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Speaker 1: What kind of a show you guys.

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Speaker 2: Putting on here today?

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Speaker 1: You're not interested in art?

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Speaker 3: Now?

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Speaker 1: No, Look, we're going to do this thing. We're going

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Speaker 1: to have a.

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Speaker 2: Conversation from Chicago. This is Film Spotting celebrating our twentieth year.

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Speaker 2: I'm Adam Kempinar and I'm Josh Larson.

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Speaker 4: Superman.

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Speaker 2: He's not a man, He's an it. Somehow become the

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Speaker 2: focal point of the entire world's conversation.

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Speaker 1: I will not.

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Speaker 2: Except that Josh, will at least one of us get

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Speaker 2: to play the superhero? Or will we both be villains?

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Speaker 2: As we review James Guns Superman.

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Speaker 4: Well, I don't know about you, Adam, but I did

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Speaker 4: just shave my head.

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Speaker 2: Looking forward to this conversation, that review, and our top

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Speaker 2: five Superman movie moments.

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Speaker 5: Mazy miss, I've got you, You've got hey, who's got you?

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Speaker 2: Ahead on Film Spotting what I can't believe it?

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Speaker 6: I just can'not believe any gone.

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Speaker 5: This episode is brought to you by Peloton break through

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Speaker 5: at one Peloton dot com.

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Speaker 2: Welcome to film Spotting. As far as movie superheroes go, Josh,

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Speaker 2: we were the Superman seventy eight generation, born about right

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Speaker 2: in between Batman sixty seven and Burton's eighty nine Batman.

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Speaker 4: That's right. Do you think this might come up in

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Speaker 4: our top five? But do you think you saw seventy

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Speaker 4: eight Superman in the theater?

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Speaker 2: No, definitely did.

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Speaker 4: Probably didn't either, Yeah, I.

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Speaker 2: Would have seen it on TV or maybe early HBO

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Speaker 2: in the eighties.

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Speaker 4: Yeah, it might have seen Superman two in the theater though,

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Speaker 4: might have been able to pull that off.

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Speaker 2: I think that's true for me as well. Later in

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Speaker 2: the show, our top five Superman movie moments that will

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Speaker 2: hopefully not lean too heavily on Margot Kidder's lois. We're

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Speaker 2: not making any promises. Plus Massacre Theater and more. But first,

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Speaker 2: James Gunns Superman, which is currently in theaters. Gun is

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Speaker 2: the super tour behind the Guardians of the Galaxy trilogy

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Speaker 2: and twenty twenty one suicide squad who has been tasked

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Speaker 2: with resurrecting not just one, but a universe of superheroes.

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Speaker 2: His new Superman is the first of the rebranded DCU.

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Speaker 2: So long and thanks for all the Aquaman dc EU.

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Speaker 2: Let's check in at the Daily Planet. Shall we twenty

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Speaker 2: three people in the hospital, over twenty million in property damage?

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Speaker 4: It does make you wonder, wonder.

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Speaker 7: What as great as he is, maybe Superman and completely

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Speaker 7: thank through the ramifications of the Bravian thing.

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Speaker 2: Let this guys, even from Bravia.

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Speaker 4: What do you mean his name is the hand a Bravia.

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Speaker 2: Yeah, I doubt his parents named in that, Jimmy. We

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Speaker 2: have no clue what his actual goal was here. I

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Speaker 2: think it's pretty obvious the bowl was kicking Superman's ask.

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Speaker 4: He didn't completely kick Superman's ask pretty thoroughly, Clark. When

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Speaker 4: we review a movie here on the show Adam, sometimes

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Speaker 4: we talk about the notion of being in good hands.

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Speaker 4: It's this understanding that the filmmakers are in command of

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Speaker 4: their story and how to tell it, and that we

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Speaker 4: can feel that assurance as viewers. It can go the

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Speaker 4: other way too, of course, the uneasy sense that the

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Speaker 4: hands are unsteady or maybe even misguided. Let's apply this

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Speaker 4: notion to the New Superman, written and directed by James

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Speaker 4: Gunn with David Cornsweat as the Man of Steel, Rachel

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Speaker 4: Brosnahan as Lois Lane, and Nicholas Holt as Lex Luthor.

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Speaker 4: We know this story well, so the real question going

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Speaker 4: in was related to how it was going to be told.

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Speaker 4: How did they do? Adam, If you're a fan of

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Speaker 4: the film, was there a moment where you had that

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Speaker 4: good hands feeling, the sense that Gone and his collaborators

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Speaker 4: knew what they were doing, particularly with this iconic pop

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Speaker 4: culture property. Or maybe you're not among the eighty three

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Speaker 4: percent of critics and ninety three percent of audience members

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Speaker 4: over at Rotten Tomatoes who did approve of the film.

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Speaker 4: If not, can you point to a moment when this

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Speaker 4: Superman's hands felt unsteady.

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Speaker 2: I'm sad to report that I think I'm among the

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Speaker 2: seventeen percent with one Josh Larson, I'm still searching me.

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Speaker 4: Wow, Okay, now.

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Speaker 2: I'm going to be the villain too. I'm still searching

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Speaker 2: for that clarifying moment to some extent, because my experience

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Speaker 2: with this movie would best be described as wobbly. Right

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Speaker 2: from the beginning, there's an opening crawl setting up the story,

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Speaker 2: relying on repetition with the number three and look as

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Speaker 2: an occasional writer myself, I love me some repetition. It

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Speaker 2: goes from three centuries ago, then do I think three decades?

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Speaker 2: Eventually down to three minutes. I guess I forgot how

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Speaker 2: many any possible units of time there were. I was

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Speaker 2: half expecting it to continue down to three milliseconds. It

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Speaker 2: felt so interminable. But at three minutes we hear the

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Speaker 2: Superman has lost his first ever battle, and my ears

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Speaker 2: perked up. And then Superman falls to the ice with

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Speaker 2: a booming thud, and my eyes opened a little wider.

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Speaker 2: Wait Superman can lose, and soon we see that there's

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Speaker 2: Alex Luthor who is smart enough and diabolical enough to

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Speaker 2: beat him. I'm intrigued. Not long after that we get this,

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Speaker 2: We get this Superman's version of the Lowest Lane interviewing

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Speaker 2: Superman scene that we got in Superman seventy eight. Right

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Speaker 2: and later I saw on Instagram video with Brosnahan and

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Speaker 2: Corn Sweat and they talked about how they approached it

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Speaker 2: maybe gun as well. They approached it as a stage play,

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Speaker 2: and you know, I wouldn't have pegged Gun for that,

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Speaker 2: but it works. She's interrogating him about his decision to

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Speaker 2: get involved in world affairs. The subtext of that scene, though, Josh,

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Speaker 2: is we're in a relationship, but I don't really know

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Speaker 2: who you are, and I'm not sure you're being totally

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Speaker 2: honest with me or yourself. I really like the scene

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Speaker 2: because it's a completely different take on the lowest Superman relationship.

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Speaker 2: It's a different take on the dynamic of that interview

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Speaker 2: from seventy eight, on the substance of the interview, in

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Speaker 2: large part because this is a very different Superman than Reeves,

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Speaker 2: who wasn't just perfectly gallant and respectful and charming and

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Speaker 2: in control. He was perfect in every way the Superman,

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Speaker 2: whereas Corn Sweat's Superman is supremely mortal. He isn't wearing

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Speaker 2: the suit, but he is Superman in that scene, and

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Speaker 2: he's flawed. He's completely disarmed. Rather than being disarming, this

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Speaker 2: Superman might actually be more gallant and respectful and charming

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Speaker 2: and in control in the scenes where he's pretending to

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Speaker 2: be Clark Kent. Then you've got his adversaries referring to

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Speaker 2: him as the Kryptonian or the alien, dehumanizing him the

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Speaker 2: way illegals are being dehumanized right now in our country,

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Speaker 2: establishing some real world relevance. Twenty to thirty minutes in,

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Speaker 2: I mostly thought maybe Gun has got it, and by

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Speaker 2: the end I mostly thought he didn't have it, which

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Speaker 2: we will discuss. But first I want to know what

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Speaker 2: you thought.

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Speaker 4: Yeah, as you alluded to, you do already know I

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Speaker 4: got a chance to see this early, and so you

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Speaker 4: do already know that I had a very negative reaction

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Speaker 4: to this movie, and I want to I want to

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Speaker 4: work my way through that here, because honestly, I feel

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Speaker 4: like I've missed out. I feel on the outs. Not

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Speaker 4: only is it getting a good reception, that's fine. I

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Speaker 4: can deal with being against the grain, but people have

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Speaker 4: found this to be rousing and ennoble, and many critics

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Speaker 4: have written about how this is them. I didn't know

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Speaker 4: I needed this movie, and so I am saying what

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Speaker 4: I'm about to say, even though I really don't want to.

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Speaker 4: I don't want to squash anyone else's fun. And I

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Speaker 4: do see a bit of what they're talking about there.

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Speaker 4: It is in the performance that you were just describing

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Speaker 4: this is a very interesting take on Superman that, despite

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Speaker 4: those variations you mentioned which I'd agree with, I think

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Speaker 4: still the character this movie wants to believe in this

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Speaker 4: character's initial goodness, heroic sense of justice and what is

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Speaker 4: right and wrong, his kindness. I think that's what those

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Speaker 4: people have really gone for the movie respond to, and

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Speaker 4: it's there. But to me, it was only there in

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Speaker 4: Corn Sweat's performance and the depiction of Superman, and not

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Speaker 4: only lacking elsewhere, but actively acted against elsewhere. And to

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Speaker 4: go back to the prompt I offer is, I thought,

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Speaker 4: I'm going to look back at my notes. I had

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Speaker 4: a ton of notes on this movie and see if

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Speaker 4: I could could detect like where things went wrong for me,

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Speaker 4: and really just to reinforce to myself that I didn't

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Speaker 4: come into this movie wanting to go after it at all.

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Speaker 4: And sure enough, looking at my notes, there's nothing negative

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Speaker 4: really for the first number of pages. There's some dialogue

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Speaker 4: I jotted down, which I usually do when I'm taking notes,

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Speaker 4: some appreciation for Crypto the super Dog. I did have

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Speaker 4: a few complaints about the glaring sun in nearly ever,

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Speaker 4: every shot as if Gunn wants us to he wants

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Speaker 4: to blot out that dreary DCEU that no one enjoyed.

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Speaker 4: But eventually I did see this this phrase jotted down

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Speaker 4: selfie girl is lame, and I realized in looking back

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Speaker 4: why that stood out to me, And this probably I

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Speaker 4: wrote down one of the first shots of Sarah Sempio

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Speaker 4: as eve Lex Luthor's image obsessed girlfriend. You know, little

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Speaker 4: did I know after this shot of her taking selfie

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Speaker 4: during the battle with Superman that we were going to

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Speaker 4: get so many bits about her doing this at silly times,

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Speaker 4: or saying dumb things, or being clingy. But even with

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Speaker 4: that first appearance, something inside me just said, uh oh,

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Speaker 4: It's where I started to doubt the hands that I

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Speaker 4: was feeling positive about, as you were, with that interesting

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Speaker 4: opening in the middle of the narrative and all these

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Speaker 4: things that were intriguing me. And I think it was

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Speaker 4: just this instinct to go for the easy, often mean

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Speaker 4: jokes that I recognized, that's a cheapness that I've just

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Speaker 4: has not worked for me. In Guns Guardians of the

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Speaker 4: Galaxy movies, I've found them and again this is where

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Speaker 4: I'm against the tide here. I've found those to be

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Speaker 4: full of cheap violence. For humor's sake, cheap emotional manipulation

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Speaker 4: that's often tied to endangering animals. I've made my peace

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Speaker 4: with the fact that maybe the Guardian's sensibility is just

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Speaker 4: not for me. Okay, this isn't something I carry around

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Speaker 4: with me. I honestly forgot that gun had directed volume

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Speaker 4: three of Guardians of the Galaxy.

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Speaker 2: Whill I kicked him off at one point, but he

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Speaker 2: maybe that's why I was confused.

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Speaker 4: Yeah, So, at any rate, the problem this time, Adam,

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Speaker 4: is that this sensibility that I sensed coming from Guardians

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Speaker 4: is not the sensibility for Superman, especially a superman like

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Speaker 4: this one that wants to double down on the character's

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Speaker 4: care and kindness. And as I said with corn Sweat,

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Speaker 4: who I think is quite good, here we get a

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Speaker 4: Superman who is, in addition to those things you described,

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Speaker 4: I think quite corny and very earnest. But his movie

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Speaker 4: to me so often is delighting and being callous and cruel.

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Speaker 4: And there is just a disconnect there that audiences seemed

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Speaker 4: to be able to get past, but for me, I couldn't.

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Speaker 4: It kept piling on until this was a really, really

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Speaker 4: rough watch for me. And I can talk a little

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Speaker 4: bit more as we get into it about where I

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Speaker 4: saw those distinctions, But overall that's what didn't work for

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Speaker 4: me when it came to gun Superman.

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Speaker 2: Yeah, listeners, especially obviously those who really like this movie

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Speaker 2: can completely discount our points of view if they want

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Speaker 2: more than they might usually because you said it and

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Speaker 2: I had the same thought. James Gunn's sensibility just doesn't

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Speaker 2: seem to mesh very well with ours. I think you've

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Speaker 2: been a little bit harder on some of his films,

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Speaker 2: including Guardians of the Galaxy Volume three. But I look

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Speaker 2: back at my ratings of his films and thought about

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Speaker 2: our conversations, and I've never really hated a James Gunn film,

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Speaker 2: but I've never come close to really liking a James

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Speaker 2: Gunn film either. And here I am with Superman kind

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Speaker 2: of right in the middle, but definitely leaning more towards

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Speaker 2: the negative and one trap I definitely don't want to

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Speaker 2: fall into, because I definitely don't like it when audience

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Speaker 2: members do this with critics, which is you try to

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Speaker 2: assign some kind of motivation to why a critic feels

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Speaker 2: a certain way. But I almost do wonder, Josh, because

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Speaker 2: I feel it myself. I almost do wonder if some

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Speaker 2: critics it's just wishful thinking, or on some level there's

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Speaker 2: just this element of wanting so badly, especially for me

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Speaker 2: not enjoying something like Jurassic Park or Drassic World Rebirth.

