37,160 --> 00:45:38,480
Speaker 1: in the memory.

958
00:45:38,840 --> 00:45:40,480
Speaker 2: It's beautiful, it's amazing.

959
00:45:40,719 --> 00:45:42,759
Speaker 1: Yeah, it's like one of the best parts of the film,

960
00:45:43,000 --> 00:45:45,680
Speaker 1: and I just think Casey Lemons is a fucking genius

961
00:45:45,719 --> 00:45:48,520
Speaker 1: for that. But so okay, so you've got this setup

962
00:45:48,560 --> 00:45:53,439
Speaker 1: where Eve has had this experience saying her father cheat

963
00:45:53,480 --> 00:45:56,560
Speaker 1: on her mother, and now she's kind of just suspecting

964
00:45:56,920 --> 00:46:00,239
Speaker 1: that he is a serial philanderer. At this point, her

965
00:46:00,400 --> 00:46:03,279
Speaker 1: mother is starting to also be suspicious because he like

966
00:46:03,520 --> 00:46:07,520
Speaker 1: is never home. And eventually her mom and Mozelle go

967
00:46:07,760 --> 00:46:10,440
Speaker 1: down to visit. They're kind of, like, I don't know,

968
00:46:10,480 --> 00:46:12,600
Speaker 1: in a kind of a marketplace area in their town,

969
00:46:12,719 --> 00:46:15,840
Speaker 1: and there's this, I would say, kind of like a

970
00:46:16,000 --> 00:46:17,799
Speaker 1: rival voodoo practitioner.

971
00:46:18,320 --> 00:46:21,640
Speaker 4: Her name is Elzora. She's played by Diane Carroll, and

972
00:46:22,640 --> 00:46:29,719
Speaker 4: you know, Mozille's like, uh uh, she's a hack. She's

973
00:46:29,760 --> 00:46:33,080
Speaker 4: a hack, don't go and see her. But roz you know,

974
00:46:33,200 --> 00:46:35,879
Speaker 4: Eve's mom is like, I need answers because I'm going

975
00:46:35,920 --> 00:46:37,120
Speaker 4: through this with my husband.

976
00:46:37,200 --> 00:46:39,440
Speaker 1: So you know, basically she goes to Diane Carroll, you know,

977
00:46:39,560 --> 00:46:44,000
Speaker 1: and basically Elzor tells her, you know, things will get better,

978
00:46:44,080 --> 00:46:45,360
Speaker 1: but just you know, look to.

979
00:46:45,440 --> 00:46:48,200
Speaker 4: Your children for relief for your troubles.

980
00:46:48,440 --> 00:46:48,600
Speaker 6: Right.

981
00:46:48,840 --> 00:46:54,920
Speaker 4: Yeah, So that's dangling out there. Right. Meanwhile, Cecily, the

982
00:46:55,000 --> 00:46:59,400
Speaker 4: Megan Good character is starting to act super weird, weirder

983
00:46:59,440 --> 00:47:02,280
Speaker 4: by the day, which at first I think gets explained

984
00:47:02,280 --> 00:47:05,600
Speaker 4: away is like puberty and she just got her period.

985
00:47:05,880 --> 00:47:06,480
Speaker 2: Yeah, I don't know.

986
00:47:06,680 --> 00:47:08,280
Speaker 4: Teenage girls, they're weird.

987
00:47:08,400 --> 00:47:10,640
Speaker 3: Well. And also, since ever since she went to see

988
00:47:10,680 --> 00:47:15,120
Speaker 3: Alzora Roz, the Lynn Winchfield character of their mom has

989
00:47:15,160 --> 00:47:17,840
Speaker 3: been keeping them inside the house. And it's summertime, and

990
00:47:17,960 --> 00:47:20,439
Speaker 3: she's like, yeah, freaked out that something's going to happen

991
00:47:20,520 --> 00:47:20,960
Speaker 3: to her kids.

992
00:47:21,040 --> 00:47:23,719
Speaker 2: So they've all been on lockdown for weeks and they're like, oh,

993
00:47:23,760 --> 00:47:25,680
Speaker 2: it's just because she's stuck in the house and she's

994
00:47:25,719 --> 00:47:27,280
Speaker 2: a teenager and you know, yeah.

995
00:47:27,840 --> 00:47:31,759
Speaker 4: Holy fuck. That seed where they realize that there isn't

996
00:47:31,760 --> 00:47:34,000
Speaker 4: a curse is on real.

997
00:47:34,520 --> 00:47:38,000
Speaker 2: My god, it is fucking great. So basically they think

998
00:47:38,120 --> 00:47:39,480
Speaker 2: the whole time, she's like, I'm.

999
00:47:39,360 --> 00:47:42,080
Speaker 3: Keeping my kids in the house because Mozille had an

1000
00:47:42,120 --> 00:47:44,480
Speaker 3: image of a kid getting hit by a bus. Because

1001
00:47:44,520 --> 00:47:46,800
Speaker 3: her image, her images, and the way that she practices

1002
00:47:46,880 --> 00:47:49,160
Speaker 3: her psychicness is that she does she sees the future.

1003
00:47:49,520 --> 00:47:50,439
Speaker 2: Yeah, so people come.

1004
00:47:50,400 --> 00:47:51,920
Speaker 3: To her to like, you know, tell me the future,

1005
00:47:52,200 --> 00:47:53,960
Speaker 3: and so she sees a kid getting hit by the bus.

1006
00:47:54,239 --> 00:47:56,920
Speaker 3: Roz keeps all the kids inside, and then another kid

1007
00:47:56,960 --> 00:47:59,920
Speaker 3: gets hit by a bus and immediately after you just

1008
00:48:00,000 --> 00:48:01,400
Speaker 3: see the kids celebrating because they're like.

1009
00:48:01,400 --> 00:48:05,040
Speaker 2: We're free, we can go out. They're like, we're free

1010
00:48:07,880 --> 00:48:10,880
Speaker 2: child exactly. She's like, this is bad news that you

1011
00:48:10,960 --> 00:48:13,279
Speaker 2: guys are celebrating a dead child.

1012
00:48:13,800 --> 00:48:16,080
Speaker 4: Yeah, oh my god, insane.

1013
00:48:16,760 --> 00:48:17,560
Speaker 2: That's a good scene.

1014
00:48:17,760 --> 00:48:20,480
Speaker 4: Yeah, it's great, so so Cicily. Yeah, she's kind of

1015
00:48:20,560 --> 00:48:21,520
Speaker 4: going through it, you know.

1016
00:48:22,200 --> 00:48:25,279
Speaker 1: I think the dad particularly is like very much like, well,

1017
00:48:25,280 --> 00:48:26,840
Speaker 1: I'm a doctor and I'm here to tell you that

1018
00:48:27,000 --> 00:48:30,680
Speaker 1: teenagers are weird, and I'm gonna, you know, make sure

1019
00:48:30,719 --> 00:48:33,920
Speaker 1: that everybody believes that it's a I don't know, a

1020
00:48:34,040 --> 00:48:36,920
Speaker 1: woman's illness. It's like her cross to bear her period

1021
00:48:37,480 --> 00:48:40,640
Speaker 1: is making you crazy. But this whole thing kind of

1022
00:48:40,680 --> 00:48:46,120
Speaker 1: turns into a much more serious situation when Cicily confides

1023
00:48:46,400 --> 00:48:53,480
Speaker 1: in Eve that she had an inappropriate sexual encounter with

1024
00:48:53,680 --> 00:48:58,200
Speaker 1: their father when he was drunk one night. Okay, and

1025
00:48:58,400 --> 00:49:01,319
Speaker 1: this was like the thing that I remember from when

1026
00:49:01,360 --> 00:49:04,520
Speaker 1: I saw this in ninety seven, this whole sequence, which

1027
00:49:04,640 --> 00:49:11,000
Speaker 1: was so disturbing obviously, So this is when I think

1028
00:49:11,120 --> 00:49:14,480
Speaker 1: the movie gets kind of you know, one I don't

1029
00:49:14,480 --> 00:49:16,600
Speaker 1: want to say the horror of the movie really kicks in.

1030
00:49:17,040 --> 00:49:18,839
Speaker 1: You know, it's a turning point of the film, let's

1031
00:49:18,880 --> 00:49:23,319
Speaker 1: just say that, yeah, because Eve is incredibly activated by

1032
00:49:23,360 --> 00:49:28,200
Speaker 1: this information, and she's basically like, I love you, You're

1033
00:49:28,239 --> 00:49:28,680
Speaker 1: my sister.

1034
00:49:29,280 --> 00:49:32,920
Speaker 4: Our father hurt you, and I'm gonna get him to

1035
00:49:32,960 --> 00:49:36,560
Speaker 4: get his shit. Yeah, because he's like ruining all of

1036
00:49:36,600 --> 00:49:39,839
Speaker 4: our lives. Our mother is a wreck. I don't trust him.

1037
00:49:40,480 --> 00:49:43,680
Speaker 4: This is happening with you, and I'm I'm gonna get

1038
00:49:43,719 --> 00:49:45,040
Speaker 4: him for you because I love you.

1039
00:49:45,800 --> 00:49:49,920
Speaker 1: And from that point on, I think Eve starts to

1040
00:49:50,040 --> 00:49:53,200
Speaker 1: go and visit El Zora, and you know, it is

1041
00:49:53,280 --> 00:50:00,120
Speaker 1: sort of like wondering if there is a voodoo ye

1042
00:50:00,160 --> 00:50:07,200
Speaker 1: an influence solution to the problem at hand. Yeah, And

1043
00:50:08,120 --> 00:50:11,239
Speaker 1: I won't go further than that, really because I don't

1044
00:50:11,239 --> 00:50:13,560
Speaker 1: want to kind of ruin what happens in the film.

1045
00:50:14,719 --> 00:50:18,840
Speaker 1: But I think at the end of the day, this movie,

1046
00:50:18,920 --> 00:50:20,719
Speaker 1: when I saw it again, just really hit home for

1047
00:50:20,800 --> 00:50:22,680
Speaker 1: me in ways that it didn't even occur to me

1048
00:50:22,719 --> 00:50:26,080
Speaker 1: in ninety seven. Like there were so many moments, and

1049
00:50:26,160 --> 00:50:27,759
Speaker 1: not just the one that I spoke about, but other

1050
00:50:27,840 --> 00:50:31,120
Speaker 1: moments of this film that felt very much like moments

1051
00:50:31,160 --> 00:50:35,200
Speaker 1: in my own childhood and probably a lot of people's childhoods.

