WEBVTT - The Next Picture Show’s 500th Episode 0:00:00.080 --> 0:00:01.720 Hey, film Spotters, Josh and Adam. 0:00:01.760 --> 0:00:01.960 Here. 0:00:02.040 --> 0:00:05.400 Wednesdays are when we usually drop something into the feed 0:00:05.440 --> 0:00:08.800 from the Film Spotting Archive, but this week we wanted 0:00:08.800 --> 0:00:13.160 to celebrate our sister podcast, big milestone. The Next Picture 0:00:13.160 --> 0:00:17.799 Show just published it's five hundredth episode, so we're going 0:00:17.880 --> 0:00:21.799 to share it right here in our feed. Five hundred 0:00:21.920 --> 0:00:26.600 episodes comes out to Adam, ten years of podcasting. 0:00:27.000 --> 0:00:27.720 How about that? 0:00:28.400 --> 0:00:31.920 So excited for these four that ten years later they 0:00:31.920 --> 0:00:36.560 are still pumping out great podcasts, great film criticism. Talking 0:00:36.560 --> 0:00:40.480 about the movie that inspired the name of their show, 0:00:40.720 --> 0:00:44.599 it is Peter Bogdanovich's The Last Picture Show, and it's 0:00:44.640 --> 0:00:48.120 a movie Josh, I've seen. I've seen even more than once. 0:00:48.200 --> 0:00:51.319 That means I can listen. I can hear their in 0:00:51.400 --> 0:00:56.240 depth conversation about this film, and now you can too. 0:00:56.440 --> 0:01:00.160 Here is The Next Picture Show, number five hundred. Scott 0:01:00.160 --> 0:01:03.760 to Bias, Tasha Robinson, Genevieve Cosky, and Keith Phipps. 0:01:03.840 --> 0:01:06.640 Very difficult to keep the line between the past. 0:01:06.400 --> 0:01:06.920 And the press. 0:01:07.040 --> 0:01:11.360 You believe that someone out of the past can enter 0:01:11.520 --> 0:01:13.679 and take possession of a living being. 0:01:13.760 --> 0:01:15.880 We may be through with the past, but the past 0:01:16.000 --> 0:01:22.720 is not through with us. Welcome to the Next Picture Show, 0:01:22.840 --> 0:01:25.440 a movie the Week podcast about a classic film and 0:01:25.440 --> 0:01:27.360 how it shaped our thoughts on a recent release. 0:01:27.440 --> 0:01:30.840 I'm Scott Tobias here with Tasha Robinson, Keith. 0:01:30.640 --> 0:01:32.280 Phipps, and Genevieve Cosky. 0:01:32.680 --> 0:01:36.560 Ten years ago, in early July twenty fifteen, our beloved 0:01:36.560 --> 0:01:40.040 movie site That Dissolve was shuttered after two years under 0:01:40.040 --> 0:01:43.040 the Pitchfork umbrella. It was a site that was simply 0:01:43.040 --> 0:01:46.800 too beautiful for our blighted digital media world. But we 0:01:46.800 --> 0:01:49.680 were not ready to scatter to the winds, not after 0:01:49.680 --> 0:01:52.080 working so closely together for so many years at the 0:01:52.080 --> 0:01:55.720 Dissolve in the av Club. So we conceived one group 0:01:55.840 --> 0:01:59.520 project no one could fire us from, a self produced 0:01:59.680 --> 0:02:03.600 knee movie podcast called The Next Picture Show. And now 0:02:03.640 --> 0:02:06.680 we have reached five hundred episodes, which to me is 0:02:06.760 --> 0:02:09.120 kind of a miracle because it took us an eternity 0:02:09.400 --> 0:02:11.720 just to figure out when we could all get together 0:02:11.840 --> 0:02:15.680 for episode one. Gang, what do you all remember about 0:02:15.680 --> 0:02:17.440 this formative time in our lives? 0:02:18.280 --> 0:02:20.519 I mean, I remember it being easier to get together 0:02:20.560 --> 0:02:25.000 because I was a semi employed at that point in time. 0:02:25.040 --> 0:02:28.000 I think I was like doing some freelance work, so 0:02:28.080 --> 0:02:30.959 it was actually much easier for me to make time 0:02:31.000 --> 0:02:34.880 for the podcast, but also I started out in a 0:02:35.520 --> 0:02:40.440 purely behind the scenes role. So my biggest memory of 0:02:40.800 --> 0:02:45.000 those early days is the giant bag of chords and 0:02:45.040 --> 0:02:48.120 cables that I lugged to the physical space where we 0:02:48.160 --> 0:02:52.400 recorded together and had to spend a half hour setting 0:02:52.400 --> 0:02:54.000 everything up before we could record. 