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Speaker 2: You want to go into Superman and as someone who

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Speaker 2: loved Superman, and we're gonna get to our Superman moments

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Speaker 2: and it's gonna be filled. It's just gonna be overloaded

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Speaker 2: with nostalgia. I promise you. Not only did I not

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Speaker 2: go into this movie wanting to dislike it, I wanted

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Speaker 2: to love it. So I came in with wishful thinking

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Speaker 2: and yet, to use your word, I was never roused,

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Speaker 2: even in its clearest attempts to be rousing. And I

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Speaker 2: was certainly never moved, even in its clearest attempts to

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Speaker 2: be moving. And I did see it similarly to you, Josh,

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Speaker 2: and I'm gonna use some of the same words maybe,

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Speaker 2: and words that are synonyms perhaps, though the experience of

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Speaker 2: watching the film may be different, or how it worked

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Speaker 2: on us may be different. But like you, I never

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Speaker 2: could quite reconcile. And this is a problem I've had

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Speaker 2: with guns work as well. Overall, I never could quite

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Speaker 2: reconcile guns glibness and goofiness with his sadistic streak. That's

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Speaker 2: what you're referring to as the meanness, even just his

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Speaker 2: attempts to be serious. I could never quite reconcile with

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Speaker 2: the glibness and the goofiness. And it is things like

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Speaker 2: you said it, the lameness of the recurring bit of

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Speaker 2: selfie girl, right, it's the Daily Planet itself, and every

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Speaker 2: cast member within the Daily Planet who felt to me,

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Speaker 2: Josh like they probably had bigger parts on the page

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Speaker 2: and then somehow just ended up being afterthoughts in the movie,

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Speaker 2: like Wendel Pierce, why did he get cast in this film?

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Speaker 2: Beck Bennett is essentially playing a version of the Steve

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Speaker 2: Carell character from Anchorman. He's a cartoon like a cartoon

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Speaker 2: sports writer or something.

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Speaker 4: And I like that You're making a good point. He's

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Speaker 4: out of place with what the other characters are doing.

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Speaker 2: You know, he's out a place compared to them. I

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Speaker 2: don't understand why any of them are in this film

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Speaker 2: or what they're doing in this film. And you do

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Speaker 2: have this this wonderful earnestness to Superman the first word

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Speaker 2: out of his mouth. I believe in this film is

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Speaker 2: golly yes, and I love it that I know, I know,

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Speaker 2: And then we take all of this silliness, even including

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Speaker 2: the fact that this Superman doesn't just save every single

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Speaker 2: human being who's in any kind of peril whatsoever. He

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Speaker 2: rescues a squirrel, right, that's about that. That's where Gun's

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Speaker 2: going with this Superman's even going to save the life

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Speaker 2: of a squirrel who's about to get crushed. But then

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Speaker 2: we're also going to have Russian Roulette and have I mean,

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Speaker 2: come on, persons of color Russian killed and then going

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Speaker 2: to be a joke.

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Speaker 4: It's not just that it's in there, it's that it's

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Speaker 4: there for a comic punchline.

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Speaker 2: It sort of feels that way. But then he's going

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Speaker 2: to want a payoff, an emotional payoff late in the

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Speaker 2: film when there's going to be a reference to him,

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Speaker 2: and it feels totally unearned and actually, again I'll say

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Speaker 2: maybe a little bit sadistic there, and everything about the

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Speaker 2: sequence that follows that where I think we can say,

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Speaker 2: without getting too heavily into any kind of spoilers, everything

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Speaker 2: that follows in that world, which is truly its own universe,

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Speaker 2: this proto universe Josh where you're using not just that

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Speaker 2: person of color as a prop, but you're using this,

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Speaker 2: this baby aly In as a prop.

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Speaker 4: Sir.

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Speaker 2: It's a baby. It's still a baby, and the movie

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Speaker 2: wants you to regard it as a baby and use

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Speaker 2: it and think of it as something that you're trying

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Speaker 2: to protect as precious, and everything about it still feels

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Speaker 2: at the same time like a cartoon. And so for me,

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Speaker 2: it's not so much like it's a moral or ethical thing.

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Speaker 2: It's more that it makes it so tonally and just

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Speaker 2: dramatically kind of disconnected. Yeah, concrty, that's the Yeah, that's

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Speaker 2: the lack of consistency or the thing that I couldn't reconcile.

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Speaker 2: And if I'm constantly trying to reconcile that throughout the film,

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Speaker 2: then I'm having a tough time getting on board with

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Speaker 2: the film dramatically and narratively. I'm constantly just at conflict

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Speaker 2: with myself and the movie.

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Speaker 4: I completely agree with you on all those points. And again,

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Speaker 4: defenders of the movie might be saying, come on, these

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Speaker 4: are throwaway scenes, and in a sense they are, but

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Speaker 4: they're they're building a framework that, again is antithetic to

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Speaker 4: the framework of kindness that this movie is supposedly about,

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Speaker 4: and I'm just going to add some more that are

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Speaker 4: even more throwaways. But the joke about, you know, in

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Speaker 4: the Fortress of Solitude, Superman has these robot assistants who

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Speaker 4: we meet in a number of scenes and come to

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Speaker 4: have some care for as characters. There's a throwaway I

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Speaker 4: think it's meant to be funny after the Fortress Solitude

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Speaker 4: has been I'll go around spoilers, but basically invaded, and

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Speaker 4: there's a shot of one of these robots like repeatedly

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Speaker 4: stabbing itself in the head. And maybe that's not meant

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Speaker 4: to be funny. Maybe I'm misreading it. The point is

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Speaker 4: I should not be confused. I should not in that moment. Know,

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Speaker 4: am I supposed to feel bad for? I think number

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Speaker 4: four it is because they've there's a conversation about how

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Speaker 4: they want names, even like, am I supposed to feel

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Speaker 4: bad here? Am I supposed to be laughing? Is this slapstick?

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Speaker 4: And I don't know, because I don't know. I rarely

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Speaker 4: know what is sincere in a mov by James Gunn

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Speaker 4: And I don't want to accuse you know, when I

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Speaker 4: wrote about this, I made you know, some reference about

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Speaker 4: I wonder how he feels about pets. I wish I

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Speaker 4: hadn't written that it was facetious. It's a parenthetical aside.

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Speaker 4: I don't really think that this is someone who doesn't

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Speaker 4: care about animals, and sure enough, reading some I think

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Speaker 4: it was in the New York Times, an interesting piece

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Speaker 4: about Crypto the CGI dog, and it's based on guns.

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Speaker 4: You know, own rescue dog. So I'm not meaning to

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Speaker 4: be personal in that, but it's the it's the inconsistency

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Speaker 4: in tone that does make you wonder just based on

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Speaker 4: what you're seeing on the screen. Let's stick with Crypto

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Speaker 4: and I'll give you another example. In this black site

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Speaker 4: prison world where we spend way too much time, Crypto

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Speaker 4: has been kidnapped and Lex Luthor has forced him to

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Speaker 4: run on a treadmill.

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Speaker 2: Okay, chasing imaginary squirrels.

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Speaker 4: This is it, Adam, this is it. Okay if you

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Speaker 4: want to use Crypto as you know, to move our

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Speaker 4: emotions and to say no, not Crypto, look what Lex

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Speaker 4: Luthor is making him do. This is awful, this is cruel.

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Speaker 4: It's not nice to do this to animals. Why does

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Speaker 4: gun also include the punchline of the squirrel gag? It's separated.

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Speaker 4: We see Crypto first, and then it's like a visual

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Speaker 4: punchline that he's chasing squirrels. These like a screen projection

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Speaker 4: of squirrels. The squirrels and dogs joke is like you know,

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Speaker 4: from up and everywhere else is so common, and so

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Speaker 4: this is a comic beat. And so why are we

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Speaker 4: including both? I don't know that. Like you, I'm trying

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Speaker 4: to make a moral equation with either choice. But why

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Speaker 4: are we trying to do both? Why are we trying

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Speaker 4: to rend our heart over Crypto's predicament and then make

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Speaker 4: us laugh at what's happening to him at the same time.

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Speaker 4: To me, I can't reconcile those and just one more

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Speaker 4: thing because I want to go back to this idea

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Speaker 4: that this is all supposed to stand apart from Superman,

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Speaker 4: he is the beacon of kindness. Of course, this world

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Speaker 4: him is going to be awful. There's even some hypocritical

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Speaker 4: elements here because that sequence you are referencing where he's

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Speaker 4: battling this ginormous Kaiju and you know, is trying to

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Speaker 4: save the squirrel. I think they're also trying to save

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Speaker 4: a dog. There's another animal from being squashed by this

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Speaker 4: Kaiju's foot. The whole point of that sequence is that

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Speaker 4: he's arguing with the Justice Gang about how he doesn't

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Speaker 4: want to harm this Kaiju. He wants to capture it,

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Speaker 4: like study it and study it, and we'll bring it

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Speaker 4: to like a zoo somewhere, And he keeps reprimanding them

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Speaker 4: for being too violent against this Kaiju. I don't know.

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Speaker 4: Maybe ten to fifteen minutes later, there's a scene of

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Speaker 4: Superman and Lois having a conversation in a high rise building.

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Speaker 4: You can see outside the window and behind them the

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Speaker 4: Justice Gang is in a battle with like a giant

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Speaker 4: space squid, right, and they're hammering the thing. They're lasering

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Speaker 4: the thing, whatever they do, they're screaming at it. Hawkgirl

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Speaker 4: does a lot of screaming, I mean at this space squid.

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Speaker 4: And I don't know what happened to Superman's concern because

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Speaker 4: Lois points it out and he's just like, they got this.

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Speaker 4: It's a joke. It's a gag. The Superman we're supposed

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Speaker 4: to be rooting for just gave a speech about caring

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Speaker 4: for these interstellars creatures. Again, this is a minor thing.

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Speaker 4: It's a throwaway scene, but you add all of these

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Speaker 4: on top of each other, Adam, and I kept sinking

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Speaker 4: lower and lower in my seat.

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Speaker 2: Now, let me push back just slightly on one aspect

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Speaker 2: of this with regard to the meanness, and that is

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Speaker 2: the lex Luthor that we get here is obviously, very

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Speaker 2: clearly intended to be antithetical to the Superman that we get.

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Speaker 2: And we've already painted the picture of this Superman, the

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Speaker 2: guy who says golly and saves the squirrels and for

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Speaker 2: the most part, seems to be interested in just wanting

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Speaker 2: to preserve life and about every living creature, including I'll

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Speaker 2: throw one other little touch I like in here that

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Speaker 2: I feel like is a deliberate or intentional moment in

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Speaker 2: the screenplay. Remember when he goes to the Fortress of

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Speaker 2: Solitude after he's been beaten in that opening sequence, and

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Speaker 2: the robot I think it's number four again does something

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Speaker 2: to help him, and he says thank you, and the

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Speaker 2: robot says, there's no need to thank me. You know,

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Speaker 2: I can't feel gratitude or feel whatever emotion he should

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Speaker 2: feel in that moment. And I think that that Superman

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Speaker 2: probably knows that about the robot, but he can't help

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Speaker 2: but think him anyway, right right, that's this Superman. That's

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Speaker 2: what he's made of, this Luthor. And this is ultimately

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Speaker 2: something I like about the movie. I think is a

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Speaker 2: strength about the movie. And I alluded to this earlier.

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Speaker 2: This Lex Luthor is someone who is defined by his

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Speaker 2: meanness in contrast to the kindness of Superman. So you

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Speaker 2: mention the joke potentially of chasing the squirrel, I see

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Speaker 2: that a little bit more. I see it less as

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Speaker 2: a joke, and I see it more about Lex Luthor

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Speaker 2: being someone who is not a matter for him of

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Speaker 2: just wanting to sort of physically hurt the dog Crypto

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Speaker 2: or do anything else to him. He wants to traumatize

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Speaker 2: that dog. He wants to hurt and traumatize everybody who

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Speaker 2: is an enemy of him. And I guess I appreciate

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Speaker 2: that the movie gave us a Luthor who is distinct

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Speaker 2: in that way from others. Look. I love Gene Hackman,

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Speaker 2: of course, right, But if you're going to find new

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Speaker 2: spins on these characters in the mythology, that was a

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Speaker 2: Gene Hackman who was in his own way an evil genius,

431
00:25:02,320 --> 00:25:06,720
Speaker 2: and he was someone who certainly caused trouble and almost

432
00:25:06,760 --> 00:25:10,160
Speaker 2: destroyed parts of the world. I'm not saying he didn't,

433
00:25:10,560 --> 00:25:15,240
Speaker 2: but compared to this Lex Luthor, I mean he seems

434
00:25:15,320 --> 00:25:19,720
Speaker 2: like a saint. This Luthor is someone who comes very

435
00:25:19,720 --> 00:25:25,240
Speaker 2: close to doing the unthinkable and actually destroying Superman at

436
00:25:25,359 --> 00:25:30,080
Speaker 2: multiple points in this film, and he relishes every moment

437
00:25:30,640 --> 00:25:35,960
Speaker 2: of it. He has no qualms whatsoever about hurting anybody

438
00:25:35,960 --> 00:25:38,080
Speaker 2: who gets in his way, and you don't ever really

439
00:25:38,119 --> 00:25:41,440
Speaker 2: feel that about someone like Hackman's Luther.

440
00:25:42,000 --> 00:25:46,640
Speaker 4: Yeah, this is a sadistic villain. Absolutely understand that. I think.

441
00:25:46,680 --> 00:25:49,960
Speaker 4: You know, again, the crypto scene on the treadmill, I

442
00:25:50,000 --> 00:25:51,879
Speaker 4: think is trying to have it both ways, emphasize that

443
00:25:52,040 --> 00:25:54,600
Speaker 4: is definitely a part of it, but also gain us

444
00:25:54,600 --> 00:25:58,000
Speaker 4: to laugh at the squirrels. I don't mean to say

445
00:25:58,359 --> 00:26:02,400
Speaker 4: that the movie is on the side of this Lex

446
00:26:02,480 --> 00:26:05,280
Speaker 4: Luthor or even has the spirit of this Lex Luthor. No,

447
00:26:05,320 --> 00:26:07,600
Speaker 4: but I'm scene like, I know that might be what

448
00:26:07,640 --> 00:26:11,520
Speaker 4: it sounds like. It's clearly able to make a distinction there.

449
00:26:11,800 --> 00:26:14,159
Speaker 4: But you know what, Adam, there's a key scene here

450
00:26:14,440 --> 00:26:17,959
Speaker 4: that I think muddies the waters even on this point,

451
00:26:18,200 --> 00:26:22,639
Speaker 4: and this is when Lois Lane has teamed up with

452
00:26:23,920 --> 00:26:26,520
Speaker 4: one of the Justice Gang, mister Terrific, who I think

453
00:26:26,600 --> 00:26:30,040
Speaker 4: is quite good Eddie Gothagie playing the character I was

454
00:26:30,080 --> 00:26:33,960
Speaker 4: unfamiliar with mister Terrific. Great character stand out for sure.

455
00:26:34,000 --> 00:26:36,320
Speaker 4: I think Brosnahan is really good as Lowis Lane as well.

456
00:26:36,359 --> 00:26:39,240
Speaker 4: I wish she and Corn Sweat had more scenes together.

457
00:26:39,280 --> 00:26:40,879
Speaker 4: Maybe we'll set that aside and come back to it.