1052
00:50:35,239 --> 00:50:38,160
Speaker 1: To be honest, because you know, the theme of the

1053
00:50:38,239 --> 00:50:41,360
Speaker 1: film is that Eve is a young person who is

1054
00:50:41,560 --> 00:50:45,960
Speaker 1: frequently seeing and hearing things that are too adult for

1055
00:50:46,040 --> 00:50:49,359
Speaker 1: her to understand. Right, that happened to me constantly as

1056
00:50:49,400 --> 00:50:51,200
Speaker 1: a child, but probably a lot of other people.

1057
00:50:51,040 --> 00:50:55,799
Speaker 2: Too, exactly. Oh, especially at that time period like sixties, seventies, eighties. Yeah,

1058
00:50:55,920 --> 00:50:56,840
Speaker 2: there's one scene where.

1059
00:50:56,680 --> 00:50:59,360
Speaker 3: The grandmother and grand mayor says, you know, back in

1060
00:50:59,440 --> 00:51:02,560
Speaker 3: my day, chldren didn't participate in adult conversations.

1061
00:51:02,920 --> 00:51:05,160
Speaker 2: I'm like, oh, give it twenty years.

1062
00:51:05,000 --> 00:51:07,840
Speaker 3: Grand mayor, because at that point, parents are talking and

1063
00:51:07,960 --> 00:51:09,960
Speaker 3: doing shit and not even remembering we exist.

1064
00:51:10,280 --> 00:51:13,279
Speaker 2: So we saw a lot that we probably should not

1065
00:51:13,400 --> 00:51:15,040
Speaker 2: have seen or that which is very.

1066
00:51:15,000 --> 00:51:19,040
Speaker 3: Complicated to understand. Yeah, before we had the you know,

1067
00:51:19,120 --> 00:51:22,480
Speaker 3: the emotional knowledge to understand and deal with these things.

1068
00:51:22,600 --> 00:51:25,879
Speaker 1: So yeah, and it's interesting because I'm kind of two

1069
00:51:25,920 --> 00:51:28,719
Speaker 1: ways about that. I mean, I think, just me and

1070
00:51:28,840 --> 00:51:34,279
Speaker 1: my personality, I'm an information seeker. So I when I

1071
00:51:34,480 --> 00:51:37,080
Speaker 1: was like ten twelve years old, I'm not sure if

1072
00:51:37,160 --> 00:51:39,799
Speaker 1: I necessarily wanted to know a lot of adult things.

1073
00:51:40,080 --> 00:51:43,080
Speaker 1: But it wasn't like like I just was thinking. I

1074
00:51:43,120 --> 00:51:47,160
Speaker 1: don't know, I always felt older anyway than I was,

1075
00:51:47,360 --> 00:51:49,520
Speaker 1: and I just thought, okay, well, I always wanted to

1076
00:51:49,600 --> 00:51:51,840
Speaker 1: be like a mini adult, so maybe this is just

1077
00:51:51,960 --> 00:51:52,880
Speaker 1: like the ropes of that.

1078
00:51:53,400 --> 00:51:56,440
Speaker 4: It wasn't until I was an actual adult and it

1079
00:51:56,560 --> 00:52:00,680
Speaker 4: was told by therapists that I shouldn't have been in

1080
00:52:00,760 --> 00:52:02,960
Speaker 4: those conversations. I shouldn't have seen that stuff.

1081
00:52:03,160 --> 00:52:07,240
Speaker 3: Yeah, right right. And that's also that's a really fine

1082
00:52:07,320 --> 00:52:09,080
Speaker 3: line to walk, because when you know I was the

1083
00:52:09,080 --> 00:52:11,360
Speaker 3: same way where I was just a very curious child.

1084
00:52:12,760 --> 00:52:16,320
Speaker 3: I think we're probably both really smart kids and wanted

1085
00:52:16,360 --> 00:52:19,080
Speaker 3: more information than was being provided to us. Maybe you know,

1086
00:52:19,320 --> 00:52:20,759
Speaker 3: it's a fine line to walk when you have a

1087
00:52:20,840 --> 00:52:24,200
Speaker 3: kid who is a little bit wise beyond their years,

1088
00:52:24,320 --> 00:52:26,919
Speaker 3: or at least curious in a way that doesn't suit

1089
00:52:27,000 --> 00:52:28,000
Speaker 3: the age that they are.

1090
00:52:28,760 --> 00:52:30,160
Speaker 2: But you also know that.

1091
00:52:30,400 --> 00:52:33,520
Speaker 3: Even if there's nothing, you know, deleterious happening, there's nothing

1092
00:52:33,560 --> 00:52:36,920
Speaker 3: wrong happening, you still need to keep them as kids,

1093
00:52:37,160 --> 00:52:39,160
Speaker 3: even if they don't want it. You know that it's

1094
00:52:39,239 --> 00:52:41,600
Speaker 3: good for them to stay a little bit sheltered from

1095
00:52:41,680 --> 00:52:44,400
Speaker 3: things until they, you know, their emotions catch up with

1096
00:52:44,480 --> 00:52:47,719
Speaker 3: their brain. So I think that's a really hard line

1097
00:52:47,719 --> 00:52:49,840
Speaker 3: to walk as a parent. If you're paying attention to that,

1098
00:52:50,840 --> 00:52:53,560
Speaker 3: and it's really stifling as a child to experience that,

1099
00:52:53,760 --> 00:52:55,360
Speaker 3: to want to know things and be told that you

1100
00:52:55,440 --> 00:52:58,719
Speaker 3: can't know things, or to find out things and not

1101
00:52:58,920 --> 00:53:00,440
Speaker 3: know how to handle it. Says it.

1102
00:53:00,840 --> 00:53:04,240
Speaker 4: Yeah, I mean there's the seed where Mozelle's taking clients,

1103
00:53:04,719 --> 00:53:08,439
Speaker 4: and you know, you can just tell that Eve wants

1104
00:53:08,480 --> 00:53:10,480
Speaker 4: to be there. She wants to see it all go down,

1105
00:53:10,640 --> 00:53:13,319
Speaker 4: and Aunt Mozelle's like, you got to make sure you're

1106
00:53:13,360 --> 00:53:16,200
Speaker 4: not seen. But if you're smart enough, you can hear

1107
00:53:16,680 --> 00:53:19,600
Speaker 4: basically right, and you can just tell. In that moment,

1108
00:53:19,680 --> 00:53:22,239
Speaker 4: Eve is like, yes, I get to be a part

1109
00:53:22,320 --> 00:53:24,280
Speaker 4: of it, Like I still want the info.

1110
00:53:24,560 --> 00:53:27,759
Speaker 3: That was my mo a hundred percent as a kid

1111
00:53:27,880 --> 00:53:30,080
Speaker 3: made too, like let me just sit under the kitchen table.

1112
00:53:30,120 --> 00:53:32,960
Speaker 2: They won't even know I'm here. Let me just like lurk.

1113
00:53:33,040 --> 00:53:33,640
Speaker 2: I was a creep.

1114
00:53:33,680 --> 00:53:35,120
Speaker 3: I was like, let me just lurk around so I

1115
00:53:35,160 --> 00:53:37,279
Speaker 3: can kind of hear stuff. And then as soon as

1116
00:53:37,320 --> 00:53:39,120
Speaker 3: anyone saw me, they'd be like get them at ey.

1117
00:53:40,120 --> 00:53:42,360
Speaker 4: Like a couple little Harriet the spies running around like

1118
00:53:42,480 --> 00:53:43,440
Speaker 4: just getting information.

1119
00:53:44,360 --> 00:53:44,520
Speaker 2: You know.

1120
00:53:44,800 --> 00:53:46,920
Speaker 1: That's yeah, So in that moment, you know, you're like,

1121
00:53:46,960 --> 00:53:49,680
Speaker 1: oh my gosh, Like she wants it. She wants to

1122
00:53:49,800 --> 00:53:51,879
Speaker 1: be a part of this adult world. But yeah, it's

1123
00:53:51,920 --> 00:53:54,520
Speaker 1: a fine line for sure, And that was like very

1124
00:53:55,360 --> 00:53:57,680
Speaker 1: that really hit me this time when I watched that movie.

1125
00:53:58,719 --> 00:54:00,600
Speaker 4: The other thing that I just love about the movie too,

1126
00:54:00,840 --> 00:54:03,080
Speaker 4: is that this is about women. I mean, it's about

1127
00:54:03,200 --> 00:54:06,840
Speaker 4: sisters and mothers and aunts and grand mayors and just

1128
00:54:06,960 --> 00:54:09,959
Speaker 4: the kind of power of women in a family, which

1129
00:54:10,400 --> 00:54:14,120
Speaker 4: obviously I'm very in tune with. I love, you know.

1130
00:54:14,480 --> 00:54:18,040
Speaker 1: There's also just the story of the siblings in this

1131
00:54:18,440 --> 00:54:24,680
Speaker 1: like way of the ways in which siblings process memories

1132
00:54:24,840 --> 00:54:26,000
Speaker 1: differently from one another.

1133
00:54:26,560 --> 00:54:30,799
Speaker 3: Yes, same situation, same parents, same childhood essentially, but very

1134
00:54:31,040 --> 00:54:32,040
Speaker 3: different perspectives.

1135
00:54:32,560 --> 00:54:37,600
Speaker 1: Yeah, and when like one sibling, like an older sibling

1136
00:54:38,200 --> 00:54:42,600
Speaker 1: knows more than a younger one or is has different

1137
00:54:42,719 --> 00:54:47,360
Speaker 1: kind of priority levels of that very very interesting stuff.

1138
00:54:47,520 --> 00:54:49,200
Speaker 4: That was my life too, by the way.

1139
00:54:49,840 --> 00:54:54,640
Speaker 1: And ultimately, I think the thing that I just really

1140
00:54:54,920 --> 00:55:01,000
Speaker 1: really connected with this time is the feeling of protection, Yeah,

1141
00:55:01,280 --> 00:55:03,920
Speaker 1: you have over certain family members.