0:02:54.120 --> 0:02:56.639 It was a different time pre. 0:02:56.600 --> 0:02:59.160 Zoom, and when we all still lived in the same 0:02:59.240 --> 0:03:02.839 city and a very nice studio space that we could 0:03:02.919 --> 0:03:06.880 record in together. So the setup was definitely different and 0:03:06.960 --> 0:03:10.919 my contribution was different, but you know, we all grew 0:03:10.960 --> 0:03:12.440 together and evolved. 0:03:12.800 --> 0:03:15.919 I definitely remember thinking this is going to be short term, 0:03:16.200 --> 0:03:18.000 like this is going to be something that we're going 0:03:18.040 --> 0:03:20.880 to do for a little while, and then, like every 0:03:21.000 --> 0:03:24.080 group of people who work together and then go elsewhere 0:03:24.120 --> 0:03:26.600 and get separate jobs from each other, like we're going 0:03:26.680 --> 0:03:29.280 to drift apart. We're probably going to move to other cities. 0:03:29.520 --> 0:03:33.240 We're definitely not going to continue doing this free project 0:03:33.520 --> 0:03:37.600 to give free entertainment to the internet, given how time 0:03:37.600 --> 0:03:39.640 consuming it is, and given that we're all probably about 0:03:39.640 --> 0:03:43.040 to become freelancers, which is very time consuming. So call 0:03:43.160 --> 0:03:45.640 me wrong, I mean I still think, you know, ten years, 0:03:45.640 --> 0:03:47.080 it's kind of a short term, probably not going to 0:03:47.120 --> 0:03:48.000 make it to eleven. 0:03:48.000 --> 0:03:52.560 I think, yeah, No, I mean I didn't know how 0:03:52.560 --> 0:03:54.880 long it would last. But then, but so I wanted 0:03:54.880 --> 0:03:56.280 to hang out with you guys and work on some 0:03:56.400 --> 0:03:59.840 I wish we mentioned Rachel Handler or Dozoco Worker was 0:04:00.320 --> 0:04:01.840 part of this in the early days, and then then 0:04:01.880 --> 0:04:04.520 did leave for another city and got too busy and 0:04:04.560 --> 0:04:11.360 too famous too. But yeah, I've always loved working with 0:04:11.400 --> 0:04:13.400 you guys. I'm glad to keep working with you. And 0:04:13.400 --> 0:04:15.320 I'm glad that we have, you know, plug for the Patreon. 0:04:15.360 --> 0:04:17.040 I'm glad we have the Patreon now, so it is 0:04:17.360 --> 0:04:20.560 like a little bit of income for us. But you know, 0:04:20.680 --> 0:04:22.320 when the days we were doing it for free, I 0:04:22.360 --> 0:04:25.440 still wanted to do it, you know, so, and I'm 0:04:25.800 --> 0:04:28.599 glad we kept going. My memory of that studio space 0:04:29.120 --> 0:04:31.000 was somewhere on my phone. I have a picture of it. 0:04:30.920 --> 0:04:36.400 It's a fairly horrifying bluegrass band or traditional very scary 0:04:36.440 --> 0:04:40.760 banjo player. A picture from from the studio space, like 0:04:40.800 --> 0:04:44.480 a statue. No, it's a those people think, oh. 0:04:44.240 --> 0:04:47.120 It was a photo of Okay, Yeah, like when did 0:04:47.200 --> 0:04:49.800 when did zoom come along because it really felt like zoom. 0:04:49.880 --> 0:04:54.480 Plus the pandemic actually kind of made the show possible 0:04:54.720 --> 0:04:57.039 long term in a way because you because you moved 0:04:57.080 --> 0:04:59.719 away Genevieve and then you know, and then and then 0:04:59.760 --> 0:05:02.160 it woul was like, I think the idea of us 0:05:02.320 --> 0:05:05.080 having to get together physically in the same room or 0:05:05.400 --> 0:05:08.039 when you were away initially physically in the same room 0:05:08.240 --> 0:05:10.400 and have some kind of an awkward camera set up, 0:05:10.520 --> 0:05:13.240 Like getting rid of all of that and being able 0:05:13.240 --> 0:05:17.560 to do this all remotely made it so much easier 0:05:18.360 --> 0:05:19.400 to pull off. 0:05:19.240 --> 0:05:21.440 When we needed to pull off, I think, I. 0:05:21.400 --> 0:05:24.400 Mean, I do miss my giant bag of cables and 0:05:25.360 --> 0:05:28.800 you know, setting us all up around the same table together, 0:05:29.240 --> 0:05:32.599 but yeah, we did. We actually started with Skype as 0:05:32.600 --> 0:05:38.200 I recall, yeah, but right around pandemic different services for this. 0:05:39.040 --> 0:05:43.760 Yeah, I mean remember the friends to app that we used. Totally. 