458
00:26:40,920 --> 00:26:44,160
Speaker 4: But for this scene with Lois and mister Terrific, they're

459
00:26:44,160 --> 00:26:49,120
Speaker 4: basically facing off against a squadron of mercenaries. Okay, so

460
00:26:49,480 --> 00:26:53,800
Speaker 4: they're you know, outnumbered. It's it's tense. Mister Terrific is

461
00:26:53,840 --> 00:26:57,480
Speaker 4: able to create these tea spheres they're called, so he

462
00:26:57,640 --> 00:27:02,320
Speaker 4: essentially builds this bubble around Lois where she's protected, and

463
00:27:02,359 --> 00:27:06,720
Speaker 4: then he goes on the attack, unleashing other t sphares

464
00:27:06,920 --> 00:27:10,880
Speaker 4: or projectiles things that start taking out all these mercenaries

465
00:27:10,880 --> 00:27:13,440
Speaker 4: and the scientists who are working alongside the mercenaries.

466
00:27:13,840 --> 00:27:15,920
Speaker 2: This is a sequence everybody seems to love.

467
00:27:16,000 --> 00:27:20,440
Speaker 4: By the way, of course, because Gunn is amping up

468
00:27:20,480 --> 00:27:24,120
Speaker 4: the filmmaking, the camera stays in the sphere with Lois,

469
00:27:24,200 --> 00:27:27,840
Speaker 4: and it's one of these single takes which is swerving

470
00:27:28,200 --> 00:27:32,720
Speaker 4: following the action as she looks, and I would say

471
00:27:32,720 --> 00:27:35,720
Speaker 4: it's impressive, except that he also pulls out this trick

472
00:27:35,800 --> 00:27:40,000
Speaker 4: about fifteen times in the movie, sometimes even in conversation scenes.

473
00:27:40,640 --> 00:27:43,920
Speaker 4: And you know, at what point does a brevera single

474
00:27:43,960 --> 00:27:46,240
Speaker 4: take no longer become revera if you're using it this

475
00:27:46,359 --> 00:27:50,879
Speaker 4: often put that aside to the point here. The experience

476
00:27:50,960 --> 00:27:53,720
Speaker 4: we have, the experience that Lois has is she's in

477
00:27:53,800 --> 00:27:57,840
Speaker 4: her own movie. It's like she's watching her own Imax movie,

478
00:27:58,320 --> 00:28:02,639
Speaker 4: and it is putting a safety lens against the violence

479
00:28:02,800 --> 00:28:06,480
Speaker 4: that is happening. The bubble pops and all she can

480
00:28:06,520 --> 00:28:10,320
Speaker 4: say is like wow or something like we're expected to oh,

481
00:28:10,640 --> 00:28:12,840
Speaker 4: let me add gun. Also, you know, loves putting in

482
00:28:12,880 --> 00:28:15,639
Speaker 4: pop songs, So we get this five years time playing

483
00:28:15,720 --> 00:28:17,520
Speaker 4: from Noah in the way. I'm not gonna try to

484
00:28:17,520 --> 00:28:20,160
Speaker 4: sing it to you, but it's very exciting, very poppy.

485
00:28:21,080 --> 00:28:24,280
Speaker 4: Adds to the excitement of this moment. And all I

486
00:28:24,320 --> 00:28:27,360
Speaker 4: can look at is, you know, this field of bodies

487
00:28:27,400 --> 00:28:31,800
Speaker 4: in front of us. Again, I understand it's a superhero movie.

488
00:28:31,840 --> 00:28:34,320
Speaker 4: It's not real. I understand that people die in them.

489
00:28:34,400 --> 00:28:37,560
Speaker 4: To me, it is the attitude about the dying. This

490
00:28:37,600 --> 00:28:40,760
Speaker 4: is where things get fuzzy. This is not lex Luthor.

491
00:28:41,560 --> 00:28:44,040
Speaker 4: This is one of the heroes. We have already been

492
00:28:44,080 --> 00:28:48,240
Speaker 4: told about how much Superman values life. I'm not saying,

493
00:28:48,280 --> 00:28:50,880
Speaker 4: mister Terrific can't kill people. What I'm saying it.

494
00:28:50,880 --> 00:28:52,760
Speaker 2: Don't feel the same. They've made that clear.

495
00:28:53,000 --> 00:28:54,720
Speaker 4: Why does it have to be Why does it have

496
00:28:54,760 --> 00:29:00,840
Speaker 4: to be presented as the entertaining high point of the film.

497
00:29:00,360 --> 00:29:03,160
Speaker 7: That is the disc Why does she seem to love it?

498
00:29:03,480 --> 00:29:07,040
Speaker 7: Why does she kind because we're supposed to and we're

499
00:29:07,040 --> 00:29:09,560
Speaker 7: in the rubble with her. I think that may have

500
00:29:09,600 --> 00:29:12,360
Speaker 7: been the moment where where I was pretty much completely out.

501
00:29:12,880 --> 00:29:15,800
Speaker 2: I'm with you. I had a similar reaction to it

502
00:29:15,840 --> 00:29:20,480
Speaker 2: where I loved the song. You know, I understood why

503
00:29:21,280 --> 00:29:24,160
Speaker 2: many people might find this exhilarating, and yet I was

504
00:29:24,200 --> 00:29:27,840
Speaker 2: conflicted the entire time I was watching it, and I

505
00:29:27,960 --> 00:29:29,840
Speaker 2: kind of just wanted to get back to Superman. I

506
00:29:29,880 --> 00:29:31,800
Speaker 2: wanted to get back to the narrative. I wanted to

507
00:29:31,840 --> 00:29:34,280
Speaker 2: get back to that character the entire time. And as

508
00:29:34,280 --> 00:29:37,400
Speaker 2: good as Brosnahan is, she's clearly a really talented actress.

509
00:29:38,000 --> 00:29:40,920
Speaker 2: I wanted more scenes. I'm not saying I wanted scenes

510
00:29:40,960 --> 00:29:43,560
Speaker 2: exactly like the one in the apartment, but I wanted

511
00:29:43,600 --> 00:29:46,600
Speaker 2: more scenes where I actually got a sense of her

512
00:29:46,760 --> 00:29:49,600
Speaker 2: character and her agency. And that may seem like a

513
00:29:49,600 --> 00:29:52,520
Speaker 2: weird word to use because she drives so much of

514
00:29:52,560 --> 00:29:54,920
Speaker 2: the action in the second half of the film, But

515
00:29:55,120 --> 00:29:58,240
Speaker 2: there again, Josh, I didn't I didn't buy a lot

516
00:29:58,240 --> 00:30:02,160
Speaker 2: of it. There is so much made about entering this

517
00:30:02,320 --> 00:30:09,960
Speaker 2: proto universe, which is we're told incredibly dangerous, and the

518
00:30:10,040 --> 00:30:14,680
Speaker 2: fact that she just walks into this universe, right, I

519
00:30:14,720 --> 00:30:16,560
Speaker 2: know that this here is one of those things you

520
00:30:16,600 --> 00:30:20,360
Speaker 2: may just have to suspend disbelief on. It's not something

521
00:30:20,400 --> 00:30:23,440
Speaker 2: I'm bringing up because she's a woman. It's something I'm

522
00:30:23,480 --> 00:30:27,440
Speaker 2: bringing up because she's a human being, she's not a superhero.

523
00:30:27,760 --> 00:30:30,760
Speaker 2: And the fact that the movie needs her to enter

524
00:30:30,800 --> 00:30:33,320
Speaker 2: that space. And then when you really think about it,

525
00:30:34,080 --> 00:30:38,760
Speaker 2: she does not actually do much of anything in the

526
00:30:38,800 --> 00:30:42,920
Speaker 2: second half of this film. Even after she goes into

527
00:30:43,520 --> 00:30:47,360
Speaker 2: that universe, she's actually not very involved because she can't

528
00:30:47,360 --> 00:30:52,120
Speaker 2: be and as all the action is occurring, she's kind

529
00:30:52,160 --> 00:30:56,720
Speaker 2: of flying around and doing some journalistic things, but she's

530
00:30:56,720 --> 00:30:59,920
Speaker 2: not really involved in the action. I feel like she's

531
00:31:00,080 --> 00:31:03,040
Speaker 2: a pretty hollow character as well, not as hollow as

532
00:31:03,080 --> 00:31:05,959
Speaker 2: the other members or the other employees of the Daily Planet,

533
00:31:06,120 --> 00:31:09,479
Speaker 2: but more hollow than I would have liked. And that

534
00:31:09,520 --> 00:31:10,240
Speaker 2: brings me as well.

535
00:31:10,320 --> 00:31:10,800
Speaker 4: Josh too.

536
00:31:11,520 --> 00:31:16,040
Speaker 2: Something about Corn Sweat's Superman that I also struggle with,

537
00:31:16,120 --> 00:31:20,040
Speaker 2: even though I did overall really like his performance, and

538
00:31:20,080 --> 00:31:23,560
Speaker 2: there were aspects of his Superman that we've spoken to

539
00:31:23,800 --> 00:31:27,920
Speaker 2: that I think really work, and that challenge, if you will,

540
00:31:28,040 --> 00:31:34,120
Speaker 2: the conventional mythology of Superman in interesting ways. He's a

541
00:31:34,120 --> 00:31:37,960
Speaker 2: little slow, right, and I think I'm okay with that.

542
00:31:38,560 --> 00:31:45,560
Speaker 2: But here's the part I couldn't really forgive in that

543
00:31:45,720 --> 00:31:49,920
Speaker 2: interview scene. The thing she keeps hammering him on is

544
00:31:49,960 --> 00:31:52,880
Speaker 2: that and the thing the world and that Lex is

545
00:31:52,920 --> 00:31:54,720
Speaker 2: trying to use against him, The thing the world is

546
00:31:54,800 --> 00:31:58,480
Speaker 2: questioning is he's in a bunch of trouble because he

547
00:31:58,600 --> 00:32:02,160
Speaker 2: stopped a war. He's stopped another country a very you

548
00:32:02,160 --> 00:32:06,440
Speaker 2: know here again real world parallels, right like Russia invading Ukraine.

549
00:32:06,640 --> 00:32:10,360
Speaker 2: These two fictional countries, one just deciding it's gonna invade.

550
00:32:10,760 --> 00:32:15,800
Speaker 2: And his answer, because again he's all about saving human life,

551
00:32:15,800 --> 00:32:18,760
Speaker 2: the sanctity of human life, his only answer is really,

552
00:32:18,800 --> 00:32:21,400
Speaker 2: but people were gonna die, So I had no choice.

553
00:32:21,400 --> 00:32:23,840
Speaker 2: People were gonna die. I had to step in and

554
00:32:23,880 --> 00:32:26,400
Speaker 2: stop it. That's who I am, that's what I do.

555
00:32:27,480 --> 00:32:31,800
Speaker 2: But the notion that this guy, who also is a

556
00:32:31,880 --> 00:32:37,560
Speaker 2: reporter for the Daily Planet, has never thought about seems

557
00:32:37,600 --> 00:32:41,120
Speaker 2: to have never thought about what is Superman's place in

558
00:32:41,160 --> 00:32:43,680
Speaker 2: the world. I'm not saying, like Man of Steel or

559
00:32:43,680 --> 00:32:46,040
Speaker 2: some of these other films, we needed to have trials,

560
00:32:46,320 --> 00:32:48,760
Speaker 2: We needed to put him on trial and have these

561
00:32:48,840 --> 00:32:54,520
Speaker 2: lengthy discussions about what Superman's political motivations should be, or

562
00:32:54,560 --> 00:32:57,440
Speaker 2: what's right and wrong along those lines. But the fact

563
00:32:57,440 --> 00:33:00,880
Speaker 2: that it seems as if Josh He's never thought whether

564
00:33:00,960 --> 00:33:04,240
Speaker 2: or not it really is okay that he gets involved

565
00:33:04,320 --> 00:33:09,160
Speaker 2: in these affairs, that he doesn't have conversations with our

566
00:33:09,320 --> 00:33:12,520
Speaker 2: political leaders before he goes and does these kinds of things,

567
00:33:12,760 --> 00:33:18,320
Speaker 2: It does seem like a bit of a screenplay miss

568
00:33:18,400 --> 00:33:18,640
Speaker 2: to me.

569
00:33:19,200 --> 00:33:21,840
Speaker 4: I get it. It's to me it's embedded in the

570
00:33:21,960 --> 00:33:24,800
Speaker 4: conception of the character, which is, to a nicer way

571
00:33:24,800 --> 00:33:28,160
Speaker 4: to put it, is maybe naive or maybe impulsive in

572
00:33:28,240 --> 00:33:33,000
Speaker 4: his niceness above all that, maybe possibly so. Yeah, I

573
00:33:33,320 --> 00:33:36,000
Speaker 4: think you're right to point it out, But it didn't

574
00:33:36,000 --> 00:33:38,120
Speaker 4: bother me quite as much. I did want to go

575
00:33:38,200 --> 00:33:40,680
Speaker 4: back once more, just quickly as you were describing Loess

576
00:33:40,680 --> 00:33:43,320
Speaker 4: stuck in this. I don't think I wrote this down.

577
00:33:43,360 --> 00:33:46,479
Speaker 4: Were you saying a proto world, this in between the universe?

578
00:33:46,520 --> 00:33:47,280
Speaker 2: Isn't that what it's called?

579
00:33:47,360 --> 00:33:50,120
Speaker 4: Something like that? Yeah, sounds we may be in trouble

580
00:33:50,160 --> 00:33:54,040
Speaker 4: getting that wrong. But this dark world, the reason it

581
00:33:54,080 --> 00:33:56,959
Speaker 4: doesn't resonate like what is going to happen to her here?

582
00:33:57,000 --> 00:33:59,280
Speaker 4: Why it doesn't matter is because nothing matters, because this

583
00:33:59,320 --> 00:34:01,040
Speaker 4: is another seed goop world.

584
00:34:01,200 --> 00:34:04,120
Speaker 2: Oh that's it is. It is a hot mess.

585
00:34:04,000 --> 00:34:06,720
Speaker 4: And I don't want to keep piling on this movie.

586
00:34:06,760 --> 00:34:09,520
Speaker 4: But I also, you know, I had other problems than

587
00:34:09,560 --> 00:34:12,960
Speaker 4: the mean streak, and one is that this thing looks

588
00:34:13,360 --> 00:34:17,560
Speaker 4: pretty bad. I thought we'll get to our Superman moments.

589
00:34:17,600 --> 00:34:20,840
Speaker 4: But I had a chance, obviously to watch many scenes

590
00:34:20,880 --> 00:34:24,400
Speaker 4: from nineteen seventy eight Superman, which looks so much better

591
00:34:24,440 --> 00:34:28,359
Speaker 4: in terms of special effects, different tools, of course. But

592
00:34:28,480 --> 00:34:32,160
Speaker 4: then what we get here there is that entire sequence

593
00:34:32,239 --> 00:34:35,400
Speaker 4: in that world is you don't know what is up

594
00:34:35,560 --> 00:34:38,879
Speaker 4: or down or what happens if someone falls off this

595
00:34:39,160 --> 00:34:43,279
Speaker 4: or if they what There's like a goop river that

596
00:34:43,480 --> 00:34:45,799
Speaker 4: you know, maybe that is bad, the.