1142
00:55:04,520 --> 00:55:07,040
Speaker 3: Absolutely, that was what I was on the tip of

1143
00:55:07,080 --> 00:55:08,920
Speaker 3: my telling as well. Is that hit me so much

1144
00:55:08,960 --> 00:55:11,560
Speaker 3: harder this time because I think when I had first

1145
00:55:11,560 --> 00:55:13,360
Speaker 3: seen the film or like, you know, I've caught it

1146
00:55:13,480 --> 00:55:15,640
Speaker 3: since a couple of times on TV or whatever, but

1147
00:55:16,160 --> 00:55:18,560
Speaker 3: since i'd first seen the film, I remember really keying

1148
00:55:18,640 --> 00:55:20,719
Speaker 3: into the horror and the story aspect of it. But

1149
00:55:20,840 --> 00:55:24,760
Speaker 3: this time watching it, I paid more attention to Sicily

1150
00:55:25,120 --> 00:55:29,000
Speaker 3: and Eve and even Poe in that mix. But there's

1151
00:55:29,000 --> 00:55:32,399
Speaker 3: a scene where Poe and Eve are kind of sitting

1152
00:55:32,440 --> 00:55:38,240
Speaker 3: outside of a room listening to their mother, their aunt Mozelle,

1153
00:55:38,280 --> 00:55:41,719
Speaker 3: and their grandmother talking about their father and how he's

1154
00:55:41,800 --> 00:55:43,719
Speaker 3: cheating and this woman called the house and he's been

1155
00:55:43,760 --> 00:55:48,040
Speaker 3: caught cheating, and Sicily comes downstairs and basically tells them like, look,

1156
00:55:48,160 --> 00:55:50,239
Speaker 3: you're this is bad, Like you should not be This

1157
00:55:50,320 --> 00:55:52,120
Speaker 3: is a private conversation you should not be listening to.

1158
00:55:52,880 --> 00:55:54,799
Speaker 3: And she says, I'm going to tell and the kids

1159
00:55:54,920 --> 00:55:58,719
Speaker 3: run away, but then she stays and listens, so you're like, oh,

1160
00:55:58,760 --> 00:56:03,160
Speaker 3: there's like a weird now trual protective element that was

1161
00:56:03,560 --> 00:56:06,359
Speaker 3: activated in her that she didn't want her little brother

1162
00:56:06,440 --> 00:56:08,680
Speaker 3: and sister to hear what was going on, but she

1163
00:56:08,880 --> 00:56:11,000
Speaker 3: did want to hear it because the more information she had,

1164
00:56:11,160 --> 00:56:13,880
Speaker 3: I felt in that moment, oh, the more she.

1165
00:56:13,920 --> 00:56:15,760
Speaker 2: Can protect them and protect herself.

1166
00:56:16,280 --> 00:56:19,760
Speaker 3: So it's very again, subtle moves that are beautifully written

1167
00:56:19,920 --> 00:56:22,440
Speaker 3: and wonderfully directed that kind of helped me key in

1168
00:56:22,600 --> 00:56:24,800
Speaker 3: on the depth of the story this time in a

1169
00:56:24,840 --> 00:56:26,440
Speaker 3: way that I just had and the other times I

1170
00:56:26,560 --> 00:56:26,920
Speaker 3: watched it.

1171
00:56:27,560 --> 00:56:31,400
Speaker 4: Yeah, oh exactly. This film is a treasure. I have

1172
00:56:31,520 --> 00:56:33,040
Speaker 4: to say. I think it's great.

1173
00:56:33,200 --> 00:56:36,360
Speaker 1: It was put on the Criterion Collection, I think in

1174
00:56:36,480 --> 00:56:40,279
Speaker 1: twenty twenty two, well deserved in my opinion. And yeah,

1175
00:56:40,640 --> 00:56:47,120
Speaker 1: just like a late nineties kind of like southern gothic,

1176
00:56:47,400 --> 00:56:52,120
Speaker 1: beautiful tale of a black family in the South, made

1177
00:56:52,200 --> 00:56:57,200
Speaker 1: by you know, a very impressive and talented writer director,

1178
00:56:57,280 --> 00:56:59,800
Speaker 1: And I just I'm just happy that Casey Lemons is

1179
00:56:59,840 --> 00:57:03,520
Speaker 1: here and has made this film and I'm just glad

1180
00:57:03,560 --> 00:57:04,359
Speaker 1: I got to see it again.

1181
00:57:04,760 --> 00:57:05,440
Speaker 3: So me too.

1182
00:57:05,640 --> 00:57:07,840
Speaker 2: Wonderful pick She's she's a beautiful artist.

1183
00:57:08,080 --> 00:57:12,040
Speaker 3: I just think she's truly talented and I love the

1184
00:57:12,120 --> 00:57:14,480
Speaker 3: stories that she keys in on to tell.

1185
00:57:15,000 --> 00:57:18,680
Speaker 2: Yeah, you should get her on the pod, you know, don't.

1186
00:57:18,480 --> 00:57:20,400
Speaker 4: Think I have it. I was like, I see she

1187
00:57:20,480 --> 00:57:21,760
Speaker 4: has an Instagram.

1188
00:57:21,960 --> 00:57:26,360
Speaker 3: Ooh snitchtag and the Instagram. This time you're allowed, this time,

1189
00:57:26,400 --> 00:57:27,440
Speaker 3: you're allowed, folks.

1190
00:57:33,040 --> 00:57:38,880
Speaker 4: Speaking of beautiful your movie, Oh yeah, my film, ooh boy,

1191
00:57:40,000 --> 00:57:42,720
Speaker 4: My movie was released in nineteen ninety one.

1192
00:57:43,480 --> 00:57:46,560
Speaker 3: It was written, directed, and produced by Julie Dash. And

1193
00:57:46,680 --> 00:57:48,840
Speaker 3: my movie is Daughters of the Dust.

1194
00:57:50,240 --> 00:57:53,160
Speaker 4: Who is Sally do Come?

1195
00:57:53,600 --> 00:57:58,080
Speaker 3: Now? My film is a classic. It had a bit

1196
00:57:58,120 --> 00:58:01,480
Speaker 3: of a resurgence, which I'll talk about it. But Julie

1197
00:58:01,600 --> 00:58:05,720
Speaker 3: Dash as a filmmaker is so interesting to me. She's

1198
00:58:05,720 --> 00:58:09,080
Speaker 3: seventy one years old, and she is a professor, Like

1199
00:58:09,120 --> 00:58:12,000
Speaker 3: she works heavily in colleges. Now you know, she's the

1200
00:58:12,080 --> 00:58:15,320
Speaker 3: distinguished professor in the Department of Art and Visual Culture

1201
00:58:15,360 --> 00:58:18,400
Speaker 3: at Spelman College and she's kind of assisting in the

1202
00:58:18,440 --> 00:58:20,880
Speaker 3: creation of a documentary filmmaking major.

1203
00:58:21,680 --> 00:58:26,320
Speaker 2: And she's wonderful. And this movie is kind of a fictionalized.

1204
00:58:25,640 --> 00:58:29,040
Speaker 3: Telling of her father's side of her family. But yeah,

1205
00:58:29,120 --> 00:58:31,800
Speaker 3: she's worked in TV, she's worked in music videos, and

1206
00:58:31,880 --> 00:58:34,560
Speaker 3: she was part of the La Rebellion at UCLA that

1207
00:58:34,600 --> 00:58:38,120
Speaker 3: we've talked about in other episodes. But basically, the La

1208
00:58:38,200 --> 00:58:40,560
Speaker 3: Rebellion was, you know, a bunch of filmmakers at the

1209
00:58:40,600 --> 00:58:43,040
Speaker 3: time who were using their tools and skills to tell

1210
00:58:43,880 --> 00:58:48,480
Speaker 3: more in depth cultural narratives of blackness. And Julie Dash

1211
00:58:48,520 --> 00:58:51,640
Speaker 3: in particular, a common theme in her work is that

1212
00:58:51,720 --> 00:58:56,000
Speaker 3: she loves to showcase the lives of black women, and

1213
00:58:56,120 --> 00:58:58,720
Speaker 3: so similar to Casey Lemon's Where You Know Eats Bayou

1214
00:58:59,040 --> 00:59:01,440
Speaker 3: is very much a story about women and family and

1215
00:59:02,040 --> 00:59:04,840
Speaker 3: structure and legacy and you know, everything that goes with it.

1216
00:59:05,440 --> 00:59:08,040
Speaker 3: A lot of Julie Dash's films like kind of key

1217
00:59:08,080 --> 00:59:12,440
Speaker 3: in on that theme. And I also saw a YouTube

1218
00:59:12,480 --> 00:59:15,440
Speaker 3: video an interview with Julie Dash where she was kind

1219
00:59:15,480 --> 00:59:19,680
Speaker 3: of talking about her like her personal mission statement in filmmaking,

1220
00:59:20,200 --> 00:59:23,800
Speaker 3: and it really is about redefining how we see African

1221
00:59:23,880 --> 00:59:28,160
Speaker 3: American women on the screen. So she kind of wants

1222
00:59:28,240 --> 00:59:31,919
Speaker 3: to show their full emotional range and their full emotional life.

1223
00:59:33,000 --> 00:59:34,360
Speaker 3: And it's because she didn't see a lot of that

1224
00:59:34,440 --> 00:59:37,400
Speaker 3: growing up. She didn't see their representation on screen. So

1225
00:59:37,520 --> 00:59:39,800
Speaker 3: her part in the La Rebellion and you know, going

1226
00:59:39,880 --> 00:59:43,560
Speaker 3: to college and UCLA in the seventies eighties was really

1227
00:59:43,640 --> 00:59:47,760
Speaker 3: centered around being part of creating something that she that

1228
00:59:47,920 --> 00:59:49,440
Speaker 3: was part of her life that she just did not

1229
00:59:49,520 --> 00:59:53,920
Speaker 3: see represented on screen. She's super inspirational. She's inspired a

1230
00:59:54,040 --> 00:59:57,880
Speaker 3: ton of people, most notably and recently Beyonce.

1231
00:59:58,760 --> 01:00:02,680
Speaker 2: He's Lemonade album was highly.