0:05:44.200 --> 0:05:46.640 It was the clunkiest thing, you know, it was very clunky. 0:05:46.800 --> 0:05:49.039 It is kind of astonishing we've made it this far 0:05:49.600 --> 0:05:51.880 and yet not and I think about part of it 0:05:51.920 --> 0:05:53.800 is the Patreon I mean not just the money, but 0:05:53.920 --> 0:05:56.800 just knowing that which is obviously super helpful, but having 0:05:56.839 --> 0:06:01.040 that support from our listeners. This whole time. Is very motivating, 0:06:01.120 --> 0:06:03.120 you know, you do what you do this for the fans, 0:06:03.160 --> 0:06:04.400 you know, and not. 0:06:04.480 --> 0:06:07.479 Just motivating, you know, in the sense of reminding us 0:06:07.560 --> 0:06:09.560 that the people out there listening and people out there 0:06:09.600 --> 0:06:11.679 that you know, care enough to throw three bucks our way. 0:06:11.880 --> 0:06:14.960 It's also motivating in that we pay our guests, you know, 0:06:15.000 --> 0:06:17.440 which is something that not every podcast does. In fact, 0:06:17.760 --> 0:06:20.240 every time we ask a colleague of ours to be 0:06:20.320 --> 0:06:22.719 on the podcast that's never been on the podcast before 0:06:23.080 --> 0:06:24.840 and tell them what the fee is, they say, wait 0:06:24.880 --> 0:06:26.640 a minute, you pay your tests. 0:06:27.160 --> 0:06:29.880 We pay them a lot. 0:06:30.279 --> 0:06:32.800 Yeah, I mean, we don't pay them a yearly salary 0:06:32.880 --> 0:06:36.120 or anything. But it's nice to be able to, you know, 0:06:36.200 --> 0:06:39.359 to support people in that way and to compensate people 0:06:39.360 --> 0:06:41.880 for the time that they give us, because it's always 0:06:41.880 --> 0:06:44.080 a delight when somebody wants to like give up like 0:06:44.160 --> 0:06:45.960 four hours of their time to come and sit and 0:06:45.960 --> 0:06:48.520 talk movies with us. But everybody's schedules are very very 0:06:48.520 --> 0:06:50.680 busy these days, so you know, it's nice to be 0:06:50.720 --> 0:06:53.400 able to both compensate them in that way and to 0:06:53.600 --> 0:06:56.080 lurere in some of the just incredible talent that we've 0:06:56.120 --> 0:06:59.080 gotten to come talk movies with us, for sure, for sure. 0:06:59.320 --> 0:07:02.359 So for this a special five hundredth episode, we have 0:07:02.400 --> 0:07:05.520 a fun little surprise for you Dissolve podcast fans from 0:07:05.560 --> 0:07:08.120 back in the day. Well that's for a little bit later. First, 0:07:08.160 --> 0:07:10.880 we're going to talk about a movie that we've selected 0:07:11.000 --> 0:07:13.880 just for this occasion. Genevieve, can you tell our listeners 0:07:13.880 --> 0:07:14.360 about it? 0:07:14.520 --> 0:07:17.720 Certainly the name of this podcast was inspired by Peter 0:07:17.800 --> 0:07:21.800 Bogdanovitch's nineteen seventy one classic The Last Picture Show, but 0:07:21.800 --> 0:07:24.280 we've never actually found the opportunity to talk about it 0:07:24.400 --> 0:07:27.160 until now. And given that this is a standalone episode, 0:07:27.200 --> 0:07:29.040 we don't have to wait around for a new movie 0:07:29.040 --> 0:07:31.560 with some connection to The Last Picture Show, so we're 0:07:31.560 --> 0:07:35.120 free to dig right into Bogdanovitch's adaptation of Larry McMurtry's 0:07:35.160 --> 0:07:38.440 novel about a dying Texas town in the early nineteen fifties. 