597
00:34:45,719 --> 00:34:48,800
Speaker 2: Proton river, which is why I've been getting it wrong.

598
00:34:48,920 --> 00:34:50,800
Speaker 2: It's called a pocket universe.

599
00:34:51,200 --> 00:34:54,719
Speaker 4: Pocket universe that has a proton river that leads to

600
00:34:54,800 --> 00:34:58,080
Speaker 4: a black hole that we all know none of it

601
00:34:58,160 --> 00:35:01,000
Speaker 4: exists because it doesn't look like it. For a second, GHO.

602
00:35:00,960 --> 00:35:03,200
Speaker 2: Stakes at all to any of it, because none of

603
00:35:03,239 --> 00:35:05,799
Speaker 2: it matters, None of it feels remotely real, and you

604
00:35:05,840 --> 00:35:07,400
Speaker 2: don't know what's going on anyway.

605
00:35:07,480 --> 00:35:10,160
Speaker 4: And this happens later too, when a rift I mean,

606
00:35:11,000 --> 00:35:14,320
Speaker 4: we'll leave it. Yeah, but the climactic sequence, let's just say, visually,

607
00:35:14,880 --> 00:35:17,839
Speaker 4: is just as junkie. And you know what, here's a point,

608
00:35:17,880 --> 00:35:21,040
Speaker 4: Adam where I sat up in my seat because I thought, oh,

609
00:35:21,360 --> 00:35:25,440
Speaker 4: there's a climactic battle where we're punching and bludgeoning and

610
00:35:25,480 --> 00:35:27,799
Speaker 4: flying and you know, not all that different from the

611
00:35:27,800 --> 00:35:31,920
Speaker 4: Snyder stuff quite frankly. And then Superman in the person

612
00:35:31,960 --> 00:35:36,280
Speaker 4: he's fighting land in a baseball field, and I saw

613
00:35:36,960 --> 00:35:41,480
Speaker 4: that turf moved like actual it might have been grass

614
00:35:41,560 --> 00:35:45,120
Speaker 4: or turf. It was something that either you know, was

615
00:35:45,160 --> 00:35:47,680
Speaker 4: really well done with CGI or they actually were on

616
00:35:48,920 --> 00:35:54,799
Speaker 4: physical material. And I shot to attention because I thought, oh,

617
00:35:54,960 --> 00:35:57,319
Speaker 4: this is going to be good. I can actually tell

618
00:35:57,400 --> 00:35:59,880
Speaker 4: where they are, what's around them, and how it affects

619
00:36:00,480 --> 00:36:03,160
Speaker 4: the fight, and you know, they don't stay there too long,

620
00:36:03,280 --> 00:36:06,960
Speaker 4: obviously they had they head back into the dark closet.

621
00:36:07,960 --> 00:36:10,680
Speaker 2: There is also the fact that I was praising how

622
00:36:10,680 --> 00:36:14,640
Speaker 2: I loved that and I like Holt's performance. I loved

623
00:36:14,680 --> 00:36:20,880
Speaker 2: how they made Lex so ruthless, so repugnant, so evil,

624
00:36:22,080 --> 00:36:24,120
Speaker 2: and then they make a choice at the end, or

625
00:36:24,160 --> 00:36:26,560
Speaker 2: Holt makes a choice at the end with that character

626
00:36:27,000 --> 00:36:32,760
Speaker 2: that seems so out of sync with the diabolical ness

627
00:36:32,800 --> 00:36:36,680
Speaker 2: of that character, that attempts to give that character some humanity,

628
00:36:36,920 --> 00:36:40,080
Speaker 2: And I think Josh, you and anyone who has seen

629
00:36:40,120 --> 00:36:42,160
Speaker 2: the movie and has seen the end of the film

630
00:36:42,320 --> 00:36:46,680
Speaker 2: should know what I'm referring to. And I kind of

631
00:36:46,680 --> 00:36:50,359
Speaker 2: wanted to laugh watching it. Quite frankly, Yeah, it was.

632
00:36:51,040 --> 00:36:54,719
Speaker 4: I had a rough time with his characterization, you know,

633
00:36:54,840 --> 00:36:58,160
Speaker 4: even though I agree the interpretation is as this sadistic guy,

634
00:36:58,320 --> 00:37:02,360
Speaker 4: but I don't think he got a lot of development

635
00:37:02,440 --> 00:37:06,640
Speaker 4: beyond that until we're dumped with his villain speech, or

636
00:37:06,640 --> 00:37:08,719
Speaker 4: a villain speech I should say, gets dumped on us.

637
00:37:08,800 --> 00:37:11,840
Speaker 4: Before that, I think Holt was doing a lot of

638
00:37:11,920 --> 00:37:14,680
Speaker 4: sweating trying to make trying to make this work.

639
00:37:16,120 --> 00:37:20,040
Speaker 2: Well. The emails are going to come in a plund you.

640
00:37:19,920 --> 00:37:23,040
Speaker 4: Have no idea. You have no idea.

641
00:37:23,960 --> 00:37:28,000
Speaker 2: Superman is out in wide release if you see it.

642
00:37:28,360 --> 00:37:30,520
Speaker 2: And how about we just say if you agree with us,

643
00:37:30,560 --> 00:37:33,239
Speaker 2: email us feedback film spotting dot net.

644
00:37:32,960 --> 00:37:36,759
Speaker 4: You know, listeners will our listeners are like Superman. If

645
00:37:36,800 --> 00:37:39,840
Speaker 4: they disagree with us, I will be kind and they

646
00:37:39,920 --> 00:37:43,439
Speaker 4: will not want to destroy us, and you know, rip

647
00:37:43,480 --> 00:37:47,239
Speaker 4: our spines out. They'll just have thought full, intelligent, kind responses.

648
00:37:47,280 --> 00:37:50,479
Speaker 2: I'm sure this conversation might be the one that puts

649
00:37:50,520 --> 00:37:54,240
Speaker 2: them over the top. This turns them into Lex Luthor again.

650
00:37:54,719 --> 00:37:56,520
Speaker 2: Feedback at film spotting dot net.

651
00:37:56,840 --> 00:37:58,719
Speaker 4: Listening is the number one thing you can do to

652
00:37:58,800 --> 00:38:02,280
Speaker 4: support an independently to show like film Spotting. A couple

653
00:38:02,280 --> 00:38:04,640
Speaker 4: more things you can do. How about taking a minute

654
00:38:04,680 --> 00:38:06,520
Speaker 4: to give us a rating or a review on Apple

655
00:38:06,560 --> 00:38:09,680
Speaker 4: podcasts or on Spotify. You can do this if you're

656
00:38:09,680 --> 00:38:12,640
Speaker 4: a new listener or if you've been listening for twenty years.

657
00:38:12,719 --> 00:38:15,839
Speaker 4: Every new review does help us reach new listeners. Another

658
00:38:15,920 --> 00:38:18,839
Speaker 4: way to support us join the film Spotting family at

659
00:38:18,880 --> 00:38:22,880
Speaker 4: film spottingfamily dot com. We want to thank family member

660
00:38:22,960 --> 00:38:27,080
Speaker 4: Luca Dukic here in Chicago. I just followed Luca on

661
00:38:27,200 --> 00:38:29,320
Speaker 4: Letterbox today had a chance to meet him once in

662
00:38:29,400 --> 00:38:32,080
Speaker 4: Chicago as well. Great guy. If you want to follow

663
00:38:32,160 --> 00:38:34,880
Speaker 4: Luca on letterbox, here's his handle. I'm gonna spell it

664
00:38:34,880 --> 00:38:40,279
Speaker 4: out for you. D eb E lice Va p.

665
00:38:40,800 --> 00:38:42,919
Speaker 2: So here's Luca and I do just want to point

666
00:38:42,920 --> 00:38:46,080
Speaker 2: out I've been a little behind this week, Josh. I

667
00:38:46,160 --> 00:38:48,719
Speaker 2: did not pick this well, I never picked them. Sam does.

668
00:38:48,719 --> 00:38:52,080
Speaker 2: But I haven't even read this until now, and Luca's

669
00:38:52,120 --> 00:38:54,560
Speaker 2: got some very nice things to say. I was a

670
00:38:54,640 --> 00:38:56,840
Speaker 2: very early listener of film Spotting back in two thousand

671
00:38:56,840 --> 00:38:58,680
Speaker 2: and eight. A few years later, I was fortunate to

672
00:38:58,719 --> 00:39:02,000
Speaker 2: cross paths professionally one Adam Kampanar. Adam in person and

673
00:39:02,080 --> 00:39:05,040
Speaker 2: at work is exactly like he comes across in disembodied

674
00:39:05,080 --> 00:39:08,280
Speaker 2: voice podcast form, easy to talk to, intelligent and thoughtful.

675
00:39:08,560 --> 00:39:10,640
Speaker 2: Life took me away from movie fandom over the next

676
00:39:10,680 --> 00:39:12,440
Speaker 2: few years, but last fall, my wife and I had

677
00:39:12,440 --> 00:39:14,560
Speaker 2: our first child, and I found myself with a lot

678
00:39:14,600 --> 00:39:17,040
Speaker 2: of new podcast time. Given how much time I spent

679
00:39:17,120 --> 00:39:20,279
Speaker 2: holding slash feeding a sleepy child with headphones on at

680
00:39:20,320 --> 00:39:23,239
Speaker 2: all hours of the night. Rediscovering film Spotting during this

681
00:39:23,320 --> 00:39:25,560
Speaker 2: time has inspired me to get back to the movies

682
00:39:25,760 --> 00:39:28,360
Speaker 2: and has helped me build letterbox watch lists to watch

683
00:39:28,400 --> 00:39:30,640
Speaker 2: all the movies I missed during the past few years.

684
00:39:30,960 --> 00:39:33,479
Speaker 2: Plus the calming and dulcet tones of Adam and Josh

685
00:39:33,520 --> 00:39:36,359
Speaker 2: have helped me get through some very tired first time

686
00:39:36,480 --> 00:39:40,120
Speaker 2: parent moments while sitting on the rocking chair in the nursery.

687
00:39:40,520 --> 00:39:41,600
Speaker 2: Thanks fellas.

688
00:39:42,200 --> 00:39:43,680
Speaker 4: Hang in there, Luca, It'll get better.

689
00:39:44,000 --> 00:39:47,680
Speaker 2: Indeed, a favorite review or segment of Luca's racing to

690
00:39:47,719 --> 00:39:50,840
Speaker 2: the Internet to figure out wtf happened at the end

691
00:39:50,880 --> 00:39:54,040
Speaker 2: of Take Shelter and finding the best Internet explanation coming

692
00:39:54,040 --> 00:39:55,520
Speaker 2: from Adam. Thank you, Luca.

693
00:39:55,600 --> 00:39:56,880
Speaker 4: We're reviewed to get wrong.

694
00:39:57,239 --> 00:39:59,759
Speaker 2: Luca, Yeah, I paid him. I seem to be the

695
00:39:59,800 --> 00:40:02,840
Speaker 2: only only person that feels this way. But Hitman was awful.

696
00:40:03,440 --> 00:40:06,279
Speaker 2: Glenn Powell playing dress up as different characters was fun,

697
00:40:06,560 --> 00:40:08,759
Speaker 2: but couldn't get past the fact that the least believable

698
00:40:08,840 --> 00:40:11,480
Speaker 2: character he played in the movie was his actual character.

699
00:40:11,719 --> 00:40:13,480
Speaker 2: At no point did I buy him as a nerdy,

700
00:40:13,520 --> 00:40:16,400
Speaker 2: lonely philosophy professor, and the whole pretense of the movie

701
00:40:16,440 --> 00:40:17,920
Speaker 2: was that he just needs to wear a cool chain

702
00:40:17,960 --> 00:40:20,400
Speaker 2: and comb his hair differently, and he becomes the suavest

703
00:40:20,440 --> 00:40:23,400
Speaker 2: man on the planet. New Orleans was also wasted as

704
00:40:23,440 --> 00:40:26,000
Speaker 2: a setting man. You know, Luca might be right about

705
00:40:26,000 --> 00:40:26,439
Speaker 2: that part.

706
00:40:27,120 --> 00:40:29,799
Speaker 4: He was doing so good kissing up too, and then

707
00:40:29,920 --> 00:40:30,960
Speaker 4: had to go against him.

708
00:40:31,360 --> 00:40:34,839
Speaker 2: Yeah, now we're done. Letterbox Top four Okay, I like this, well,

709
00:40:34,880 --> 00:40:38,480
Speaker 2: I like this until the end Fury Road, Dazed and Confused,

710
00:40:38,800 --> 00:40:41,320
Speaker 2: Lebowski and Face Off.

711
00:40:41,400 --> 00:40:42,279
Speaker 4: Took a turn there.

712
00:40:42,760 --> 00:40:47,000
Speaker 2: Yeah, a favorite movie he revisited recently, Three ten to Yuma.

713
00:40:47,000 --> 00:40:49,960
Speaker 2: I'm gonna assume that's the Russell Crowe remake, but you

714
00:40:50,040 --> 00:40:53,239
Speaker 2: never know. A random film or filmmaker he loves. I

715
00:40:53,280 --> 00:40:57,480
Speaker 2: love Charliekaffman's adaptation, especially having read Orchid Thief shortly before.

716
00:40:57,560 --> 00:41:00,880
Speaker 2: It's the perfect meta movie, a movie credits with becoming

717
00:41:00,880 --> 00:41:02,759
Speaker 2: a cinophile of the Cones made me fall in love

718
00:41:02,800 --> 00:41:06,200
Speaker 2: with movies. Oh Brother and Lebowski were formative movies for me.

719
00:41:06,280 --> 00:41:08,680
Speaker 2: Inside Lewin Davis gets better every time I watch it.

720
00:41:08,719 --> 00:41:13,200
Speaker 2: We're Back Baby. Finally, a book about movies or movie

721
00:41:13,239 --> 00:41:16,359
Speaker 2: making that he appreciates. The film that changed my life.

722
00:41:16,440 --> 00:41:18,800
Speaker 2: Thirty directors on their epiphanies in the Dark. So that's

723
00:41:18,920 --> 00:41:22,560
Speaker 2: a book by Robert Elder, who I interviewed on the show.

724
00:41:22,680 --> 00:41:25,680
Speaker 2: For that book, if you want to check that out

725
00:41:25,840 --> 00:41:29,280
Speaker 2: in the Film Spotting archive. Thank you so much, Luca

726
00:41:29,360 --> 00:41:33,440
Speaker 2: for your support and for your kind words, and we

727
00:41:33,560 --> 00:41:36,919
Speaker 2: hope to hang out with you again sometime soon. If

728
00:41:37,080 --> 00:41:40,040
Speaker 2: you would like to become a Film Spotting Family member

729
00:41:40,080 --> 00:41:43,000
Speaker 2: and maybe get featured on the show like Luca, I

730
00:41:43,080 --> 00:41:45,480
Speaker 2: swear you don't even have to say nice things about

731
00:41:45,520 --> 00:41:48,440
Speaker 2: us to get featured. Just tell us about your relationship

732
00:41:48,480 --> 00:41:52,160
Speaker 2: to the ship helps again Sam picked it. Learn more

733
00:41:52,320 --> 00:41:56,000
Speaker 2: at film Spottingfamily dot com.