1232
01:00:02,520 --> 01:00:06,720
Speaker 3: Influenced, if not directly ripped from Daughters of the Dust.

1233
01:00:07,440 --> 01:00:11,360
Speaker 3: There's actually a really great article that the BFI posted

1234
01:00:11,440 --> 01:00:14,640
Speaker 3: about how Deonce was inspired by Daughters of the Dust,

1235
01:00:15,120 --> 01:00:18,400
Speaker 3: and it shows great visual cues that indicate where she

1236
01:00:18,520 --> 01:00:22,200
Speaker 3: kind of took some inspiration from. But I think that's

1237
01:00:22,240 --> 01:00:25,280
Speaker 3: the reason why the movie is now more widely available. Yeah,

1238
01:00:26,240 --> 01:00:28,080
Speaker 3: because it's such a specific look and it's such a

1239
01:00:28,120 --> 01:00:31,880
Speaker 3: specific visual narrative that once it kind of became part

1240
01:00:31,920 --> 01:00:36,280
Speaker 3: of a different type of cultural evolution and revolution with

1241
01:00:36,440 --> 01:00:39,480
Speaker 3: Beyonce and Lemonade, people wanted to see it. They're like, wait,

1242
01:00:39,600 --> 01:00:41,520
Speaker 3: if she was inspired by this, then I want to

1243
01:00:41,560 --> 01:00:44,640
Speaker 3: see it. Yeah, And I just I love this movie.

1244
01:00:44,760 --> 01:00:46,720
Speaker 3: I think it's it really again. It talks a lot

1245
01:00:46,760 --> 01:00:52,320
Speaker 3: about the Gulla and Geechee population. That Julie dash is

1246
01:00:52,400 --> 01:00:56,760
Speaker 3: the part her father's family is Gulla, and that that

1247
01:00:56,920 --> 01:00:59,680
Speaker 3: particular culture is just there's such a rich and deep

1248
01:00:59,760 --> 01:01:03,360
Speaker 3: histe that extends far beyond the Nickelodeon show that most

1249
01:01:03,360 --> 01:01:07,280
Speaker 3: people are familiar with Gallagla Island, which I also love.

1250
01:01:07,440 --> 01:01:08,960
Speaker 4: Wow, I didn't even know that that happened.

1251
01:01:09,080 --> 01:01:09,520
Speaker 2: Yeah, there was.

1252
01:01:09,760 --> 01:01:12,240
Speaker 3: It wasn't in our childhood, but I used to baby

1253
01:01:12,680 --> 01:01:15,720
Speaker 3: and the kids I babyst for watched it and loved it,

1254
01:01:15,840 --> 01:01:18,640
Speaker 3: and it was a cute, adorable, gorgeous little show. And

1255
01:01:18,760 --> 01:01:21,520
Speaker 3: the people who start in that show and created that show,

1256
01:01:21,600 --> 01:01:24,720
Speaker 3: it was also based on their family members. Yeah, it's interesting,

1257
01:01:24,840 --> 01:01:27,840
Speaker 3: but it's just this incredible history and it's you know,

1258
01:01:27,920 --> 01:01:30,240
Speaker 3: predominantly found in like you know, North and South Carolina

1259
01:01:30,800 --> 01:01:34,320
Speaker 3: and Georgia and Florida, but it's primarily relegated to this

1260
01:01:34,520 --> 01:01:37,880
Speaker 3: what's known as the Sea Islands, and that part of

1261
01:01:37,920 --> 01:01:42,240
Speaker 3: the world preserved a significant amount of African culture and

1262
01:01:42,320 --> 01:01:45,080
Speaker 3: heritage because that is the point where a lot of

1263
01:01:45,440 --> 01:01:47,120
Speaker 3: slave ships disembarked.

1264
01:01:47,480 --> 01:01:49,920
Speaker 1: Yeah, that's a huge part of like, you know, obviously

1265
01:01:49,960 --> 01:01:52,680
Speaker 1: I grew up in South Carolina and Georgia, and that's

1266
01:01:52,720 --> 01:01:56,000
Speaker 1: a it was a huge part of being in school really,

1267
01:01:56,280 --> 01:01:58,680
Speaker 1: you know, because oh yeah, yeah, yeah. I think if

1268
01:01:58,720 --> 01:02:01,360
Speaker 1: you grew up in South Carolina at least on the coast,

1269
01:02:01,440 --> 01:02:05,800
Speaker 1: like we lived right outside of Charleston, right, so we

1270
01:02:05,880 --> 01:02:08,440
Speaker 1: were we had direct access to all of these places

1271
01:02:08,520 --> 01:02:11,720
Speaker 1: like Edisto and Q One and you know, places like that.

1272
01:02:12,080 --> 01:02:14,520
Speaker 1: So yeah, I think it's just like you know, because

1273
01:02:14,520 --> 01:02:17,640
Speaker 1: it's local culture, you just learn about it more. I

1274
01:02:17,720 --> 01:02:19,720
Speaker 1: think in school, or at least I felt like I did.

1275
01:02:20,000 --> 01:02:21,800
Speaker 1: And I'm not saying I know a lot. I'm just

1276
01:02:21,840 --> 01:02:23,840
Speaker 1: saying I kind of remember learning about it.

1277
01:02:24,160 --> 01:02:27,160
Speaker 2: So no, I completely agree because I didn't even know.

1278
01:02:27,880 --> 01:02:29,440
Speaker 3: I mean, I'm a New Yorker. I didn't know that

1279
01:02:29,520 --> 01:02:36,360
Speaker 3: culture even existed until I traveled to Charleston for a

1280
01:02:36,560 --> 01:02:38,480
Speaker 3: story I was writing and I met a woman who

1281
01:02:38,560 --> 01:02:41,280
Speaker 3: was making baskets. I'm like, and just as a crafter,

1282
01:02:41,400 --> 01:02:43,520
Speaker 3: as a creator, you know, someone who does knitting and

1283
01:02:43,600 --> 01:02:46,640
Speaker 3: crocheing and needlework and embroidery and all kinds of stuff.

1284
01:02:46,680 --> 01:02:48,480
Speaker 3: I just was fascinated. And I was watching her make

1285
01:02:48,520 --> 01:02:50,920
Speaker 3: the baskets and we struck up a conversation and she

1286
01:02:51,000 --> 01:02:53,120
Speaker 3: started telling me. She's like, oh, well, I'm Gulla, and

1287
01:02:53,200 --> 01:02:54,920
Speaker 3: she was talking in this like kind of accent, and

1288
01:02:55,000 --> 01:02:56,120
Speaker 3: I was like, this is and she's like, you don't

1289
01:02:56,120 --> 01:02:58,240
Speaker 3: know anything about us, like you don't know She was

1290
01:02:58,320 --> 01:02:59,600
Speaker 3: kind of reading me for filled. She's like, you don't

1291
01:02:59,600 --> 01:03:01,440
Speaker 3: know about your people, and I was like, I don't.

1292
01:03:01,560 --> 01:03:03,840
Speaker 3: I don't know about this part, Like I was never

1293
01:03:03,960 --> 01:03:06,960
Speaker 3: taught about this. But it was wonderful to talk to

1294
01:03:07,040 --> 01:03:10,680
Speaker 3: her about her creative life and the customs that were

1295
01:03:10,720 --> 01:03:13,920
Speaker 3: passed down to her. A big part of the Gullah

1296
01:03:13,920 --> 01:03:16,640
Speaker 3: culture is, you know, it's the language, it's the crafts,

1297
01:03:16,720 --> 01:03:19,880
Speaker 3: it's music, it's storytelling, and it's all things that have

1298
01:03:20,280 --> 01:03:26,680
Speaker 3: carried forth from slaves who landed in this part of America. Yeah,

1299
01:03:27,120 --> 01:03:29,240
Speaker 3: and were brought to this part of America. And there

1300
01:03:29,360 --> 01:03:32,200
Speaker 3: is also you know, there's I think that sometimes people

1301
01:03:32,320 --> 01:03:36,000
Speaker 3: use the cultures interchangeably, but Gulla and Geechee are a

1302
01:03:36,040 --> 01:03:38,240
Speaker 3: little bit different just based on the geography of where

1303
01:03:38,240 --> 01:03:42,520
Speaker 3: they're from. I think the Geechee culture is mostly found

1304
01:03:42,680 --> 01:03:45,840
Speaker 3: like near Savannah. There's a river called the Ogeechee River.

1305
01:03:46,240 --> 01:03:49,080
Speaker 3: I think that's where that kind of hails from. But

1306
01:03:49,200 --> 01:03:51,640
Speaker 3: it's kind of funny to me that, you know, and

1307
01:03:51,840 --> 01:03:54,520
Speaker 3: we see it in this film where there are a

1308
01:03:54,560 --> 01:03:57,800
Speaker 3: lot of people who leave and a lot of generations

1309
01:03:57,880 --> 01:04:02,120
Speaker 3: started leaving these the sea islands, and people who left

1310
01:04:02,160 --> 01:04:03,720
Speaker 3: and migrated were referred to as.

1311
01:04:03,600 --> 01:04:07,680
Speaker 2: Like fresh water Geechee or freshwater Gla.

1312
01:04:07,600 --> 01:04:10,000
Speaker 3: And the people who stayed were referred to as saltwater

1313
01:04:10,080 --> 01:04:12,720
Speaker 3: Geechee and saltwater Golla. So it was kind of that

1314
01:04:12,800 --> 01:04:15,000
Speaker 3: difference between like country comes to town. I think you

1315
01:04:15,080 --> 01:04:16,920
Speaker 3: told me about it to town.

1316
01:04:17,040 --> 01:04:19,320
Speaker 4: Wow, it's fascinating.

1317
01:04:18,920 --> 01:04:22,040
Speaker 3: Country and city or you know, mainland and island, so

1318
01:04:22,880 --> 01:04:26,160
Speaker 3: freshwater and saltwater. And it's a really fascinating language as well.