0:07:38.640 --> 0:07:42.320 Timothy Bottoms, Chloris Leachman, Jeff Bridges, Ellen Burston, and Sybil 0:07:42.360 --> 0:07:44.920 Shepherd are among the familiar faces in this slice of 0:07:44.960 --> 0:07:47.720 life in anering Texas, where a group of high school 0:07:47.760 --> 0:07:50.880 seniors are graduating into an uncertain future and the older 0:07:50.920 --> 0:07:53.680 residents are presiding over a town whose best days are 0:07:53.680 --> 0:07:54.440 long behind it. 0:07:55.280 --> 0:07:59.360 Man that sounds depressing Genevieve. Well, at least Bogdanovich didn't 0:07:59.360 --> 0:08:01.040 shoot it in black and white and load up the 0:08:01.040 --> 0:08:14.360 soundtrack with old Hank Williams songs, Right, Oh Boy, do Mine. 0:08:15.000 --> 0:08:18.800 And Melt your cold, Cold Hat. 0:08:19.240 --> 0:08:23.040 Tony Bennett's Cold Cold Heart was on Everybody's Hip Parade. 0:08:23.400 --> 0:08:27.760 Elizabeth Taylor was getting married, boys were duck tails. The 0:08:27.800 --> 0:08:32.240 police action in the Far East was Korea, and Anerine, Texas, 0:08:32.600 --> 0:08:36.120 like other small towns, is approaching the end of an era. 0:08:36.760 --> 0:08:38.800 I reckon. The reason why I always dragged yat here 0:08:38.840 --> 0:08:41.120 is probably I'm just as sentimental as the next fellow 0:08:41.120 --> 0:08:48.719 when it comes to old times, old. 0:08:48.320 --> 0:08:54.640 Times Anrene, Texas, nineteen fifty one, nothing much has. 0:08:54.640 --> 0:09:00.040 Changed, Cold Cold. 0:09:00.800 --> 0:09:03.800 There's no greater shame in Texas than a subpar high 0:09:03.800 --> 0:09:06.840 school football team, especially in a small town where there's 0:09:06.880 --> 0:09:09.520 nothing to do on the weekends and not much else 0:09:09.559 --> 0:09:12.040 to talk about. From the very beginning of the last 0:09:12.040 --> 0:09:14.960 picture show, we can see with our eyes, and here 0:09:15.000 --> 0:09:18.080 with our ears, the town of Anrene, Texas is in 0:09:18.120 --> 0:09:22.880 its death throws. Adapting Larry McMurtry's novel Peter Bogdanovitch shoots 0:09:22.880 --> 0:09:24.880 in black and white and fills the soundtrack with a 0:09:24.960 --> 0:09:28.720 howling northerly wind that's unbroken by any signs of life. 0:09:29.080 --> 0:09:32.199 When Sonny and Dwyane, two best friends played by Timothy 0:09:32.200 --> 0:09:35.360 Bottom and Jeff Bridges, turn up, the older generation in 0:09:35.440 --> 0:09:38.920 town are unified in their open disdain for the team's performance. 0:09:39.160 --> 0:09:41.920 The friendliest bit of mockery they get is from Sam 0:09:42.160 --> 0:09:45.400 played by Ben Johnson, who owns most of the town's businesses, 0:09:45.679 --> 0:09:48.680 including the diner, the pool hall, and a movie house 0:09:48.720 --> 0:09:52.040 called the Royal. He tells Sonny quote a few football 0:09:52.040 --> 0:09:54.720 teams have had luck with tackling keeps the other team 0:09:54.720 --> 0:09:57.800 from scoring too often. It's a sign of Sam's decency 0:09:57.920 --> 0:10:00.640 and love for annerine that he foolishly bet on the 0:10:00.679 --> 0:10:04.320 team winning anyway, but otherwise Sunny's failures as a two 0:10:04.320 --> 0:10:07.559 sport athlete, which continue later in a basketball game the 0:10:07.600 --> 0:10:10.559 team loses one twenty one to fourteen. I like a 0:10:10.640 --> 0:10:13.400 bell Weather for the entire town. If you're like me 0:10:13.640 --> 0:10:16.440 and you've ever driven through small towns in Middle America 0:10:16.760 --> 0:10:19.840 that some industry or another has left behind, anreine looks 0:10:19.920 --> 0:10:22.600 quite familiar. You see a lot of older residents who 0:10:22.600 --> 0:10:25.680 have stuck around their whole lives through thick and mostly thin, 0:10:26.000 --> 0:10:28.320 and a smattering of young people who would do well 0:10:28.360 --> 0:10:30.880 to find their way out, and in the case of Anaerine, 0:10:31.160 --> 0:10:34.120 Sam's weakening heart is the only thing standing between him 0:10:34.200 --> 0:10:37.520 and oblivion. They're