734
00:41:56,160 --> 00:41:58,839
Speaker 8: Craft Mac and Cheese is better than nineties hip hop.

735
00:41:59,120 --> 00:42:02,000
Speaker 8: Will remind you of your childhood without making you feel

736
00:42:02,000 --> 00:42:07,319
Speaker 8: incredibly old. Kraft Mac and Cheese best thing ever.

737
00:42:10,160 --> 00:42:17,240
Speaker 1: Where there? How can we get here? And even worse?

738
00:42:17,640 --> 00:42:21,160
Speaker 1: Is it worth it? Or at the cost of being

739
00:42:21,200 --> 00:42:26,160
Speaker 1: at war with your neighbors? Scranging That's why I'm running

740
00:42:26,200 --> 00:42:26,760
Speaker 1: from there.

741
00:42:26,880 --> 00:42:28,799
Speaker 6: And the guys are not.

742
00:42:31,560 --> 00:42:33,240
Speaker 1: Thank you, super dupient very much.

743
00:42:34,719 --> 00:42:37,960
Speaker 2: That's Joaquin Phoenix and the trailer for Eddington, the latest

744
00:42:38,000 --> 00:42:42,360
Speaker 2: from the director of Hereditary and Midsummer ari Astor. His

745
00:42:42,440 --> 00:42:46,800
Speaker 2: film is set in twenty twenty in small town New Mexico.

746
00:42:47,719 --> 00:42:50,720
Speaker 2: Are we ready to go back to twenty twenty?

747
00:42:50,800 --> 00:42:51,280
Speaker 1: Josh?

748
00:42:51,320 --> 00:42:52,439
Speaker 4: Did we ever really leave.

749
00:42:53,280 --> 00:42:58,840
Speaker 2: Good question. You are going back. I am conveniently taking

750
00:42:58,880 --> 00:43:03,600
Speaker 2: a vacation at this time of vacation in twenty twenty.

751
00:43:04,200 --> 00:43:08,239
Speaker 2: That's right for a week anyway, And Michael Phillips, the

752
00:43:08,400 --> 00:43:11,800
Speaker 2: very capable Michael Phillips, will be sitting in my chair

753
00:43:12,440 --> 00:43:14,640
Speaker 2: and going back to twenty twenty with you for this

754
00:43:14,719 --> 00:43:18,920
Speaker 2: conversation about Eddington. We are going to or the two

755
00:43:19,000 --> 00:43:23,160
Speaker 2: of you will be revisiting our top five Joaquin Phoenix performances.

756
00:43:23,239 --> 00:43:25,319
Speaker 2: That's the top five we did back in twenty twenty three,

757
00:43:25,880 --> 00:43:29,239
Speaker 2: which was a tie in with the previous ari Ast

758
00:43:29,480 --> 00:43:32,960
Speaker 2: Joaquin Phoenix collaboration. But was afraid maybe we can get

759
00:43:33,000 --> 00:43:34,960
Speaker 2: Michael to chime in with some of his.

760
00:43:35,400 --> 00:43:36,640
Speaker 4: Favorite Phoenix performances.

761
00:43:36,719 --> 00:43:36,879
Speaker 2: Yeah.

762
00:43:36,960 --> 00:43:39,120
Speaker 4: Yeah, it might not force him to do a full list,

763
00:43:39,200 --> 00:43:41,640
Speaker 4: but I will definitely pick his brain on where he

764
00:43:41,719 --> 00:43:43,760
Speaker 4: stands with the best of Joaquin Phoenix.

765
00:43:44,040 --> 00:43:48,040
Speaker 2: Good. I do want to note, speaking of Michael Phillips,

766
00:43:48,440 --> 00:43:52,360
Speaker 2: that well, we missed you this year again. Sadly, we

767
00:43:52,480 --> 00:43:54,239
Speaker 2: got to get you back into the fold. I know

768
00:43:54,280 --> 00:43:59,040
Speaker 2: you've been very busy. We for the tenth time, Josh

769
00:43:59,080 --> 00:44:01,440
Speaker 2: and you were there for the first eight, but for

770
00:44:01,520 --> 00:44:06,800
Speaker 2: the tenth year, not counting twenty twenty. We that's true,

771
00:44:07,160 --> 00:44:11,800
Speaker 2: went to spring Green, Wisconsin this past weekend to visit

772
00:44:12,000 --> 00:44:17,120
Speaker 2: the Van Halgrens take in some wonderful theater, including Shakespeare's

773
00:44:17,200 --> 00:44:20,120
Speaker 2: Midsummer Night's Dream at American Players Theater.

774
00:44:20,440 --> 00:44:22,040
Speaker 4: Did you get it in? I know you were worried

775
00:44:22,040 --> 00:44:23,120
Speaker 4: it was gonna get rained out.

776
00:44:23,400 --> 00:44:26,319
Speaker 2: Michael Phillips came along with us this year, and we

777
00:44:26,400 --> 00:44:29,440
Speaker 2: hoped to make him a regular part of our little troop.

778
00:44:30,400 --> 00:44:34,799
Speaker 2: Venturing up to APT Josh for the first time in

779
00:44:34,880 --> 00:44:39,880
Speaker 2: these ten years. We had rain, and it rained almost

780
00:44:39,880 --> 00:44:44,400
Speaker 2: the entire day, and it rained the entire first half

781
00:44:44,440 --> 00:44:48,000
Speaker 2: of the play, but they went on, but it was

782
00:44:48,239 --> 00:44:53,480
Speaker 2: light enough that they did go on, and we had

783
00:44:53,600 --> 00:44:57,839
Speaker 2: raincoats and ponchos, And it was a case where at

784
00:44:57,840 --> 00:45:00,759
Speaker 2: some point in that first act it got enough that

785
00:45:01,320 --> 00:45:04,520
Speaker 2: if it continued like that for maybe another ten or

786
00:45:04,520 --> 00:45:08,040
Speaker 2: twenty minutes, or certainly if it continued raining through the intermission,

787
00:45:08,160 --> 00:45:10,840
Speaker 2: they might have had to call it. But right around

788
00:45:10,920 --> 00:45:15,960
Speaker 2: intermission it stopped, and in the second act there was

789
00:45:16,000 --> 00:45:19,080
Speaker 2: no rain at all. So it was not the usual

790
00:45:19,239 --> 00:45:23,440
Speaker 2: gorgeous atmosphere that you get when we visit APT. So

791
00:45:23,600 --> 00:45:27,439
Speaker 2: niceing outdoor plays there. But it was still a good time,

792
00:45:27,520 --> 00:45:30,480
Speaker 2: still a wonderful production of that play. The next night

793
00:45:30,520 --> 00:45:33,000
Speaker 2: we saw a production of Picnic, and that was classic

794
00:45:33,040 --> 00:45:37,280
Speaker 2: apt wonderful summer, you know, seventy five ish or seventy

795
00:45:37,320 --> 00:45:41,080
Speaker 2: and sunny with the sun going down, a nice breeze.

796
00:45:41,320 --> 00:45:44,399
Speaker 2: Michael was there. As I said, and here's the thing

797
00:45:44,880 --> 00:45:49,759
Speaker 2: about Sam. People who follow the film spotting Instagram might

798
00:45:49,800 --> 00:45:54,520
Speaker 2: have seen this on the Instagram story. You really do

799
00:45:54,880 --> 00:45:59,839
Speaker 2: just kind of have to keep your wives or significant

800
00:45:59,840 --> 00:46:04,080
Speaker 2: others away from Sam and his house. And here's what

801
00:46:04,120 --> 00:46:07,880
Speaker 2: I mean by that. Here's what I mean by that,

802
00:46:07,960 --> 00:46:12,600
Speaker 2: Josh okay, because you show up and of course he's

803
00:46:12,640 --> 00:46:17,040
Speaker 2: like the perfect host, and he's got dinner prepared. He's

804
00:46:17,080 --> 00:46:19,840
Speaker 2: like made the brisket and everything.

805
00:46:20,400 --> 00:46:22,520
Speaker 4: Production meeting because he was making the brisket.

806
00:46:22,800 --> 00:46:28,080
Speaker 2: That's right. The brisket's prepared, it's delightful, all sorts of

807
00:46:28,080 --> 00:46:34,040
Speaker 2: other food. And then after dinner, he busts out a

808
00:46:34,120 --> 00:46:40,800
Speaker 2: homemade peach and pretzel ice cream cake and he's over there,

809
00:46:41,120 --> 00:46:45,200
Speaker 2: he's putting the finishing touches on it with this whipped

810
00:46:45,640 --> 00:46:52,239
Speaker 2: homemade cream and he's drizzling the peach on top and

811
00:46:52,320 --> 00:46:55,560
Speaker 2: adding peaches to it and I don't know, crushed up

812
00:46:55,680 --> 00:46:59,160
Speaker 2: pecans or something. This thing looks like a work of art.

813
00:46:59,360 --> 00:47:02,200
Speaker 2: And I don't even like peaches much, and it tasted

814
00:47:02,560 --> 00:47:04,120
Speaker 2: like a work of art. Now what I was saying

815
00:47:04,120 --> 00:47:07,560
Speaker 2: about your significant other? You know Sarah's over there going

816
00:47:08,200 --> 00:47:09,319
Speaker 2: Are you watching this at him?

817
00:47:09,600 --> 00:47:10,160
Speaker 4: Good question?

818
00:47:10,280 --> 00:47:10,600
Speaker 2: You watching?

819
00:47:10,719 --> 00:47:10,799
Speaker 5: Yes?

820
00:47:10,920 --> 00:47:13,120
Speaker 4: She should wear? Is it in her life? Why is

821
00:47:13,160 --> 00:47:14,200
Speaker 4: this not happening for her?

822
00:47:14,320 --> 00:47:17,919
Speaker 2: It's it's completely absent and he just sets the bar

823
00:47:18,600 --> 00:47:21,480
Speaker 2: too damn high all the time. So maybe we have

824
00:47:21,520 --> 00:47:22,799
Speaker 2: to start going to Spring Green.

825
00:47:22,920 --> 00:47:25,359
Speaker 4: Yeah, I'm sorry, we couldn't make it. Maybe next year

826
00:47:25,400 --> 00:47:27,120
Speaker 4: we'll get back. We'll see, I'm gonna see what's on

827
00:47:27,160 --> 00:47:29,160
Speaker 4: the menu. We'll put it that way. See what's saying

828
00:47:29,480 --> 00:47:31,640
Speaker 4: has planned for twenty twenty six.

829
00:47:32,200 --> 00:47:34,239
Speaker 2: I'm sure it will be a delight whatever it is.

830
00:47:34,480 --> 00:47:37,520
Speaker 2: Next week we will also have poll results. The current

831
00:47:37,560 --> 00:47:40,359
Speaker 2: deeply flawed film Spotting poll asks you to choose one

832
00:47:40,440 --> 00:47:43,759
Speaker 2: and only one Jack Nicholson performance will share our top

833
00:47:43,800 --> 00:47:46,799
Speaker 2: five Nicholson scenes in a couple of weeks. You can

834
00:47:46,880 --> 00:47:48,879
Speaker 2: vote in that poll and leave a comment at film

835
00:47:48,920 --> 00:47:52,160
Speaker 2: spotting dot net. For our schedule of future shows. Visit

836
00:47:52,200 --> 00:47:54,480
Speaker 2: film Spotting dot net slash episodes.

837
00:47:54,800 --> 00:47:58,160
Speaker 4: Adam Cinema interrupt Us is less than a month away.

838
00:47:58,360 --> 00:48:00,279
Speaker 4: I know we have a good core group who has

839
00:48:00,280 --> 00:48:03,719
Speaker 4: already signed up for all four days. They've committed to

840
00:48:03,760 --> 00:48:07,879
Speaker 4: the project. Adam getting through Robert Altman's The Player from

841
00:48:07,920 --> 00:48:11,160
Speaker 4: Beginning to end, which you know sounds easy. We are

842
00:48:11,239 --> 00:48:13,120
Speaker 4: going to watch it and it's entirely on day one,

843
00:48:13,360 --> 00:48:15,880
Speaker 4: but then we'll come back start at the beginning and

844
00:48:16,000 --> 00:48:19,280
Speaker 4: anyone can stop it, make a comment, ask a question

845
00:48:19,600 --> 00:48:22,120
Speaker 4: until we get to the end. This is all happening

846
00:48:22,360 --> 00:48:27,640
Speaker 4: at Chicago's Gene Cisco Film Center August eleven through fourteen,

847
00:48:27,840 --> 00:48:31,160
Speaker 4: So yeah, join us. Get one of those four day

848
00:48:31,280 --> 00:48:33,239
Speaker 4: packages if you want to commit, but if you can

849
00:48:33,280 --> 00:48:35,600
Speaker 4: only pop in for a day or two, single day

850
00:48:35,600 --> 00:48:40,040
Speaker 4: tickets will also be available. Those are all at Ciscofilmcenter

851
00:48:40,320 --> 00:48:44,240
Speaker 4: dot org. Slash interrupt Us This week on our sister podcast,

852
00:48:44,320 --> 00:48:47,680
Speaker 4: The Next Picture Show, looking at Cinema's present via its past,

853
00:48:48,400 --> 00:48:51,080
Speaker 4: they are moving on to part two of their Kings

854
00:48:51,120 --> 00:48:54,800
Speaker 4: of the Road pairing It is f one the movie.

855
00:48:54,920 --> 00:48:58,200
Speaker 4: They'll be comparing this to Adam McKay's Talladega Nights the

856
00:48:58,200 --> 00:49:02,399
Speaker 4: Ballad of Ricky Bobby, which they discussed on the previous episode.

857
00:49:02,640 --> 00:49:04,880
Speaker 4: New episodes of The Next Picture Show drop every Tuesday

858
00:49:04,920 --> 00:49:09,480
Speaker 4: wherever you get your podcasts. New episodes of The Laser

859
00:49:09,560 --> 00:49:14,160
Speaker 4: Age Adam will also be available now. This is from

860
00:49:14,320 --> 00:49:18,520
Speaker 4: Keith Phipps, one of our Next Picture Show friends. This

861
00:49:18,840 --> 00:49:22,000
Speaker 4: is kind of a It's based on a column he

862
00:49:22,080 --> 00:49:24,800
Speaker 4: had at The Dissolve back when The Dissolve was around

863
00:49:25,120 --> 00:49:30,000
Speaker 4: exploring science fiction films the last half of the twentieth

864
00:49:30,040 --> 00:49:32,360
Speaker 4: century is what he's focusing on. I listened to the

865
00:49:32,360 --> 00:49:36,759
Speaker 4: first episode today on Silent Running, a movie I have

866
00:49:36,920 --> 00:49:40,280
Speaker 4: not seen but am fascinated by. And he had a guest,

867
00:49:40,560 --> 00:49:46,600
Speaker 4: John Hodgman, Right, who's you know, just hilarious and well

868
00:49:46,680 --> 00:49:50,760
Speaker 4: nerdy enough to have a discussion with Keith about Silent Running.