1319
01:04:26,240 --> 01:04:28,440
Speaker 3: It's like a you know, an English based Creole language,

1320
01:04:28,440 --> 01:04:30,520
Speaker 3: which again similar to what we saw in Eas Bayou,

1321
01:04:31,240 --> 01:04:35,360
Speaker 3: but you know, the same culture that extended outward, but

1322
01:04:35,560 --> 01:04:37,800
Speaker 3: in different ways. So in Louis Louisiana it was very

1323
01:04:37,880 --> 01:04:42,240
Speaker 3: much based on French migration and immigration. But in the

1324
01:04:42,920 --> 01:04:45,240
Speaker 3: you know, South Carolina Sea Island part of the world,

1325
01:04:45,680 --> 01:04:49,400
Speaker 3: it was more about African heritage and African language. So yeah,

1326
01:04:50,040 --> 01:04:53,840
Speaker 3: just fascinating. One thing I love in the film. There's

1327
01:04:53,840 --> 01:04:56,200
Speaker 3: so much to love, but I love that they just

1328
01:04:56,280 --> 01:05:00,520
Speaker 3: kind of casually have these gorgeous, beautiful quilts everywhere. Yeah,

1329
01:05:00,880 --> 01:05:03,720
Speaker 3: and most people have heard of the geeze Bend quilts

1330
01:05:03,880 --> 01:05:07,520
Speaker 3: and the geeze Bend quilters gee b e n d

1331
01:05:07,840 --> 01:05:11,000
Speaker 3: geeze Bend because they're a fascinating part of Black history

1332
01:05:11,640 --> 01:05:16,560
Speaker 3: and they're gorgeous and organic, and the designs are evocative

1333
01:05:16,920 --> 01:05:20,080
Speaker 3: of our history and things that are important to us.

1334
01:05:20,120 --> 01:05:23,680
Speaker 3: So in typical American quilting, you see the same designs

1335
01:05:23,720 --> 01:05:25,960
Speaker 3: over and over again, and they do represent certain things,

1336
01:05:26,040 --> 01:05:28,160
Speaker 3: like you know, like the pineapple tree or the log

1337
01:05:28,320 --> 01:05:31,040
Speaker 3: cabin or whatever, like they all indicate different things. There

1338
01:05:31,080 --> 01:05:33,440
Speaker 3: are quilts that you made when you were a girl,

1339
01:05:33,560 --> 01:05:35,400
Speaker 3: or there are quilts that you made when you got married,

1340
01:05:35,400 --> 01:05:36,800
Speaker 3: and there are quilts you made when your first kid

1341
01:05:36,840 --> 01:05:39,000
Speaker 3: is born, like things that evoke, like you can see

1342
01:05:39,080 --> 01:05:41,040
Speaker 3: like the lineage of a family in a quilt. Then

1343
01:05:41,080 --> 01:05:44,560
Speaker 3: they're quilts usually, and in this particular instance with geez Bend,

1344
01:05:44,600 --> 01:05:47,880
Speaker 3: they're not Gullah, they're not Geechee, but you do see

1345
01:05:47,920 --> 01:05:51,960
Speaker 3: the same craft that is clearly passed down and passed

1346
01:05:52,000 --> 01:05:55,320
Speaker 3: over because geez Ben is more Alabama based. But it's

1347
01:05:55,440 --> 01:06:00,400
Speaker 3: just this vibrant, colorful story told through quilts. And these

1348
01:06:00,400 --> 01:06:03,520
Speaker 3: are quilts that use recycled materials like old clothing and

1349
01:06:04,040 --> 01:06:07,680
Speaker 3: certain stitches and certain designs, and they're just stunning.

1350
01:06:07,760 --> 01:06:09,400
Speaker 2: They're beautiful, beautiful, beautiful.

1351
01:06:09,480 --> 01:06:12,280
Speaker 3: So to see that in this movie represented so casually,

1352
01:06:12,880 --> 01:06:14,920
Speaker 3: you know, it's a part of everyone's life that they

1353
01:06:14,960 --> 01:06:17,360
Speaker 3: will reuse the things that are around them, but they're

1354
01:06:17,400 --> 01:06:17,919
Speaker 3: making them.

1355
01:06:17,840 --> 01:06:20,720
Speaker 2: Into something new and more beautiful, and I just love that.

1356
01:06:20,840 --> 01:06:24,640
Speaker 3: And the film really revolves around one family, the Pizant family,

1357
01:06:25,440 --> 01:06:29,040
Speaker 3: and the central friction of the movie is that a

1358
01:06:29,200 --> 01:06:33,080
Speaker 3: lot of the family members are planning to migrate north,

1359
01:06:33,600 --> 01:06:35,920
Speaker 3: and they're very eager to make a life for themselves.

1360
01:06:36,000 --> 01:06:39,040
Speaker 3: This movie is set in nineteen oh two, so slavery

1361
01:06:39,120 --> 01:06:42,240
Speaker 3: has ended, the Civil War is over, and they're like,

1362
01:06:42,360 --> 01:06:44,240
Speaker 3: we need to go out there and make a life

1363
01:06:44,280 --> 01:06:48,120
Speaker 3: for ourselves. And there's an interesting element to the film

1364
01:06:48,200 --> 01:06:50,840
Speaker 3: that I really love because it's kind of told nonlinearly,

1365
01:06:51,600 --> 01:06:55,600
Speaker 3: So there's an unborn child narrating parts of the story,

1366
01:06:56,360 --> 01:06:59,680
Speaker 3: and from her perspective, it's about, you know, how her

1367
01:07:00,080 --> 01:07:03,320
Speaker 3: her story began before she was born, and she's kind

1368
01:07:03,320 --> 01:07:06,680
Speaker 3: of telling the story of her family and how right

1369
01:07:06,720 --> 01:07:08,960
Speaker 3: before her birth. But then there are also scenes of

1370
01:07:09,000 --> 01:07:11,480
Speaker 3: her kind of playing on the beach and running around,

1371
01:07:11,680 --> 01:07:14,920
Speaker 3: and you kind of know that she's going to be

1372
01:07:16,680 --> 01:07:18,840
Speaker 3: growing up on this island and growing up in this way,

1373
01:07:18,840 --> 01:07:20,520
Speaker 3: and you don't know how that's going to happen because

1374
01:07:20,600 --> 01:07:23,480
Speaker 3: her parents are planning on migrating north. So it's this

1375
01:07:23,600 --> 01:07:26,360
Speaker 3: big kind of party atmosphere that's happening as people are

1376
01:07:26,400 --> 01:07:32,440
Speaker 3: coming to the island to Ebo Landing to see their grandmother,

1377
01:07:32,640 --> 01:07:35,960
Speaker 3: see their relatives and say goodbye to each other.

1378
01:07:36,720 --> 01:07:38,400
Speaker 2: And the visuals again are gorgeous.

1379
01:07:38,440 --> 01:07:40,360
Speaker 3: It's like young girls playing on the beach and they're

1380
01:07:40,360 --> 01:07:42,960
Speaker 3: all wearing these long, white, flowing dresses and blowing.

1381
01:07:42,800 --> 01:07:47,080
Speaker 2: Bubbles and you know, just free and easy and beautiful.

1382
01:07:47,160 --> 01:07:49,200
Speaker 3: And the way that Julie Dadd kind of films it

1383
01:07:49,320 --> 01:07:52,520
Speaker 3: as well is really fascinating to me, because sometimes she

1384
01:07:52,760 --> 01:07:57,200
Speaker 3: slows the motions down intentionally, and sometimes she feeds them

1385
01:07:57,280 --> 01:07:59,600
Speaker 3: up and picks them up really like, so you kind

1386
01:07:59,600 --> 01:08:02,800
Speaker 3: of grasping it, holding onto the scene. You don't go

1387
01:08:02,880 --> 01:08:04,640
Speaker 3: so fast, I want to see this, but then you realize, like, no,

1388
01:08:04,760 --> 01:08:06,880
Speaker 3: this is part of the pace of the what the

1389
01:08:06,960 --> 01:08:09,439
Speaker 3: characters are feeling, as you know, time is slipping away

1390
01:08:09,440 --> 01:08:10,840
Speaker 3: from them because they're getting ready to leave.

1391
01:08:10,880 --> 01:08:11,880
Speaker 2: It's just it's beautiful.

1392
01:08:13,280 --> 01:08:15,520
Speaker 3: And there are a lot of different things happening with

1393
01:08:15,600 --> 01:08:18,680
Speaker 3: different family members as they're planning on leaving. So the

1394
01:08:18,800 --> 01:08:20,679
Speaker 3: primary couple that we're looking.

1395
01:08:20,479 --> 01:08:24,080
Speaker 2: At are Eli and Yula, and Eli is the.

1396
01:08:24,320 --> 01:08:29,360
Speaker 3: Son or the grandson of Nana great grandma Pa, his aunt,

1397
01:08:29,880 --> 01:08:31,800
Speaker 3: and when we meet her, she's kind of clearing weeds

1398
01:08:31,800 --> 01:08:34,559
Speaker 3: from her husband's grave and she's not moving, she's staying

1399
01:08:34,600 --> 01:08:38,760
Speaker 3: on the island, and he's kind of telling her that

1400
01:08:39,040 --> 01:08:41,600
Speaker 3: they're leaving doesn't mean that they don't love her or

1401
01:08:41,640 --> 01:08:43,519
Speaker 3: that they won't come home. And he's kind of giving

1402
01:08:43,560 --> 01:08:45,920
Speaker 3: her gifts to carry and tobacco and things like that.

1403
01:08:46,680 --> 01:08:49,400
Speaker 3: But what's fascinating is when you first meet Nana, you're

1404
01:08:49,479 --> 01:08:51,360
Speaker 3: kind of looking at her hands and they're very dark.

1405
01:08:51,400 --> 01:08:53,080
Speaker 3: Her hands are darker than the rest of her body.

1406
01:08:53,560 --> 01:08:59,000
Speaker 3: And she eventually explains that this island where she was

1407
01:08:59,040 --> 01:09:02,519
Speaker 3: a slave, her family was enslaved. At one point the

1408
01:09:02,640 --> 01:09:07,720
Speaker 3: primary industry was dyeing things with indigo. Yeah, so their

1409
01:09:07,840 --> 01:09:13,320
Speaker 3: hands are permanently stained and scarred from this indigo dye.