hanging on by an artery. While the 0:10:37.520 --> 0:10:40.400 old timers and Anareine probably reminisce about the days when 0:10:40.400 --> 0:10:44.000 the football team won state championships, the teenagers are bored 0:10:44.040 --> 0:10:46.600 and looking for a way out. As an aside, I 0:10:46.600 --> 0:10:49.160 think we only see one child in the whole film, 0:10:49.280 --> 0:10:52.360 and the context for it is alarming. Sonny and Dwayne 0:10:52.600 --> 0:10:54.480 don't seem to have thought much about what they're going 0:10:54.520 --> 0:10:57.000 to do after high school, so they're mostly focused on 0:10:57.040 --> 0:11:00.280 getting a second and third base beyond with whatever girls 0:11:00.320 --> 0:11:02.920 they have access to. Sunny has reached an impass with 0:11:02.960 --> 0:11:05.960 his current girlfriend, while she'll go as far as topless 0:11:06.040 --> 0:11:08.600 necking and the cab of his truck, but they're both 0:11:08.640 --> 0:11:11.280 so bored that they break up on their anniversary. For 0:11:11.320 --> 0:11:14.360 his part, Duwayne is dating Jayce played by Sybil Shepherd, 0:11:14.400 --> 0:11:16.199 who's the prettiest girl in town and part of the 0:11:16.280 --> 0:11:19.320 richest family too, which creates its own set of obstacles. 0:11:19.760 --> 0:11:22.040 Jacey has eyes on another guy who's more in her 0:11:22.040 --> 0:11:25.280 country club class, but getting with him is a humiliating 0:11:25.360 --> 0:11:28.200 ordeal that starts with a midnight swimming party where she 0:11:28.240 --> 0:11:31.400 has to disrobe, and continues with his refusal to sleep 0:11:31.440 --> 0:11:34.080 with her until she loses her virginity. In this world, 0:11:34.240 --> 0:11:37.400 girl's virginity is a strange and treacherous kind of currency 0:11:37.840 --> 0:11:41.160 and perhaps the film's most complex and ultimately heartbreaking relationship. 0:11:41.480 --> 0:11:44.880 Sonny starts seeing Ruth played by Chlorus Leachman, the deeply 0:11:44.880 --> 0:11:48.480 dissatisfied wife of his football and basketball coach. Sonny initially 0:11:48.520 --> 0:11:51.160 agrees to drive Ruth through an appointment as a favor 0:11:51.200 --> 0:11:53.839 to his coach, but the two have a surprising chemistry 0:11:54.040 --> 0:11:57.360 and a mutual interest in easing their loneliness. Soon enough, 0:11:57.400 --> 0:12:00.240 they start having an affair, not unlike Dustin holl In 0:12:00.280 --> 0:12:03.320 Anne Bancroft and the Graduate, with the older woman bringing 0:12:03.360 --> 0:12:07.120 her inexperienced young partner along while addressing an itch that 0:12:07.240 --> 0:12:10.280 her oath of a husband could never scratch. As Ruth 0:12:10.320 --> 0:12:12.640 explains to Sonny, she was twenty years old when she 0:12:12.679 --> 0:12:15.160 got married, and in that time quote, I thought Harry 0:12:15.240 --> 0:12:18.559 chested football coaches were about it. There are many deaths, 0:12:18.679 --> 0:12:21.839 literal and metaphorical in the Last Picture Show, including the 0:12:21.920 --> 0:12:24.599 night where the movie theater finally closes down with Dwayne, 0:12:24.640 --> 0:12:27.719 Sonny and few others watching the Howard Hawk's Western Red 0:12:27.800 --> 0:12:31.000 River American self mythology is built on the idea of 0:12:31.080 --> 0:12:34.160 thriving little bergs like Annaerine, which are flush with Ma 0:12:34.360 --> 0:12:37.720 and Pa diners and movie houses, and multiple generations of 0:12:37.760 --> 0:12:40.400 residents who have turned their hometown into a happy community. 0:12:40.920 --> 0:12:43.440 This film is black and white like a tombstone, and 0:12:43.480 --> 0:12:47.280 the Hank Williams Senior songs hang over every melancholy interaction. 0:12:47.960 --> 0:12:50.760 It's like Bogdanovitch is standing by a worlitzer with a 0:12:50.800 --> 0:12:53.800 pocket full of quarters, and he's plugging away all night. 