869
00:49:50,800 --> 00:49:53,960
Speaker 4: So I really enjoyed this first episode of The Laser

870
00:49:54,080 --> 00:49:57,200
Speaker 4: Age And yeah, we encourage you to check that out.

871
00:49:57,520 --> 00:50:02,560
Speaker 2: Silent Running part of our seventies five marathon back before

872
00:50:02,640 --> 00:50:03,520
Speaker 2: you joined the show.

873
00:50:03,640 --> 00:50:08,000
Speaker 4: Josh, sounds like quite a doozy, Yes, it was, so Yeah,

874
00:50:08,080 --> 00:50:10,719
Speaker 4: check out The laser Age and listen as well to

875
00:50:10,800 --> 00:50:13,040
Speaker 4: the Next Picture Show. You can find both wherever you

876
00:50:13,080 --> 00:50:15,959
Speaker 4: get your podcasts all right. Time now for massacre Theater,

877
00:50:16,040 --> 00:50:17,799
Speaker 4: where we perform a scene and you get a chance

878
00:50:17,840 --> 00:50:21,160
Speaker 4: to win a film spotting prize. Last time we masacred

879
00:50:21,360 --> 00:50:21,960
Speaker 4: this scene.

880
00:50:22,040 --> 00:50:23,000
Speaker 2: Okay, here's the thought.

881
00:50:23,520 --> 00:50:28,239
Speaker 9: I see an empty stage, I see drums, I see

882
00:50:28,239 --> 00:50:31,360
Speaker 9: a drummer, I see a microphone, and I see a singer.

883
00:50:31,719 --> 00:50:33,600
Speaker 4: Come on, what we gave that stuff up?

884
00:50:33,680 --> 00:50:34,400
Speaker 1: Yeah, we don't do that.

885
00:50:34,560 --> 00:50:35,799
Speaker 4: Listen, listen to me. Dale.

886
00:50:35,920 --> 00:50:38,120
Speaker 10: Look when I was a kid, when I was a

887
00:50:38,160 --> 00:50:40,759
Speaker 10: little boy, I always wanted to be a dinosaur.

888
00:50:40,840 --> 00:50:43,040
Speaker 6: I wanted to be a Tyrannosaurus Rex more than anything

889
00:50:43,040 --> 00:50:43,560
Speaker 6: in the world.

890
00:50:43,800 --> 00:50:45,920
Speaker 10: I made my arms short, and I roam in the

891
00:50:45,960 --> 00:50:49,320
Speaker 10: backyard and I chased the neighborhood cats and I growled,

892
00:50:49,360 --> 00:50:52,360
Speaker 10: and I or everybody knew me and was afraid of me.

893
00:50:52,680 --> 00:50:55,920
Speaker 2: And then one day my dad said, Bobby, you're seventeen.

894
00:50:55,920 --> 00:50:58,240
Speaker 2: It's time to throw childish things aside.

895
00:50:58,360 --> 00:50:59,719
Speaker 1: And I said, okay, Pop, what.

896
00:50:59,640 --> 00:50:59,920
Speaker 9: Do you do?

897
00:51:00,080 --> 00:51:00,600
Speaker 1: Really say that?

898
00:51:00,680 --> 00:51:03,200
Speaker 4: He said, stop being a dinosaur and get a job.

899
00:51:03,640 --> 00:51:06,879
Speaker 10: But you know, I thought to myself, I'll go to.

900
00:51:06,760 --> 00:51:09,919
Speaker 1: Medical school, I'll practice for a little while. I'm gonna

901
00:51:09,960 --> 00:51:13,160
Speaker 1: come back to it. Yeah, how's that other skill, but I

902
00:51:13,200 --> 00:51:14,160
Speaker 1: forgot how to do it.

903
00:51:14,800 --> 00:51:17,440
Speaker 2: You're human, you could never be a dinosaur.

904
00:51:20,960 --> 00:51:21,640
Speaker 10: I lost it.

905
00:51:22,040 --> 00:51:24,919
Speaker 4: Well, yeah, what's the point. Yeah, the point is don't

906
00:51:24,960 --> 00:51:28,800
Speaker 4: lose your dinosaur. Pretty obvious why we chose that scene

907
00:51:28,800 --> 00:51:32,279
Speaker 4: from Step Brothers. But let's hear from some listeners about

908
00:51:32,280 --> 00:51:35,960
Speaker 4: the connections they made. Here's Brian Chudnow from Columbus, Indiana.

909
00:51:36,440 --> 00:51:38,840
Speaker 4: This was probably the first Masacar theater. I had guessed

910
00:51:38,880 --> 00:51:41,520
Speaker 4: well before the first lines were spoken, and as soon

911
00:51:41,600 --> 00:51:44,160
Speaker 4: as the mention of Josh doing hand gestures was made,

912
00:51:44,440 --> 00:51:46,480
Speaker 4: I knew that my guess was correct. The movie is,

913
00:51:46,520 --> 00:51:49,560
Speaker 4: of course, the fantastic two thousand and eight comedy Step Brothers.

914
00:51:49,960 --> 00:51:51,759
Speaker 4: As far as connections go, I would guess the main

915
00:51:51,800 --> 00:51:54,560
Speaker 4: one is just the Richard Jenkins speech is about acting

916
00:51:54,600 --> 00:51:56,880
Speaker 4: like a dinosaur, and you reviewed two dinosaur movies on

917
00:51:56,920 --> 00:52:00,760
Speaker 4: the episode. Additionally, use the name's cal And to reference

918
00:52:00,800 --> 00:52:04,319
Speaker 4: the names of Farrell and Riley's characters from Talladega Nights.

919
00:52:04,560 --> 00:52:07,239
Speaker 4: Probably a better choice than the other Farrell and Riley collaboration,

920
00:52:07,360 --> 00:52:10,360
Speaker 4: Holmes and Watson. The only other connection that came to

921
00:52:10,360 --> 00:52:12,920
Speaker 4: mind for me was that Samuel L. Jackson does have

922
00:52:12,960 --> 00:52:16,560
Speaker 4: a relatively brief but notable role in the Farrell film

923
00:52:16,800 --> 00:52:20,000
Speaker 4: The Other Guys, One Last One. Jeff Goldblum and Farrell

924
00:52:20,040 --> 00:52:23,680
Speaker 4: have at least collaborated once, when Goldblum hosted SNL while

925
00:52:23,680 --> 00:52:26,120
Speaker 4: Farrell was still a cast member. If you have never

926
00:52:26,120 --> 00:52:29,440
Speaker 4: seen Ferrell and Goldblum's skit with Farrell acting as Harry

927
00:52:29,480 --> 00:52:32,799
Speaker 4: Carey talking about space, I highly recommend you find the

928
00:52:32,800 --> 00:52:36,040
Speaker 4: clip on YouTube, as it's worth the watch.

929
00:52:36,400 --> 00:52:41,600
Speaker 2: Hi, let me ask, what's your favorite planet? Well?

930
00:52:42,560 --> 00:52:43,600
Speaker 1: I don't have a favorite.

931
00:52:44,360 --> 00:52:46,840
Speaker 4: I find them all fascinating. They're all part of a

932
00:52:47,040 --> 00:52:52,360
Speaker 4: Mine's the sun? Wow? How about that? Adam Our? Listeners

933
00:52:52,480 --> 00:52:55,360
Speaker 4: like don't They're not just satisfied with the dinosaur connection.

934
00:52:55,760 --> 00:52:57,520
Speaker 4: Brian went deep, He.

935
00:52:57,520 --> 00:53:01,759
Speaker 2: Went deep, and that Harry Carey clip is absolutely worth

936
00:53:01,840 --> 00:53:05,160
Speaker 2: the watch. Here's Jake Meltzer in Las Vegas, Nevada. This

937
00:53:05,200 --> 00:53:06,960
Speaker 2: is the quickest I've known a massacre theater in a

938
00:53:07,000 --> 00:53:10,320
Speaker 2: long time. Shout out to the effing Catalina wine mixer.

939
00:53:10,719 --> 00:53:12,880
Speaker 2: We got a lot of those. I'm not going to

940
00:53:12,920 --> 00:53:16,000
Speaker 2: stretch for connections beyond the obvious invocation of the dinosaur,

941
00:53:16,000 --> 00:53:17,880
Speaker 2: but I will say this, this may not be my

942
00:53:17,920 --> 00:53:19,960
Speaker 2: favorite comedy of all time. But I don't know if

943
00:53:20,000 --> 00:53:22,600
Speaker 2: there's a movie that makes me laugh harder every.

944
00:53:22,320 --> 00:53:23,520
Speaker 4: Time I watch it.

945
00:53:23,560 --> 00:53:26,400
Speaker 2: Fair enough, Josh, reach in to the film Spotting hat

946
00:53:26,560 --> 00:53:28,240
Speaker 2: and pick out this week's winner.

947
00:53:28,719 --> 00:53:31,840
Speaker 4: Our winner is John Bond from Haddonfield, New Jersey.

948
00:53:32,000 --> 00:53:35,400
Speaker 2: Congratulations John, email feedback at filmspotting dot net and we

949
00:53:35,440 --> 00:53:38,200
Speaker 2: will set you up with your very own film Spotting

950
00:53:38,200 --> 00:53:42,080
Speaker 2: t shirt, or a film Spotting tote bag, or a

951
00:53:42,160 --> 00:53:46,080
Speaker 2: trial membership to the Film Spotting Family Broadsheet.

952
00:53:46,160 --> 00:53:50,400
Speaker 8: Journalists have described my impressions as stunningly accurate.

953
00:53:50,600 --> 00:53:51,439
Speaker 1: Well, they're wrong.

954
00:53:51,760 --> 00:53:53,560
Speaker 2: I've not heard you, Michael Kaye, but I assume it

955
00:53:53,560 --> 00:53:56,120
Speaker 2: would be something along the lines of on i'ms Barkokai.

956
00:53:56,280 --> 00:53:59,799
Speaker 2: That is where you are so wrong. We move on

957
00:54:00,080 --> 00:54:03,920
Speaker 2: out to this week's edition of Massacre Theater and producer

958
00:54:03,960 --> 00:54:07,880
Speaker 2: Sam must be a little disappointed with the number of

959
00:54:08,360 --> 00:54:13,000
Speaker 2: entries because he's made this one. I think a little obvious.

960
00:54:13,080 --> 00:54:16,279
Speaker 4: Josh. Yeah, it's it's being served right up there on

961
00:54:16,320 --> 00:54:17,120
Speaker 4: a platter.

962
00:54:17,600 --> 00:54:20,680
Speaker 2: At least the tie in, that's for sure. You started off.

963
00:54:20,960 --> 00:54:22,359
Speaker 2: I'm going to give you the action. This is going

964
00:54:22,400 --> 00:54:26,279
Speaker 2: to require some voice work, at least by you. Are

965
00:54:26,320 --> 00:54:32,680
Speaker 2: you ready, let's do it and action sub soups. Wow,

966
00:54:32,840 --> 00:54:35,600
Speaker 2: it's Batman and he's in my house right now. What

967
00:54:35,640 --> 00:54:36,439
Speaker 2: are you doing here?

968
00:54:36,760 --> 00:54:38,239
Speaker 4: Don't worry about a dog not to you here to

969
00:54:38,239 --> 00:54:39,160
Speaker 4: throw down or anything.

970
00:54:39,640 --> 00:54:43,880
Speaker 2: Ah No, I would crush you.

971
00:54:42,719 --> 00:54:45,200
Speaker 4: Sure, for sure. Hey listen, thank me later. But I

972
00:54:45,280 --> 00:54:47,240
Speaker 4: just happened to be in the hood and I figured

973
00:54:47,239 --> 00:54:52,080
Speaker 4: you could probably use the company. Wait a minute, are you?

974
00:54:53,040 --> 00:54:55,880
Speaker 4: Are you having the fifty seventh Annual Justice League Anniversary

975
00:54:55,920 --> 00:54:57,799
Speaker 4: party without me?

976
00:54:58,560 --> 00:55:02,120
Speaker 2: No? No, no, no, no no, no, oh no. There must

977
00:55:02,160 --> 00:55:04,879
Speaker 2: have been some mistake with the email. That's crazy man,

978
00:55:05,400 --> 00:55:08,319
Speaker 2: all right, Well, that clears everything up right. Enjoy the party, bro,

979
00:55:08,640 --> 00:55:14,759
Speaker 2: hit it, DJ, well, wonder Dog and scenes.

980
00:55:17,719 --> 00:55:19,360
Speaker 4: I was just waiting to see how you were going

981
00:55:19,440 --> 00:55:21,560
Speaker 4: to do that last bit congratulation.

982
00:55:22,400 --> 00:55:24,799
Speaker 2: I hope I delivered. If you know what film we

983
00:55:24,920 --> 00:55:27,560
Speaker 2: just massacred, email the movie's title and your name and

984
00:55:27,600 --> 00:55:31,320
Speaker 2: location to feedback at filmspotting dot net. The deadline is Monday,

985
00:55:31,520 --> 00:55:34,759
Speaker 2: July twenty eighth. We will select the winner randomly from

986
00:55:34,840 --> 00:55:37,040
Speaker 2: all the correct entries and announce it in a couple

987
00:55:37,280 --> 00:55:43,840
Speaker 2: of weeks. Ohmar, her name is Color.

988
00:55:45,920 --> 00:55:50,320
Speaker 6: You are the only survivor of the planet Quipplum. Even

989
00:55:50,360 --> 00:55:52,840
Speaker 6: though you've been raised as a human being who are

990
00:55:52,880 --> 00:55:55,080
Speaker 6: not one of them.

991
00:55:55,200 --> 00:55:58,480
Speaker 3: You have great balls, only some of which you.

992
00:55:58,520 --> 00:56:04,560
Speaker 2: Have as yet discover. That's Marlon Brando's Jorel, father of

993
00:56:04,680 --> 00:56:08,760
Speaker 2: kal El in nineteen seventy eight Superman col in the movie,

994
00:56:08,960 --> 00:56:12,320
Speaker 2: a heartfelt scene that James Gun offers a little twist

995
00:56:12,360 --> 00:56:16,360
Speaker 2: on in his film. We are sharing our top five

996
00:56:16,920 --> 00:56:21,239
Speaker 2: Superman movie moments, and this is a little twist on

997
00:56:21,320 --> 00:56:24,759
Speaker 2: a top five we've already done way back on episode

998
00:56:24,840 --> 00:56:28,520
Speaker 2: five seventy nine, I had on a couple of guests,

999
00:56:28,600 --> 00:56:31,960
Speaker 2: Chris Klemick and Glenn Weldon from pop Culture Happy Hour,

1000
00:56:32,000 --> 00:56:35,040
Speaker 2: and if you'd like to hear them talk about this

1001
00:56:35,160 --> 00:56:38,239
Speaker 2: Superman twenty twenty five, James Guns and have way more

1002
00:56:38,280 --> 00:56:42,319
Speaker 2: positive things to say. As I understand, Josh. They are

1003
00:56:42,360 --> 00:56:45,120
Speaker 2: on pop Culture Happy Hour reviewing the film with Linda Holmes,

1004
00:56:45,160 --> 00:56:48,400
Speaker 2: and you can get that wherever you get your podcasts.