1410
01:09:13,960 --> 01:09:16,639
Speaker 3: And even though again the visual of that is arresting,

1411
01:09:16,720 --> 01:09:20,080
Speaker 3: because even though slavery has ended, the mark of slavery

1412
01:09:20,200 --> 01:09:22,720
Speaker 3: is still on people who are alive in that family. Yeah,

1413
01:09:23,120 --> 01:09:28,000
Speaker 3: like it's not generationally removed from their experience. And again,

1414
01:09:28,120 --> 01:09:30,080
Speaker 3: like there are things happening with like you know, there's

1415
01:09:30,520 --> 01:09:33,439
Speaker 3: all these visuals like glass, a tree with glass bottles

1416
01:09:33,479 --> 01:09:35,479
Speaker 3: on it. And when Ula goes to bed at one

1417
01:09:35,520 --> 01:09:37,559
Speaker 3: point in the beginning of the film, you don't know why,

1418
01:09:37,680 --> 01:09:39,280
Speaker 3: but she has a glass of water with a little

1419
01:09:39,320 --> 01:09:42,479
Speaker 3: bit of a sprig of something inside of it that

1420
01:09:42,600 --> 01:09:45,240
Speaker 3: she later reveals is her trying to communicate with her

1421
01:09:45,320 --> 01:09:47,200
Speaker 3: dead mother, and she said at work, she's like, I

1422
01:09:47,320 --> 01:09:49,439
Speaker 3: dreamed about my mother and she talked to me. So

1423
01:09:49,520 --> 01:09:52,920
Speaker 3: there's all these like customs that are handed down that

1424
01:09:53,240 --> 01:09:56,240
Speaker 3: really inform their emotional lives on this island and in

1425
01:09:56,320 --> 01:09:58,920
Speaker 3: this family. But Eli and Muller are having a lot

1426
01:09:58,960 --> 01:10:02,360
Speaker 3: of problems because you Ula is pregnant, but it's not

1427
01:10:02,560 --> 01:10:03,040
Speaker 3: his child.

1428
01:10:03,200 --> 01:10:06,240
Speaker 2: She was sexually assaulted and we don't know who did it.

1429
01:10:06,439 --> 01:10:07,559
Speaker 2: She does, but we don't.

1430
01:10:07,960 --> 01:10:11,280
Speaker 3: And the main call to action in the beginning of

1431
01:10:11,320 --> 01:10:14,439
Speaker 3: the film is really Nana talking to Eli and saying,

1432
01:10:15,000 --> 01:10:17,960
Speaker 3: it doesn't matter like this, nobody's going to give you

1433
01:10:18,040 --> 01:10:20,360
Speaker 3: a child that you weren't meant to raise. You know,

1434
01:10:20,479 --> 01:10:23,400
Speaker 3: you need to make your family strong and call on

1435
01:10:23,520 --> 01:10:26,280
Speaker 3: your ancestors. And Eli is kind of at this point

1436
01:10:26,400 --> 01:10:29,519
Speaker 3: because of this incident, has lost his faith in God.

1437
01:10:29,640 --> 01:10:32,639
Speaker 3: He's lost his faith in the omens that protect him,

1438
01:10:32,680 --> 01:10:35,720
Speaker 3: because those glass bottles on the tree are meant to

1439
01:10:35,840 --> 01:10:37,720
Speaker 3: kind of remind you of who was here before you

1440
01:10:37,880 --> 01:10:41,599
Speaker 3: and who's gone, and like an ancestral protection. But he's

1441
01:10:41,840 --> 01:10:43,519
Speaker 3: lost faith in all of that, So that's kind of

1442
01:10:43,520 --> 01:10:46,400
Speaker 3: the central friction of the family is that as they're

1443
01:10:46,439 --> 01:10:48,400
Speaker 3: planning to migrate, he's not sure that he can raise

1444
01:10:48,439 --> 01:10:50,200
Speaker 3: this child, and he's not sure that he can even

1445
01:10:50,439 --> 01:10:51,400
Speaker 3: love his wife or.

1446
01:10:51,400 --> 01:10:52,400
Speaker 2: Be with his wife anymore.

1447
01:10:53,200 --> 01:10:56,880
Speaker 3: In the midst of this, we also see these fascinating

1448
01:10:56,960 --> 01:11:00,599
Speaker 3: women who come back to Ebo landing a woman named

1449
01:11:00,840 --> 01:11:04,400
Speaker 3: that they call Yellow Mary and her cousin Viola, and

1450
01:11:04,439 --> 01:11:06,719
Speaker 3: they're kind of arriving by boat, and Viola has brought

1451
01:11:06,800 --> 01:11:10,240
Speaker 3: this photographer with her to document her family, which is

1452
01:11:10,280 --> 01:11:13,400
Speaker 3: a big deal. You know, just have pictures of black

1453
01:11:13,439 --> 01:11:16,640
Speaker 3: people at this time in nineteen oh two in the

1454
01:11:16,760 --> 01:11:21,880
Speaker 3: secluded place is a big deal. And Mary is kind

1455
01:11:21,960 --> 01:11:25,320
Speaker 3: of you get the feeling that she's been shunned essentially.

1456
01:11:26,200 --> 01:11:30,880
Speaker 3: When she arrives, it's exciting for everyone to see Viola,

1457
01:11:31,000 --> 01:11:34,280
Speaker 3: but it's not exciting for them to see Mary, and

1458
01:11:34,360 --> 01:11:36,920
Speaker 3: they keep referring to her as a ruined woman, and

1459
01:11:37,000 --> 01:11:39,800
Speaker 3: they can't believe she's back. And she has this girl

1460
01:11:39,880 --> 01:11:42,439
Speaker 3: with her, Trula that they never really talk about, but

1461
01:11:42,600 --> 01:11:45,160
Speaker 3: she kind of has this companion with her, and people

1462
01:11:45,200 --> 01:11:47,120
Speaker 3: are calling her hussy and giving her the stink guy,

1463
01:11:47,600 --> 01:11:51,360
Speaker 3: and eventually we start to learn about her story a bit,

1464
01:11:51,640 --> 01:11:56,720
Speaker 3: and she she had a child that was stillborn. But

1465
01:11:56,880 --> 01:11:59,280
Speaker 3: the way she describes it is that she, you know,

1466
01:11:59,400 --> 01:12:02,559
Speaker 3: even though she had a still birth, she still had milk.

1467
01:12:02,680 --> 01:12:04,400
Speaker 3: So she went and worked as a wet nurse for

1468
01:12:04,479 --> 01:12:07,240
Speaker 3: a family, and she says that that's how she got ruined,

1469
01:12:07,280 --> 01:12:09,679
Speaker 3: because the family kept her longer than she wanted to stay.

1470
01:12:10,200 --> 01:12:11,599
Speaker 3: So she had to fix it so she could get

1471
01:12:11,600 --> 01:12:13,920
Speaker 3: away from this family. So it's partly that she went

1472
01:12:13,960 --> 01:12:16,639
Speaker 3: to the mainland, it's partly that she had a still birth,

1473
01:12:16,720 --> 01:12:19,160
Speaker 3: and we kind of get the feeling that it's been

1474
01:12:19,200 --> 01:12:21,880
Speaker 3: a child that was conceived out of wedlock, but she

1475
01:12:22,040 --> 01:12:24,519
Speaker 3: wasn't with her family when any of this happened, and

1476
01:12:24,680 --> 01:12:29,360
Speaker 3: so her ruination is a fascinating subject to me. If

1477
01:12:29,439 --> 01:12:31,360
Speaker 3: I were in school, I'd definitely be studying and studying

1478
01:12:31,400 --> 01:12:33,120
Speaker 3: this film. I would definitely be keying in on that

1479
01:12:33,600 --> 01:12:37,360
Speaker 3: because she's really free and wild, but she's also very

1480
01:12:37,439 --> 01:12:40,360
Speaker 3: thoughtful and loving, and she's, you know, when she comes

1481
01:12:40,439 --> 01:12:43,519
Speaker 3: back to this island, she's making peace with herself as

1482
01:12:43,600 --> 01:12:46,200
Speaker 3: much as she is with her family, and trying to

1483
01:12:46,240 --> 01:12:49,759
Speaker 3: find ways to tell the younger women in her family

1484
01:12:50,400 --> 01:12:53,720
Speaker 3: that she's not ruined. She's actually fine, Like her life

1485
01:12:53,800 --> 01:12:55,600
Speaker 3: is okay, she's lived everywhere, she wants to move to

1486
01:12:55,720 --> 01:12:56,720
Speaker 3: Nova Scotia.

1487
01:12:56,400 --> 01:12:58,680
Speaker 2: She has plans, and her life carried on.

1488
01:12:59,400 --> 01:13:01,360
Speaker 3: So she's really interesting to me as a mark of

1489
01:13:01,439 --> 01:13:06,080
Speaker 3: someone who did leave and has been considered cursed or ruined.

1490
01:13:06,760 --> 01:13:08,520
Speaker 2: But then you have most of the family.

1491
01:13:08,320 --> 01:13:10,880
Speaker 3: Getting ready to leave, and you wonder, you know, are

1492
01:13:10,920 --> 01:13:12,680
Speaker 3: they going to be treated the same way, and you

1493
01:13:12,760 --> 01:13:14,479
Speaker 3: only even says that. At one point, she has this

1494
01:13:14,560 --> 01:13:17,360
Speaker 3: great monologu where she's like, well, if you think Mary

1495
01:13:17,479 --> 01:13:19,000
Speaker 3: is a ruined woman, what do you think of me?

1496
01:13:19,200 --> 01:13:21,240
Speaker 3: Because like, I was raped and I'm having a child

1497
01:13:21,360 --> 01:13:24,439
Speaker 3: that was not my husband. So if you think she's ruined,

1498
01:13:24,479 --> 01:13:26,519
Speaker 3: what do you think of me? And she kind of

1499
01:13:26,560 --> 01:13:33,840
Speaker 3: goes on to evoke this this very emotional speech about

1500
01:13:33,880 --> 01:13:36,479
Speaker 3: how about women's stories and how we need to stay

1501
01:13:36,520 --> 01:13:39,040
Speaker 3: together and how you know, how we do carry on

1502
01:13:39,200 --> 01:13:41,360
Speaker 3: as people if we support each other, And it's just

1503
01:13:41,439 --> 01:13:44,840
Speaker 3: it's very very interesting because there's also this other aunt,

1504
01:13:45,000 --> 01:13:48,559
Speaker 3: aunt Hagar, who's kind of like a real mean old bitch,

1505
01:13:49,240 --> 01:13:52,960
Speaker 3: and she's adamant about leaving because she wants her kids,

1506
01:13:53,120 --> 01:13:55,720
Speaker 3: especially to be modern she's not interested in her kids

1507
01:13:55,800 --> 01:13:56,719
Speaker 3: living in the old ways.