0:12:54.400 --> 0:12:57.200 And yet as bleak as the Last Picture Show gets, 0:12:57.360 --> 0:13:00.120 there's some faith here in the dignity and decency of 0:13:00.160 --> 0:13:03.160 these characters, who show each other some compassion and mercy 0:13:03.280 --> 0:13:06.319 when they need it, whether it's Jase's mother Lois played 0:13:06.320 --> 0:13:09.320 by Ellen Burston, consoling her after a bad night out, 0:13:09.640 --> 0:13:14.480 or justifiably angry Ruth recognizing that Sonny's pain rivals her own. 0:13:14.720 --> 0:13:17.599 In the film's touching final scene. They may live in 0:13:17.640 --> 0:13:20.440 a ghost town, but they're human. We'll talk about it 0:13:20.520 --> 0:13:21.599 after the break. 0:13:27.080 --> 0:13:30.640 Which one of you blooded his nose. I've told you 0:13:30.720 --> 0:13:32.840 all not to fight with Billy because he don't understand 0:13:32.880 --> 0:13:35.439 bout fight. What happens, Sonny. 0:13:35.880 --> 0:13:39.920 They weren't none of us saying nah, It was Jimmy Sue. 0:13:40.200 --> 0:13:42.920 Jimmy Sue. How do you get messed up with her? 0:13:43.720 --> 0:13:45.760 We all chipped in, bought in piece ass. 0:13:45.960 --> 0:13:47.600 Thought he was getting tired of being a virgin. 0:13:48.160 --> 0:13:54.080 She got mad about something and blooded his nose. You 0:13:54.160 --> 0:13:56.120 boys can get on out of here. I don't want 0:13:56.120 --> 0:13:59.920 to have no more to do with you scaring a poor, 0:14:00.120 --> 0:14:02.440 unfortunate creature like Billy just so as you could have 0:14:02.480 --> 0:14:06.480 a few laughs. I've been around that trashy behavior all 0:14:06.600 --> 0:14:09.960 my life. I'm getting tired of putting up with it. 0:14:11.480 --> 0:14:14.000 You can stay out of this pool, all out of 0:14:14.040 --> 0:14:18.079 my cafe and my picture show too. I don't want 0:14:18.120 --> 0:14:22.160 no more of your business. We didn't mean for anything 0:14:22.280 --> 0:14:26.960 bad to have to say it. We didn't even have 0:14:27.000 --> 0:14:28.480 the decency to WASH's face. 0:14:29.040 --> 0:14:31.480 The funny thing is we the last Picture Show has 0:14:31.720 --> 0:14:34.920 been part of our lore all the way back to 0:14:35.040 --> 0:14:37.520 the Dissolve, because I was always I was attached to 0:14:37.560 --> 0:14:40.040 the idea in many different occases, both for both for 0:14:40.280 --> 0:14:43.440 The Dissolver and for the newsletter that Keith and I 0:14:43.480 --> 0:14:46.880 have of calling the publication the Royal, which is the 0:14:46.960 --> 0:14:49.320 name of the theater in The Last Picture Show. That 0:14:49.360 --> 0:14:52.000 did not take, but it is something that it's something 0:14:52.000 --> 0:14:55.400 that we've focused on. But I actually don't know what everybody, 0:14:55.400 --> 0:14:58.960 anybody thinks of this movie. So I'm actually I'm just 0:14:59.040 --> 0:15:02.880 curious to know if you know, to what degree of 0:15:03.040 --> 0:15:05.800 folks on here share my affection and love for the 0:15:05.840 --> 0:15:06.880 film The Last Picture Show. 0:15:07.080 --> 0:15:09.280 I mean, i'd never seen it before this. This was 0:15:09.320 --> 0:15:10.440 my first time with it. 0:15:10.800 --> 0:15:13.760 Oh that's exciting. I actually I hadn't seen it before 0:15:13.800 --> 0:15:17.280 we started this podcast, but I figured it would be 0:15:17.400 --> 0:15:20.960 good to be familiarize myself with the movie the podcast 0:15:21.000 --> 0:15:23.640 is named after. So this is what's my second time 0:15:23.680 --> 0:15:26.520 seeing it. But I want to hear about Tasha's experience first. 