1005
00:56:49,200 --> 00:56:53,719
Speaker 2: They shared their favorite Batman Superman moment, so it was

1006
00:56:53,760 --> 00:56:57,840
Speaker 2: a combination some Batman scenes, some Superman scenes. We're devoting

1007
00:56:57,840 --> 00:57:01,319
Speaker 2: this top five entirely to Superman. Now, you weren't there

1008
00:57:01,640 --> 00:57:05,040
Speaker 2: for that list. That's why I had on Chris and Glenn,

1009
00:57:05,080 --> 00:57:10,120
Speaker 2: So we're gonna get your favorite Superman moments, and I

1010
00:57:10,160 --> 00:57:12,719
Speaker 2: got to expand on my list. I decided to set

1011
00:57:12,760 --> 00:57:15,840
Speaker 2: aside the two Superman scenes. It's kind of crazy, actually

1012
00:57:15,880 --> 00:57:18,720
Speaker 2: that I picked three Batman moments, considering I'm more of

1013
00:57:18,760 --> 00:57:23,080
Speaker 2: a Superman kind of kid. But I put those two

1014
00:57:23,240 --> 00:57:26,480
Speaker 2: in the honorable mentions, found five more that I'm a

1015
00:57:26,480 --> 00:57:28,240
Speaker 2: big fan of, and let's jump in.

1016
00:57:28,600 --> 00:57:31,400
Speaker 4: Yeah, I don't know if I was a Superman kid.

1017
00:57:31,440 --> 00:57:34,840
Speaker 4: I was a Superman young kid, because, as you said

1018
00:57:34,960 --> 00:57:38,000
Speaker 4: up top, you know, seventy eight and then eighty for

1019
00:57:38,080 --> 00:57:40,960
Speaker 4: Superman two. Probably eighty is right when I was really

1020
00:57:41,520 --> 00:57:45,360
Speaker 4: into these sorts of movies and so liked Superman then,

1021
00:57:45,440 --> 00:57:48,400
Speaker 4: but quickly, I think, in my head out grew him.

1022
00:57:48,920 --> 00:57:51,240
Speaker 4: So by the time you know, middle school or so

1023
00:57:51,360 --> 00:57:54,600
Speaker 4: came around and it was Tim Burton's Batman, I was

1024
00:57:54,720 --> 00:57:58,640
Speaker 4: like totally all in on Batman. But then years later

1025
00:57:58,720 --> 00:58:04,240
Speaker 4: came back around to Superman and appreciating once more what

1026
00:58:04,480 --> 00:58:07,040
Speaker 4: they pulled off with the seventy eight version. All that's

1027
00:58:07,080 --> 00:58:12,800
Speaker 4: to say, Adam, I really don't know much Superman beyond

1028
00:58:13,400 --> 00:58:18,400
Speaker 4: those two Christopher Reeve films. And the recent ones, which

1029
00:58:18,440 --> 00:58:21,240
Speaker 4: I haven't really enjoyed much at all. So I did

1030
00:58:21,280 --> 00:58:23,600
Speaker 4: some research for this list. I wanted to learn more

1031
00:58:23,640 --> 00:58:27,520
Speaker 4: about the Superman that came before my time and see,

1032
00:58:28,040 --> 00:58:31,680
Speaker 4: you know, just see what pops up as essential about

1033
00:58:31,720 --> 00:58:35,440
Speaker 4: this character over the decades. So going all the way back,

1034
00:58:35,640 --> 00:58:38,560
Speaker 4: you know, being somewhat familiar with the original thirty eight comic,

1035
00:58:38,640 --> 00:58:41,760
Speaker 4: but then animated versions that came shortly thereafter, and yes,

1036
00:58:41,840 --> 00:58:45,840
Speaker 4: even the George Reeves TV series. So let's start with Reeves.

1037
00:58:45,880 --> 00:58:47,840
Speaker 4: Can I start with George Reeves here at number five?

1038
00:58:48,000 --> 00:58:48,680
Speaker 2: Absolutely?

1039
00:58:48,920 --> 00:58:52,360
Speaker 4: Okay? So the interesting thing didn't realize this. I knew

1040
00:58:52,400 --> 00:58:55,560
Speaker 4: about the TV series, but there was a feature film

1041
00:58:56,000 --> 00:58:59,240
Speaker 4: that was used to promote that, to kick it off,

1042
00:58:59,320 --> 00:59:03,480
Speaker 4: and it was called Superman and the Molemen. This is

1043
00:59:03,680 --> 00:59:09,080
Speaker 4: nineteen fifty one. Now I hear it speak in my language, right,

1044
00:59:09,280 --> 00:59:11,560
Speaker 4: I need come on. I was like, I'm watching this thing.

1045
00:59:11,600 --> 00:59:13,440
Speaker 4: I gotta watch this thing. It helps that it's fifty

1046
00:59:13,440 --> 00:59:18,200
Speaker 4: eight minutes. But yeah, the manimal quotient, the manimal material

1047
00:59:18,280 --> 00:59:22,200
Speaker 4: wasn't great. Out of these molemen, they basically have bald caps.

1048
00:59:22,720 --> 00:59:24,680
Speaker 4: You can see they put a little fur on their hands.

1049
00:59:25,160 --> 00:59:29,360
Speaker 4: That's about it. That's about all you get. That was

1050
00:59:29,440 --> 00:59:32,360
Speaker 4: not a highlight overall. This was a little rough, it's stiff,

1051
00:59:32,520 --> 00:59:36,959
Speaker 4: it's very slow. But Reeves, George Reeves, gets a couple

1052
00:59:37,040 --> 00:59:41,880
Speaker 4: of great scenes that are particularly interesting given all the

1053
00:59:41,960 --> 00:59:46,040
Speaker 4: right wing hand ringing that's going on about this new Superman.

1054
00:59:46,800 --> 00:59:50,080
Speaker 4: The basic plot here involves a deep earth oil drill

1055
00:59:50,160 --> 00:59:53,200
Speaker 4: that breaks into the realm of the Moleman. Okay, now,

1056
00:59:53,240 --> 00:59:55,959
Speaker 4: a few of these Molemen come out of the whole

1057
00:59:56,080 --> 01:00:01,720
Speaker 4: to investigate what's going on, and the town's folk go nuts.

1058
01:00:01,880 --> 01:00:05,400
Speaker 4: They're paranoid, they're trigger happy. They turn into a lynch mob.

1059
01:00:05,920 --> 01:00:08,520
Speaker 4: And you've got Superman here, Georgie of Superman, trying to

1060
01:00:08,600 --> 01:00:11,760
Speaker 4: keep the peace. So here he is. When the armed

1061
01:00:11,840 --> 01:00:15,120
Speaker 4: mob shows up at the hospital where one of the

1062
01:00:15,120 --> 01:00:18,520
Speaker 4: wounded mole men is being treated for a gunshot, you're gonna.

1063
01:00:18,320 --> 01:00:20,520
Speaker 6: Step aside, and we have to make trouble watch some

1064
01:00:20,680 --> 01:00:23,840
Speaker 6: lag nim. Look, mister Benson tried that once already, it

1065
01:00:23,920 --> 01:00:26,520
Speaker 6: didn't work. Now I'm going to give you one last

1066
01:00:26,600 --> 01:00:29,240
Speaker 6: chance to stop acting like Nazi stormtroopers. Who are you

1067
01:00:29,400 --> 01:00:31,520
Speaker 6: to tell us what to do? All I'm telling you

1068
01:00:31,640 --> 01:00:33,520
Speaker 6: is that little creature in there has as much right

1069
01:00:33,560 --> 01:00:37,160
Speaker 6: to live as you do. Don't forget you invaded his world.

1070
01:00:37,680 --> 01:00:40,720
Speaker 6: You sank a pipe six miles into the ground when

1071
01:00:40,720 --> 01:00:43,280
Speaker 6: he climbed up, you set dogs on it. Shine.

1072
01:00:45,960 --> 01:00:49,400
Speaker 4: So I've got a credit. Amy Nicholson, Ellie Times Film critic,

1073
01:00:49,520 --> 01:00:52,920
Speaker 4: because she was posting about Superman in the Mollman on

1074
01:00:53,120 --> 01:00:56,439
Speaker 4: Blue Sky. This is what alerted me to it, and

1075
01:00:56,840 --> 01:01:00,640
Speaker 4: regarding that clip in particular, she said, this had to

1076
01:01:00,680 --> 01:01:04,600
Speaker 4: mention this scene in my Superman review because it's still startling.

1077
01:01:04,680 --> 01:01:07,920
Speaker 4: In twenty twenty five, A rural mob wants to lynch

1078
01:01:08,000 --> 01:01:13,240
Speaker 4: the outsider molemet Superman confiscates their guns and calls them Nazis.

1079
01:01:14,480 --> 01:01:17,440
Speaker 4: So you know what, Adam, maybe we should make America

1080
01:01:17,480 --> 01:01:20,400
Speaker 4: great again. Okay, we are a long way from the

1081
01:01:20,480 --> 01:01:25,560
Speaker 4: sort of level headed communal common sense that Superman displayed

1082
01:01:25,560 --> 01:01:28,120
Speaker 4: here in nineteen fifty one, so I think we should

1083
01:01:28,120 --> 01:01:32,200
Speaker 4: do it. I wouldn't advise watching the Superman and the

1084
01:01:32,200 --> 01:01:35,160
Speaker 4: Molemen in whole, but you can find that scene in

1085
01:01:35,200 --> 01:01:37,400
Speaker 4: our show notes. And I did choose it because I

1086
01:01:37,440 --> 01:01:40,120
Speaker 4: think it does speak to an essential quality, that the

1087
01:01:40,200 --> 01:01:44,840
Speaker 4: pacifist nature of Superman, that not every iteration has quite

1088
01:01:45,120 --> 01:01:47,800
Speaker 4: gotten right, this one did, Okay.

1089
01:01:48,680 --> 01:01:52,200
Speaker 2: I did not dig into any George Reeves or other

1090
01:01:52,480 --> 01:01:57,720
Speaker 2: TV Superman unlike you, though I have seen and have

1091
01:01:57,800 --> 01:02:01,680
Speaker 2: to admit as a kid, I quite like Superman three

1092
01:02:01,920 --> 01:02:04,960
Speaker 2: with Richard Pryor, and I even liked, I even like

1093
01:02:05,080 --> 01:02:09,640
Speaker 2: for a spell Superman four The Quest for Peace. But no,

1094
01:02:09,960 --> 01:02:13,440
Speaker 2: I will not be picking any great Superman moments from

1095
01:02:13,560 --> 01:02:16,880
Speaker 2: either of those installments, nor will I be picking any

1096
01:02:16,920 --> 01:02:21,600
Speaker 2: great moments from Batman v. Superman or Justice League. That

1097
01:02:21,640 --> 01:02:26,480
Speaker 2: doesn't mean Zack Snyder may not appear anywhere on my list, Josh,

1098
01:02:26,680 --> 01:02:30,040
Speaker 2: She's not coming in at number five though. My number

1099
01:02:30,040 --> 01:02:37,160
Speaker 2: five is from Superman two and it's the diner revenge scene.

1100
01:02:37,520 --> 01:02:37,760
Speaker 1: Yeah.

1101
01:02:37,840 --> 01:02:42,360
Speaker 2: Now, keep in mind, I am watching this movie. That's it.

1102
01:02:42,440 --> 01:02:47,520
Speaker 2: I'm watching this movie as a grade schooler, and it's

1103
01:02:47,640 --> 01:02:52,040
Speaker 2: so satisfying, right, it's satisfying now, but especially satisfying then.

1104
01:02:52,360 --> 01:02:56,280
Speaker 2: It's set up by one of the worst Superman moments

1105
01:02:56,320 --> 01:03:02,360
Speaker 2: to watch, right, Clark Kent absent his Superman powers trying

1106
01:03:02,440 --> 01:03:07,680
Speaker 2: to defend his wife's honor at a diner, and he's

1107
01:03:07,920 --> 01:03:16,600
Speaker 2: just beaten senseless by this vulgar trucker. What I said

1108
01:03:16,800 --> 01:03:20,560
Speaker 2: in our Superman twenty twenty five review that this Superman

1109
01:03:20,840 --> 01:03:25,520
Speaker 2: was perfect. Well, I actually don't think Corn Sweat's Superman

1110
01:03:25,960 --> 01:03:28,040
Speaker 2: would do this, would come back at the end of

1111
01:03:28,080 --> 01:03:31,760
Speaker 2: the film to get revenge. He wouldn't believe in revenge.

1112
01:03:31,920 --> 01:03:34,760
Speaker 4: Yeah, it kinda goes against.

1113
01:03:34,400 --> 01:03:36,960
Speaker 2: It, does the ethos of Yes.

1114
01:03:36,760 --> 01:03:39,040
Speaker 4: The Reeve Superman. It's an interesting scene.

1115
01:03:39,360 --> 01:03:44,520
Speaker 2: Yeah, but Henry Cavill Superman does something like this, and

1116
01:03:45,480 --> 01:03:50,200
Speaker 2: certainly Christopher Reeves wasn't above this. His Superman wasn't above

1117
01:03:50,280 --> 01:03:53,200
Speaker 2: this because he gets his revenge here. He comes back

1118
01:03:53,240 --> 01:03:58,440
Speaker 2: to the diner after regaining his powers and finds this trucker.

1119
01:04:00,000 --> 01:04:02,320
Speaker 4: Excuse me, sir, I think you're sitting in my favorite seat.

1120
01:04:04,280 --> 01:04:05,200
Speaker 1: Come and get it for us.

1121
01:04:06,200 --> 01:04:10,000
Speaker 2: Donner's just so good with the camera the way once

1122
01:04:10,040 --> 01:04:13,200
Speaker 2: he gets the trucker's attention, he starts to walk, and

1123
01:04:13,480 --> 01:04:16,520
Speaker 2: just as he starts to walk, the camera starts to

1124
01:04:16,680 --> 01:04:20,200
Speaker 2: pull back track backwards as he walks, which builds a

1125
01:04:20,240 --> 01:04:24,520
Speaker 2: little tension as he moves forward. And here's the thing

1126
01:04:24,520 --> 01:04:27,960
Speaker 2: about being a kid. The whole sequence is a bit cartoonish, right.

1127
01:04:28,160 --> 01:04:30,960
Speaker 2: He takes the trucker and he spins him like a

1128
01:04:31,080 --> 01:04:36,640
Speaker 2: thousand miles an hour on the seat. Then he slides

1129
01:04:36,720 --> 01:04:40,400
Speaker 2: him down the counter, and what does he say, disorders

1130
01:04:40,400 --> 01:04:45,439
Speaker 2: to go. And when everyone looks at him, like, wait

1131
01:04:45,440 --> 01:04:47,720
Speaker 2: a second, aren't you the loser that he beat up?