1508
01:13:57,040 --> 01:13:58,479
Speaker 2: She wants to be part of the new world.

1509
01:13:58,600 --> 01:14:00,960
Speaker 3: She wants them to be educated, and she's ready to

1510
01:14:01,000 --> 01:14:02,920
Speaker 3: throw down with anyone who's trying to hold her back,

1511
01:14:03,080 --> 01:14:06,280
Speaker 3: including Nana. And she's like, look, I'm married into this family,

1512
01:14:06,360 --> 01:14:08,519
Speaker 3: but listen to me, old woman. We don't need this

1513
01:14:08,680 --> 01:14:11,200
Speaker 3: magic shit. We don't need you wrap in twigs around

1514
01:14:11,240 --> 01:14:13,120
Speaker 3: shit like we need to go and be part of

1515
01:14:13,200 --> 01:14:16,120
Speaker 3: the world. So she's really at odds with her own family,

1516
01:14:16,520 --> 01:14:17,880
Speaker 3: but she's so tough about it that.

1517
01:14:18,160 --> 01:14:19,400
Speaker 2: It's almost impenetrable.

1518
01:14:21,080 --> 01:14:23,519
Speaker 3: So there's just all these just the stories of the

1519
01:14:23,560 --> 01:14:26,200
Speaker 3: women in this family are so fascinating to me. And

1520
01:14:26,280 --> 01:14:27,240
Speaker 3: her own daughter.

1521
01:14:27,400 --> 01:14:30,800
Speaker 2: Hatar's own daughter, Iona is having a whole totally.

1522
01:14:30,520 --> 01:14:35,120
Speaker 3: Different experience where she's in love with this man on

1523
01:14:35,240 --> 01:14:39,040
Speaker 3: the island called Saint Julian Lashchild and he's a Cherokee

1524
01:14:39,720 --> 01:14:42,400
Speaker 3: and he's basically written her this letter and asks her

1525
01:14:42,479 --> 01:14:44,200
Speaker 3: to stay on the island. He's like, don't leave me,

1526
01:14:44,479 --> 01:14:45,800
Speaker 3: you know, even though I know your mom wants you

1527
01:14:45,800 --> 01:14:48,000
Speaker 3: to have this new modern life. But we love each

1528
01:14:48,040 --> 01:14:51,880
Speaker 3: other and we have a connection. So the women in

1529
01:14:51,920 --> 01:14:54,920
Speaker 3: the story are fascinating to the bulk of what I

1530
01:14:55,160 --> 01:14:58,400
Speaker 3: always key in on, but the men are also really interesting.

1531
01:14:58,520 --> 01:15:01,799
Speaker 3: Like Eli's going through so much to try to consider.

1532
01:15:02,439 --> 01:15:04,640
Speaker 3: You know, he's looking at this, this move to the

1533
01:15:04,720 --> 01:15:08,639
Speaker 3: mainland as an escape, knowing that he can't ever escape

1534
01:15:09,040 --> 01:15:11,240
Speaker 3: what has happened to his family, what has happened to

1535
01:15:11,320 --> 01:15:14,040
Speaker 3: his wife. So he's trying to make peace with it

1536
01:15:14,080 --> 01:15:16,840
Speaker 3: before he leaves. And he thinks the act of leaving

1537
01:15:16,960 --> 01:15:19,320
Speaker 3: is what we'll do it, but everyone in his life

1538
01:15:19,400 --> 01:15:21,360
Speaker 3: is telling him, like, no, you've got to make be

1539
01:15:21,560 --> 01:15:24,080
Speaker 3: right with it in your heart before you move out

1540
01:15:24,120 --> 01:15:26,280
Speaker 3: of here and move on. And you know, they have

1541
01:15:26,360 --> 01:15:29,479
Speaker 3: this cousin, Billal who's you know, Eli's cousin. His name's

1542
01:15:29,520 --> 01:15:32,479
Speaker 3: Balah Mohammed, and he kind of does this chant that

1543
01:15:32,800 --> 01:15:36,559
Speaker 3: is again still also from the old world, but it's

1544
01:15:36,960 --> 01:15:40,679
Speaker 3: like an Arabic, you know, kind of Muslim Middle Eastern

1545
01:15:40,840 --> 01:15:42,800
Speaker 3: chanting that he does. And he's kind of seen as

1546
01:15:42,880 --> 01:15:46,200
Speaker 3: a weirdo because of that, because he's still keeping old customs,

1547
01:15:46,280 --> 01:15:48,680
Speaker 3: but they're not the old customs that are purely from

1548
01:15:48,720 --> 01:15:51,360
Speaker 3: one part of Africa, so he's kind of seen as

1549
01:15:51,360 --> 01:15:53,200
Speaker 3: a weirdo. And the like watching the men and the

1550
01:15:53,280 --> 01:15:57,400
Speaker 3: elders talk to each other. Is fascinating, but again it's

1551
01:15:57,479 --> 01:15:59,799
Speaker 3: for me. It's really about the matriarchy of this family.

1552
01:16:00,080 --> 01:16:04,360
Speaker 3: And at one point Nana says, you know, it's again

1553
01:16:04,439 --> 01:16:06,519
Speaker 3: a quick climb, but it's very poignant where she's talking

1554
01:16:06,560 --> 01:16:09,400
Speaker 3: about the importance of keeping track of your family, which

1555
01:16:09,479 --> 01:16:10,880
Speaker 3: is part of the reason why she's so worried that

1556
01:16:10,920 --> 01:16:13,479
Speaker 3: they're leaving, because she said, you know, there was a

1557
01:16:13,520 --> 01:16:17,280
Speaker 3: point during slavery where the elders were the only people

1558
01:16:17,400 --> 01:16:21,760
Speaker 3: keeping track of the birth and death and sales of

1559
01:16:22,360 --> 01:16:26,680
Speaker 3: black people and slaves, people who were enslaved, because she

1560
01:16:26,840 --> 01:16:29,559
Speaker 3: had seen it at one point where you know, sons

1561
01:16:29,600 --> 01:16:33,519
Speaker 3: were sold off as babies and then brought back to

1562
01:16:34,200 --> 01:16:36,920
Speaker 3: mate with their own mothers. And she's like, you know,

1563
01:16:36,920 --> 01:16:38,640
Speaker 3: if we didn't keep our own history, it could have

1564
01:16:38,680 --> 01:16:43,479
Speaker 3: been disastrous for our lineage. So the importance of keeping

1565
01:16:43,560 --> 01:16:46,840
Speaker 3: track of your family in a literal sense and keeping

1566
01:16:47,000 --> 01:16:49,800
Speaker 3: records when nobody else is keeping your records. I can

1567
01:16:49,840 --> 01:16:51,840
Speaker 3: tell you from personal experience that I know, for a

1568
01:16:51,920 --> 01:16:54,200
Speaker 3: while back in the day, everyone was going crazy on

1569
01:16:54,280 --> 01:16:58,479
Speaker 3: ancestry and looking up there, you know, their DNA and

1570
01:16:58,560 --> 01:17:01,000
Speaker 3: all that shit, and I don't have the same access

1571
01:17:01,080 --> 01:17:04,320
Speaker 3: to that because my family. When I research my family,

1572
01:17:04,640 --> 01:17:07,040
Speaker 3: I always hit the same wall, and the wall is

1573
01:17:07,760 --> 01:17:10,760
Speaker 3: the Dutch West Indies and the French West Indies where

1574
01:17:11,240 --> 01:17:13,439
Speaker 3: a lot of my family members were slaves, and I

1575
01:17:13,520 --> 01:17:17,040
Speaker 3: can't get information past that point. So the record keeping

1576
01:17:17,080 --> 01:17:20,240
Speaker 3: of your own family is very important to black families,

1577
01:17:20,360 --> 01:17:22,559
Speaker 3: particularly in this part of the world, but in general,

1578
01:17:23,240 --> 01:17:26,640
Speaker 3: because our oral history is sometimes all we have to

1579
01:17:26,920 --> 01:17:30,519
Speaker 3: remember who our family members even weren't. So yeah, one

1580
01:17:30,560 --> 01:17:33,040
Speaker 3: thing that the grandmother also keeps saying is that she's

1581
01:17:33,760 --> 01:17:36,519
Speaker 3: the last of the old and elish child is going

1582
01:17:36,560 --> 01:17:38,800
Speaker 3: to be the first of the new. So there's this

1583
01:17:39,560 --> 01:17:42,840
Speaker 3: bridge that's being built in their family, and she doesn't

1584
01:17:42,880 --> 01:17:45,439
Speaker 3: want her family to lose the old. So as she's

1585
01:17:45,520 --> 01:17:47,240
Speaker 3: kind of like, you know, she has this parcel that

1586
01:17:47,320 --> 01:17:49,600
Speaker 3: she's putting together and it has a piece of her

1587
01:17:49,680 --> 01:17:51,439
Speaker 3: mother's hair and she adds a piece of her own

1588
01:17:51,520 --> 01:17:53,840
Speaker 3: hair to it, and of course Hagar's like, we all

1589
01:17:53,880 --> 01:17:55,560
Speaker 3: need that old shit, but everyone else is like, no,

1590
01:17:55,680 --> 01:17:57,599
Speaker 3: this is fucking fascinating, and they come in to kiss

1591
01:17:57,600 --> 01:17:59,680
Speaker 3: it and they're just kind of like, no, this is

1592
01:17:59,840 --> 01:18:04,000
Speaker 3: a direct embodiment of our family and our lineage and

1593
01:18:04,400 --> 01:18:08,160
Speaker 3: the importance of that. So it's beautiful. It's a stunning film.