0:15:26.920 --> 0:15:30.520 I mean, there's kind of the emotional experience and then 0:15:30.560 --> 0:15:34.440 the intellectual experience, and the intellectual experience. It's just it's 0:15:34.480 --> 0:15:36.480 one of those movies where you spend every five minutes 0:15:36.520 --> 0:15:41.640 going Oh wow, was that person ever this young? Oh wow? 0:15:41.880 --> 0:15:44.480 Is that person in here too? How is there any 0:15:44.560 --> 0:15:47.280 role in this movie not played by somebody whose name 0:15:47.360 --> 0:15:49.640 I know and who I've never seen, you know, this 0:15:49.760 --> 0:15:53.320 fresh faced, unlined and dewey before. That's sort of the 0:15:53.360 --> 0:15:55.400 thing that was going on in the background of my 0:15:55.440 --> 0:15:58.680 mind the entire time I was trying to quote unquote 0:15:58.800 --> 0:16:04.400 enjoy this tremendously tremendously sad story. It's just oh, it's 0:16:04.400 --> 0:16:06.800 such a pylon. I mean, it's it's so well done, 0:16:07.160 --> 0:16:09.960 but it's just so grim in terms of watching this 0:16:10.080 --> 0:16:14.000 town just lose one institution after another, in terms of 0:16:14.520 --> 0:16:19.480 people and places and gatherings and relationships, and just like 0:16:19.520 --> 0:16:21.720 watching it all fall apart piece by piece, I mean, 0:16:22.000 --> 0:16:25.800 as portraits of kind of the passage of time and 0:16:25.840 --> 0:16:28.400 what it does to people and what it does to communities. 0:16:28.960 --> 0:16:33.240 It's really terrific as a feel good booster movie to 0:16:33.400 --> 0:16:36.840 kind of like bring the light back into a weirdly 0:16:37.080 --> 0:16:40.960 early Chicago winter. I don't know that I would recommend 0:16:40.960 --> 0:16:42.080 it to many people. 0:16:41.800 --> 0:16:42.480 In that regard. 0:16:43.560 --> 0:16:46.000 It's grim, but we just we did they shoot horses, 0:16:46.000 --> 0:16:48.040 don't they? It's not don't they grim? 0:16:48.560 --> 0:16:52.760 It's not. I mean on the Audio Conventary, Peter Bardonovitch 0:16:52.800 --> 0:16:55.760 talks about like this you know my phrase, but like 0:16:55.800 --> 0:16:58.320 I think his idea like this kind of weird disconnect 0:16:58.360 --> 0:17:02.840 of a film that shot in its very old Hollywood style, 0:17:03.600 --> 0:17:08.800 but the material is so new Hollywood and so frank, 0:17:08.840 --> 0:17:12.880 and its depiction of sexuality and it's glumness, and it's 0:17:12.920 --> 0:17:16.960 like sort of refusal to push people toward a happy ending. 0:17:17.400 --> 0:17:19.679 I think that's part of what makes it so. It 0:17:19.800 --> 0:17:22.560 is kind of a one of one movie in a way, 0:17:23.040 --> 0:17:26.440 because it is there's so much going on that, you know, 0:17:26.720 --> 0:17:29.800 such a mix of styles and material that you just 0:17:29.800 --> 0:17:32.520 don't really see anywhere else. I whant I think about 0:17:32.560 --> 0:17:34.280 this movie? I think I think about the wind I 0:17:34.280 --> 0:17:36.720 think you mentioned you mentioned that before, But it's just 0:17:36.720 --> 0:17:40.920 just this constant, you know, soundtrack in the background. It's 0:17:40.960 --> 0:17:43.679 sort of eerie, and and it just the sort of 0:17:43.720 --> 0:17:47.120 the sense of emptiness. I mean, what's the most crowded 0:17:47.160 --> 0:17:50.000 scene in the film is that the graduation scene? 0:17:50.359 --> 0:17:50.520 Is it? 0:17:50.640 --> 0:17:53.160 Maybe the swimming party? I mean it's just not a place. 0:17:53.920 --> 0:17:56.480 Yeah, I think it's a dance party before the swimming party. 0:17:56.760 --> 0:17:59.000 Yeah, it's true. But even that you're talking like what 0:17:59.280 --> 0:18:01.960 a few dozen characters. It's just it's almost kind of 0:18:01.960 --> 0:18:03.639 like a Martian landscape in a way, and there's just 0:18:03.960 --> 0:18:04.920 not that many people there. 0:18:05.119 --> 0:18:08.520 Yeah, the moment where somebody says, you know, there's there's 0:18:08.520 --> 0:18:11.359 only one pretty girl in town and she's taken. The 0:18:11.359 --> 0:18:14.679 moment that you see as soon as somebody breaks up, 0:18:14.760 --> 0:18:17.160 somebody else is going to be ready to swoop in, 0:18:17.320 --> 0:18:20.639 and you just realize like how small the group of 0:18:20.760 --> 0:18:23.840 young people is in this town. You know, the young, 0:18:24.000 --> 0:18:26.600 unattached people all know each other and kind of have 0:18:26.640 --> 0:18:29.480 an eye on each other in case anything changes, because 0:18:29.480 --> 0:18:32.560 there are just there's so few social slots. Basically, there 0:18:32.560 --> 0:18:35.560 are so few places to be. The whole image of 0:18:36.160 --> 0:18:41.040 Sonny and Duane sharing a pickup just kind of to 0:18:41.160 --> 0:18:44.200 some degree typifies the way this town just doesn't seem 0:18:44.240 --> 0:18:47.439 to have enough of anything, and people in space and 0:18:47.480 --> 0:18:50.320 places and things to do are all like high on 0:18:50.359 --> 0:18:53.919 that list. But the sense of like two boys social 0:18:53.960 --> 0:18:56.960 lives both revolving around the same truck, for me, is 0:18:57.000 --> 0:18:57.879 just so emblematic. 0:18:58.200 --> 0:18:59.080 The scene that. 0:18:59.040 --> 0:19:01.840 Really stuck out to me on this viewing was the 0:19:01.880 --> 0:19:04.359 three of them, Sunny, Dwayne and j C. 0:19:04.600 --> 0:19:05.760 R driving and. 0:19:05.760 --> 0:19:08.600 They start singing the school song, which I think was 0:19:08.640 --> 0:19:12.679 actually a director's cut edition, but I think only the 0:19:12.720 --> 0:19:14.480 director's cut is out there now, am I right? You 0:19:14.800 --> 0:19:15.840 all watch the version. 0:19:16.040 --> 0:19:18.119 I think there's a blu ray that has both cuts 0:19:18.119 --> 0:19:20.480 on it, but it's the more you're more likely to 0:19:20.480 --> 0:19:22.560 see the director's cut, which I which is not that 0:19:22.680 --> 0:19:25.360 different but I think better in its additions. 0:19:25.680 --> 0:19:28.800 Yeah, and I'm really glad it has that scene of 0:19:28.840 --> 0:19:31.879 them singing the school song because it feels just to 0:19:31.920 --> 0:19:36.800 me like it really encapsulates the almost like borderline cynical 0:19:37.040 --> 0:19:41.320 nostalgic feeling of this movie, like because you know, they're 0:19:41.359 --> 0:19:44.320 singing this song and they're being kind of like ironic 0:19:44.359 --> 0:19:46.720 about it, but they're also being kind of genuine about it. 0:19:46.760 --> 0:19:46.919 You know. 0:19:46.960 --> 0:19:49.960 It's this really interesting middle ground of kind of what 0:19:50.000 --> 0:19:53.760 you would expect of a you know, a nostalgic, warm 0:19:53.960 --> 0:19:59.520 look at the past and a realistic lens on what 0:19:59.720 --> 0:20:04.440 you know, the reality of this situation really is. And yeah, 0:20:04.760 --> 0:20:07.640 it's I think Keith you said it's like a one 0:20:07.640 --> 0:20:09.840 of one film, Like I can't think of any other 0:20:09.920 --> 0:20:14.040 movie that has this sort of tonality between feeling nostalgic 0:20:14.480 --> 0:20:17.000 but not feeling warm toward. 0:20:16.800 --> 0:20:20.240 The nostalgia in any way. But the film. 0:20:20.080 --> 0:20:23.439 Kicks off in you know, November December, you know, with 0:20:23.520 --> 0:20:25.840 that wind, and people comment on how cold it is, 0:20:25.920 --> 0:20:29.639 you know, and this is Texas, and obviously it spans 0:20:29.840 --> 0:20:33.120 a you know, a lot of time, so it doesn't 0:20:33.119 --> 0:20:36.520 stay that cold. But I think introducing this story in 0:20:36.720 --> 0:20:41.520 this very like desolate, cold, black and white feeling, but 0:20:41.680 --> 0:20:45.560 you know, on the this presumably really exciting stage of 0:20:45.600 --> 0:20:48.400 life for all these young adults, you know, like transitioning 0:20:48.440 --> 0:20:50.160 into the people they're going to become. 0:20:50.600 --> 0:20:52.600 Yeah, when I see this movie, you know, I always 0:20:52.760 --> 0:20:55.680 I think this movie anytime I you know, we're here 0:20:55.720 --> 0:20:56.520 at Illinois. 0:20:56.560 --> 0:20:58.920 I often have occasion. 0:20:58.520 --> 0:21:01.600