1594
01:18:08,680 --> 01:18:11,719
Speaker 3: It is a classic for a reason. Julie dash really

1595
01:18:11,800 --> 01:18:13,600
Speaker 3: made something very special.

1596
01:18:13,640 --> 01:18:17,519
Speaker 2: In this film but also very new and just so

1597
01:18:18,840 --> 01:18:21,640
Speaker 2: it's just so important to see the.

1598
01:18:21,720 --> 01:18:26,040
Speaker 3: Visual narrative of The Joy and you know, the way

1599
01:18:26,120 --> 01:18:28,559
Speaker 3: they honor that she honored her own family, but also

1600
01:18:28,680 --> 01:18:31,680
Speaker 3: honored black culture in talking about this part of the

1601
01:18:31,720 --> 01:18:33,720
Speaker 3: world that a lot of people don't know about. Yeah,

1602
01:18:33,880 --> 01:18:36,320
Speaker 3: and I think it's well worth watching. And if all

1603
01:18:36,360 --> 01:18:38,120
Speaker 3: you get out of it is the way that Beyonce

1604
01:18:38,360 --> 01:18:40,800
Speaker 3: was inspired, fine, but there's so much more.

1605
01:18:40,760 --> 01:18:42,479
Speaker 2: To the history of that part of the world and

1606
01:18:42,560 --> 01:18:43,560
Speaker 2: it's fascinating.

1607
01:18:44,479 --> 01:18:48,800
Speaker 1: Yeah, I mean, it's an incredible movie because of that.

1608
01:18:49,000 --> 01:18:52,400
Speaker 4: Though. It's like because it can be both things. It

1609
01:18:52,479 --> 01:18:55,880
Speaker 4: can be like a vibe, you know, in the Beyonce way,

1610
01:18:56,040 --> 01:19:01,960
Speaker 4: but it also is so textured and fascinating too completely.

1611
01:19:02,560 --> 01:19:05,280
Speaker 1: And you know, it's funny because I think, you know,

1612
01:19:05,360 --> 01:19:10,120
Speaker 1: obviously I'm very drawn to stories about immigration, but also

1613
01:19:10,880 --> 01:19:17,200
Speaker 1: people retaining their culture or trying to while they modernize,

1614
01:19:17,360 --> 01:19:21,400
Speaker 1: while they move into like an America, like a more

1615
01:19:21,560 --> 01:19:25,120
Speaker 1: modern Western American life, right.

1616
01:19:25,400 --> 01:19:28,040
Speaker 4: Right, Absolutely, and so I don't know, it's just it's

1617
01:19:28,080 --> 01:19:29,599
Speaker 4: such a good movie on that level.

1618
01:19:29,400 --> 01:19:32,040
Speaker 1: Too, Yeah, because it's just like you said, like there's

1619
01:19:32,080 --> 01:19:36,519
Speaker 1: all these implications of that that you don't think about normally,

1620
01:19:37,320 --> 01:19:40,400
Speaker 1: and then this movie comes along and kind of irons

1621
01:19:40,439 --> 01:19:43,160
Speaker 1: all of those things out and you're just like, Wow,

1622
01:19:43,560 --> 01:19:46,200
Speaker 1: it's just amazing. It's just an amazing film. And it

1623
01:19:46,479 --> 01:19:50,720
Speaker 1: persists because it's that good. You know, it's still so

1624
01:19:51,000 --> 01:19:52,400
Speaker 1: good after all this time.

1625
01:19:52,880 --> 01:19:53,320
Speaker 3: Beautiful.

1626
01:19:53,360 --> 01:19:53,919
Speaker 2: It's beautiful.

1627
01:19:54,080 --> 01:19:56,560
Speaker 3: It's really beautiful, and I find something new in it

1628
01:19:56,680 --> 01:19:59,200
Speaker 3: every time I see it, Like visually and in terms

1629
01:19:59,200 --> 01:20:01,040
Speaker 3: of the message of the movie itself, it's beautiful.

1630
01:20:01,160 --> 01:20:04,240
Speaker 4: Yeah, this theme is great. By the way. I love

1631
01:20:04,760 --> 01:20:08,800
Speaker 4: these two movies together like a really great double feature.

1632
01:20:08,760 --> 01:20:10,680
Speaker 2: One hundred percent. Put them both on and have a

1633
01:20:10,800 --> 01:20:11,280
Speaker 2: great day.

1634
01:20:11,800 --> 01:20:12,680
Speaker 3: Yeah, I love it.

1635
01:20:13,160 --> 01:20:15,120
Speaker 4: Oh my goodness. Well listen.

1636
01:20:15,479 --> 01:20:18,960
Speaker 1: If you want to email us, we are at I

1637
01:20:19,000 --> 01:20:21,320
Speaker 1: Saw what you did pod at gmail dot com. Please

1638
01:20:21,439 --> 01:20:25,160
Speaker 1: send us emails and things voicemails for the bonus episodes,

1639
01:20:25,200 --> 01:20:29,080
Speaker 1: and remember the guidelines again, Shorter is better.

1640
01:20:29,640 --> 01:20:33,240
Speaker 3: Same for the voicemails. Take sixty seconds or less and

1641
01:20:33,360 --> 01:20:34,960
Speaker 3: record in a quiet space. All you have to do

1642
01:20:35,120 --> 01:20:37,559
Speaker 3: is record a voice memo on your phone and email

1643
01:20:37,600 --> 01:20:38,840
Speaker 3: it to us at I Saw We did put at

1644
01:20:38,880 --> 01:20:40,840
Speaker 3: gmail dot com. And if you want to send us

1645
01:20:40,880 --> 01:20:43,880
Speaker 3: handwritten letters, you can do that for sure at our pobox,

1646
01:20:43,920 --> 01:20:46,559
Speaker 3: which you can find that information on our Instagram account.

1647
01:20:47,040 --> 01:20:50,360
Speaker 3: There is a link tree link, and we are on

1648
01:20:50,520 --> 01:20:53,679
Speaker 3: all of our social media at I Sawpod, Instagram, Blue Sky,

1649
01:20:53,840 --> 01:20:54,280
Speaker 3: and Twitter.

1650
01:20:54,720 --> 01:20:55,120
Speaker 4: That's right.

1651
01:20:55,680 --> 01:20:59,120
Speaker 1: We also have merch too, don't forget. It's at exactly

1652
01:20:59,240 --> 01:21:02,719
Speaker 1: right store dot com and it's very nice.

1653
01:21:02,880 --> 01:21:03,400
Speaker 4: Check it out.

1654
01:21:03,760 --> 01:21:05,560
Speaker 3: And you know we have bonus episodes coming at you

1655
01:21:05,720 --> 01:21:08,880
Speaker 3: on the main feed every third Thursday of the month.

1656
01:21:09,280 --> 01:21:12,400
Speaker 2: You get a two for one two for one. No,

1657
01:21:12,720 --> 01:21:14,080
Speaker 2: you just get us twice a week, once a week,

1658
01:21:14,160 --> 01:21:16,639
Speaker 2: once a month. Yeah, twice a week, once a month.

1659
01:21:18,160 --> 01:21:21,200
Speaker 4: All we know is it's just extra content for us.

1660
01:21:21,360 --> 01:21:23,920
Speaker 3: We do it for you. We do it for you.

1661
01:21:24,439 --> 01:21:26,559
Speaker 2: Next week is gonna be so goddamn fun.

1662
01:21:27,040 --> 01:21:30,400
Speaker 4: I'm so overjoyed to tell you.

1663
01:21:30,960 --> 01:21:32,240
Speaker 2: Do you want to tell them what the movies are?

1664
01:21:32,320 --> 01:21:32,439
Speaker 3: Oh?

1665
01:21:32,520 --> 01:21:36,679
Speaker 1: Yeah, the movies for next week are Burglar from nineteen

1666
01:21:36,720 --> 01:21:41,439
Speaker 1: eighty seven and Jump In Jack Flash from nineteen eighty six.

1667
01:21:42,200 --> 01:21:44,920
Speaker 3: You might think you know the theme, you probably don't,

1668
01:21:45,200 --> 01:21:49,040
Speaker 3: but guess it gets it. It's gonna be wild. We

1669
01:21:49,120 --> 01:21:51,599
Speaker 3: have been having a lot of unhinged episodes this winter,

1670
01:21:51,840 --> 01:21:54,080
Speaker 3: and I have a feeling that is going to be continued.

1671
01:21:54,080 --> 01:21:55,400
Speaker 2: The trend will continue next week.

1672
01:21:55,800 --> 01:21:58,040
Speaker 4: Listen. All I know is that I have referenced one

1673
01:21:58,080 --> 01:22:00,160
Speaker 4: of the films so many times in this podcast, and

1674
01:22:00,200 --> 01:22:03,080
Speaker 4: I'm finally going to be able to like give my

1675
01:22:03,520 --> 01:22:05,439
Speaker 4: dissertation on it. I'm so excited.

1676
01:22:06,240 --> 01:22:08,040
Speaker 2: I'm sorry, I can't wait. I can't wait.

1677
01:22:08,360 --> 01:22:11,000
Speaker 1: Well, Daniel is always a fucking pleasure joining this podcast

1678
01:22:11,080 --> 01:22:11,280
Speaker 1: with you.

1679
01:22:12,680 --> 01:22:14,439
Speaker 4: You're so great, it's the best.

1680
01:22:14,800 --> 01:22:16,160
Speaker 3: Luck you so much, you too.

1681
01:22:16,720 --> 01:22:17,040
Speaker 2: Bye.

1682
01:22:23,720 --> 01:22:26,759
Speaker 3: This has been an exactly right production. Produced by Casey O'Brien,

1683
01:22:27,080 --> 01:22:30,599
Speaker 3: Episode mixing and theme music by Tom Bryfogel, artwork by

1684
01:22:30,640 --> 01:22:34,639
Speaker 3: Garrett Ross. Our executive producers are Georgia Hartstart, karenkle Gareff,

1685
01:22:34,680 --> 01:22:37,360
Speaker 3: and Daniel Kramer. You can follow us on Instagram and

1686
01:22:37,479 --> 01:22:40,280
Speaker 3: Twitter at I Saw Pod, and you can email us

1687
01:22:40,360 --> 01:22:42,439
Speaker 3: at I Saw What You Did Pod at gmail.