1132
01:04:48,080 --> 01:04:50,520
Speaker 2: How do you explain this? He says, oh, I've been.

1133
01:04:52,000 --> 01:04:52,520
Speaker 4: Working out.

1134
01:04:53,600 --> 01:04:57,000
Speaker 2: And the guy's face after he gets slid down the

1135
01:04:57,040 --> 01:04:59,640
Speaker 2: counter and he ends up in the pinball machine and

1136
01:04:59,680 --> 01:05:02,080
Speaker 2: he makes that face, you know, like his eyes are

1137
01:05:02,160 --> 01:05:05,920
Speaker 2: rolling back out like tunes looney tunes. There's some kind

1138
01:05:06,000 --> 01:05:09,760
Speaker 2: of bird on the pinball machine that's then like pecking

1139
01:05:09,840 --> 01:05:15,080
Speaker 2: him right, this cuckoo like effect. It's just what we

1140
01:05:15,160 --> 01:05:18,439
Speaker 2: all dream of, especially as a little kind of powerless kid,

1141
01:05:18,800 --> 01:05:21,720
Speaker 2: being the boy or being the man who stands up

1142
01:05:21,760 --> 01:05:25,600
Speaker 2: and takes down the bad guy. You want to be

1143
01:05:25,640 --> 01:05:28,160
Speaker 2: the guy who does it the first time. But if

1144
01:05:28,200 --> 01:05:30,520
Speaker 2: for some reason you can't be that guy, you get

1145
01:05:30,560 --> 01:05:34,800
Speaker 2: to come back and even the score. And as the

1146
01:05:34,880 --> 01:05:39,840
Speaker 2: kid rooting for Superman, you don't want Superman to lose. Ever,

1147
01:05:40,040 --> 01:05:43,440
Speaker 2: whether he's Superman or Clark Kent, you don't want him

1148
01:05:43,680 --> 01:05:47,240
Speaker 2: to lose. And getting that revenge watching that scene, you

1149
01:05:47,280 --> 01:05:51,200
Speaker 2: were kind of waiting the whole movie for it to happen.

1150
01:05:51,720 --> 01:05:55,080
Speaker 4: It's that's the word, the word you use, satisfying. It

1151
01:05:55,200 --> 01:05:58,400
Speaker 4: was just so satisfying in the moment. And now that

1152
01:05:58,440 --> 01:06:01,360
Speaker 4: i'm thinking, probably right around the time I saw this

1153
01:06:02,160 --> 01:06:05,760
Speaker 4: might have been when I was dealing with the neighborhood

1154
01:06:05,760 --> 01:06:08,360
Speaker 4: bully who waited for me between the bus stop and

1155
01:06:08,400 --> 01:06:10,640
Speaker 4: the house. You know, uh huh. I think a lot

1156
01:06:10,640 --> 01:06:12,920
Speaker 4: of people have had that kid in their life, and

1157
01:06:13,200 --> 01:06:16,400
Speaker 4: maybe this is just about then when I saw this

1158
01:06:16,560 --> 01:06:20,800
Speaker 4: scene and I just loved it so much. I had

1159
01:06:20,840 --> 01:06:23,240
Speaker 4: my own Superman, an older kid in the neighborhood who

1160
01:06:23,240 --> 01:06:25,240
Speaker 4: would you know, be on the bus too, and he

1161
01:06:25,280 --> 01:06:28,080
Speaker 4: would walk with me sometimes. Okay, but yeah, if he

1162
01:06:28,120 --> 01:06:30,280
Speaker 4: wasn't there, I had to run pretty quick, right in a.

1163
01:06:30,280 --> 01:06:33,040
Speaker 2: Body guard instead of gaining your own powers.

1164
01:06:33,520 --> 01:06:36,439
Speaker 4: Exactly, exactly, okay, all right, So for my number four,

1165
01:06:36,880 --> 01:06:40,000
Speaker 4: let's get to the gold standard nineteen seventy eight Superman

1166
01:06:40,400 --> 01:06:44,880
Speaker 4: with Christopher raeven Margo Kidder, and my pick here is

1167
01:06:44,960 --> 01:06:49,400
Speaker 4: faster than a speeding bullet. This is a relatively early scene,

1168
01:06:49,840 --> 01:06:53,400
Speaker 4: and like my number five pick from Moleman, it presents

1169
01:06:53,440 --> 01:06:56,600
Speaker 4: a decidedly pacifist version of the hero, especially when it

1170
01:06:56,600 --> 01:06:59,800
Speaker 4: comes to guns. Actually, So this is Lois and Clark

1171
01:07:00,160 --> 01:07:03,760
Speaker 4: getting held up at gunpoint by a mugger. Clark tries

1172
01:07:03,840 --> 01:07:06,080
Speaker 4: to be reasonable at first, just.

1173
01:07:06,000 --> 01:07:08,600
Speaker 9: A minutestor just a minute. Now. I realized, of course,

1174
01:07:08,640 --> 01:07:10,280
Speaker 9: that times are tough for some of these days. But

1175
01:07:10,400 --> 01:07:13,960
Speaker 9: this isn't the answer. You can't solve a society's problems

1176
01:07:14,520 --> 01:07:15,200
Speaker 9: with a gun.

1177
01:07:16,280 --> 01:07:17,080
Speaker 4: You know, somebody.

1178
01:07:17,080 --> 01:07:19,200
Speaker 6: You're right, I'm going to turn over.

1179
01:07:19,200 --> 01:07:21,520
Speaker 4: Newly good for you, sir, that's the spirit.

1180
01:07:21,840 --> 01:07:24,000
Speaker 9: See, he doesn't really want to hurt anybody. U h.

1181
01:07:24,920 --> 01:07:27,840
Speaker 6: Right after I rip off this lady's purse, of course,

1182
01:07:28,400 --> 01:07:29,720
Speaker 6: Now come on, lady, hand it over.

1183
01:07:30,360 --> 01:07:34,760
Speaker 4: But Lois gets feisty, what are you doing? The mugger

1184
01:07:34,800 --> 01:07:41,040
Speaker 4: shoots and Clark catches the bullet. Then the aftermath of

1185
01:07:41,080 --> 01:07:44,080
Speaker 4: this is where it gets really good from a character standpoint,

1186
01:07:44,120 --> 01:07:49,040
Speaker 4: because Clark has to downplay the heroism of Superman that

1187
01:07:49,120 --> 01:07:52,920
Speaker 4: he just displayed and lean into the wimpiness of his

1188
01:07:53,080 --> 01:07:59,440
Speaker 4: alter ego. I just mister sainted, he was fay sorry.

1189
01:08:00,280 --> 01:08:04,200
Speaker 4: I love in the Reeve films when we get a

1190
01:08:04,200 --> 01:08:08,800
Speaker 4: little moment when Superman peeks out from behind Clark's glasses

1191
01:08:09,480 --> 01:08:12,520
Speaker 4: and you won't be able to hear that here but

1192
01:08:12,600 --> 01:08:14,640
Speaker 4: you can see it in the clip. This is when

1193
01:08:14,680 --> 01:08:17,280
Speaker 4: he drops the charade just to himself. Here we get

1194
01:08:17,280 --> 01:08:19,600
Speaker 4: a quick touch of it when Lois walks away and

1195
01:08:19,640 --> 01:08:22,479
Speaker 4: we see Clark look down at the bullet in his

1196
01:08:22,560 --> 01:08:26,960
Speaker 4: hand and just allows himself a little grin of satisfaction.

1197
01:08:27,320 --> 01:08:30,160
Speaker 4: So so many scenes you could pick to show why

1198
01:08:30,360 --> 01:08:33,160
Speaker 4: Reeve was so brilliant in this part, and this is

1199
01:08:33,200 --> 01:08:35,360
Speaker 4: one of them that I had to include. Faster than

1200
01:08:35,360 --> 01:08:36,160
Speaker 4: a speeding.

1201
01:08:35,840 --> 01:08:39,719
Speaker 2: Bullet, it's really good. And speaking of Lois being feisty,

1202
01:08:40,240 --> 01:08:43,760
Speaker 2: in that first diner scene, after he's beaten the hell

1203
01:08:44,080 --> 01:08:47,840
Speaker 2: out of Clark, Lois like jumps on his back.

1204
01:08:50,120 --> 01:08:51,439
Speaker 4: She's just attack.

1205
01:08:51,920 --> 01:08:55,719
Speaker 2: Yeah, she is not going down without a fight, which

1206
01:08:55,720 --> 01:08:59,880
Speaker 2: is why we love Margot Kidder's Lois Lane. My number

1207
01:09:00,120 --> 01:09:03,920
Speaker 2: four is where I'm going to give Zack Snyder's Man

1208
01:09:03,960 --> 01:09:06,920
Speaker 2: of Steel a little love. I don't think there's much

1209
01:09:07,400 --> 01:09:11,200
Speaker 2: there's much right about any of the Zack Snyder Superman's,

1210
01:09:11,439 --> 01:09:16,120
Speaker 2: but I am choosing the pretty famous and rightfully so

1211
01:09:16,760 --> 01:09:22,479
Speaker 2: first flight scene because if you think about at least

1212
01:09:22,479 --> 01:09:26,719
Speaker 2: all the Superman's, I can recall we have never before

1213
01:09:27,400 --> 01:09:35,400
Speaker 2: witnessed Superman figuring out how to fly Superman failing at flying.

1214
01:09:36,160 --> 01:09:40,600
Speaker 4: That was the Great spider An. This is yeah, Peter Parker.

1215
01:09:41,640 --> 01:09:45,200
Speaker 2: Yes, bouncing off the ground repeatedly, and other parts of

1216
01:09:45,760 --> 01:09:49,360
Speaker 2: the landscape and the way Snyder. Then once he does

1217
01:09:49,479 --> 01:09:53,280
Speaker 2: kind of finally get really airborne, he keeps the camera

1218
01:09:53,320 --> 01:09:55,760
Speaker 2: on his face for a little bit of time. It's

1219
01:09:55,760 --> 01:10:01,120
Speaker 2: not manic editing, and you see Cavell really gritting his teeth.

1220
01:10:01,400 --> 01:10:05,240
Speaker 2: You see that Superman's really struggling to stay in the

1221
01:10:05,280 --> 01:10:09,559
Speaker 2: air as he is pushing upward, and it's as if

1222
01:10:09,560 --> 01:10:12,960
Speaker 2: he's having to will himself forward, which is something we

1223
01:10:13,000 --> 01:10:16,120
Speaker 2: don't think about with Superman. We do see him in

1224
01:10:16,320 --> 01:10:19,439
Speaker 2: Superman twenty twenty five and in other films we see

1225
01:10:19,479 --> 01:10:22,479
Speaker 2: that he can be quite aggressive as a flyer. That's

1226
01:10:22,479 --> 01:10:24,679
Speaker 2: actually something I like in this film. I like watching

1227
01:10:24,800 --> 01:10:27,200
Speaker 2: in the New One when corn Sweat really you know,

1228
01:10:27,400 --> 01:10:31,799
Speaker 2: does take off like a bullet, but here he really

1229
01:10:31,880 --> 01:10:33,960
Speaker 2: has to work at it, and there is a moment

1230
01:10:34,000 --> 01:10:35,760
Speaker 2: then when he finally feels like he's got the hang

1231
01:10:35,800 --> 01:10:38,280
Speaker 2: of it and he thrusts forward and laughs. And of

1232
01:10:38,280 --> 01:10:41,519
Speaker 2: course the moment he gets cocky, that's when he crashes

1233
01:10:41,600 --> 01:10:47,400
Speaker 2: down into a mountain. But then he pauses, the movie pauses.

1234
01:10:47,880 --> 01:10:49,720
Speaker 2: He's got a little of that voice over in his

1235
01:10:49,800 --> 01:10:50,679
Speaker 2: head from his father.

1236
01:10:51,120 --> 01:10:55,479
Speaker 3: Oh am so different from them, A son that's younger

1237
01:10:55,560 --> 01:10:56,240
Speaker 3: and broad out them.

1238
01:10:56,280 --> 01:10:57,000
Speaker 2: Crept On swells.

1239
01:10:58,720 --> 01:11:02,479
Speaker 3: The cell is a drunken that's right, strengthening and muscles,

1240
01:11:03,200 --> 01:11:07,920
Speaker 3: no skin, no senses, beths gravity is weaker, Yeah, it's

1241
01:11:08,000 --> 01:11:12,360
Speaker 3: atmosphere is more nourishing. You've grown stronger here than I

1242
01:11:12,400 --> 01:11:15,479
Speaker 3: ever could have imagined. The only way to know how

1243
01:11:15,560 --> 01:11:19,520
Speaker 3: strong is to keep testing your limits.

1244
01:11:20,280 --> 01:11:23,720
Speaker 2: He collects himself and he feels that sun that empowers him,

1245
01:11:24,080 --> 01:11:28,040
Speaker 2: and that's when, like a rocket ship, he takes off

1246
01:11:28,479 --> 01:11:32,400
Speaker 2: and you watch him speeding across all those different terrains

1247
01:11:32,439 --> 01:11:37,400
Speaker 2: and then finally into space. And it's really I don't

1248
01:11:37,439 --> 01:11:39,719
Speaker 2: know if we say this often about Zack Snyder films,

1249
01:11:39,720 --> 01:11:44,360
Speaker 2: but it's a very elegantly cut together sequence with a

1250
01:11:44,400 --> 01:11:49,519
Speaker 2: great score by Hans Zimmer accompanying it. And from an

1251
01:11:49,680 --> 01:11:54,040
Speaker 2: action point of view, even though it's just Superman, it's

1252
01:11:54,080 --> 01:11:56,719
Speaker 2: a genuinely thrilling scene.

1253
01:11:56,960 --> 01:11:59,599
Speaker 4: All right, Man of Steel getting some attention. I might

1254
01:11:59,680 --> 01:12:03,080
Speaker 4: have an honorable mention from Man of Steel. We'll get

1255
01:12:03,080 --> 01:12:05,639
Speaker 4: to in just a little bit. But at number three.

1256
01:12:06,240 --> 01:12:09,120
Speaker 4: I'm going in a different direction because you know, I

1257
01:12:09,720 --> 01:12:14,120
Speaker 4: was familiarizing myself with more Superman for this list. I

1258
01:12:14,160 --> 01:12:17,120
Speaker 4: did ask the folks who've subscribed to my Larson on

1259
01:12:17,200 --> 01:12:20,280
Speaker 4: Film email newsletter for their Superman picks. And so I

1260
01:12:20,320 --> 01:12:23,439
Speaker 4: want to thank Ben Page for reminding me of the

1261
01:12:23,479 --> 01:12:28,040
Speaker 4: series of theatrical animated shorts that Fleischer Studios made in

1262
01:12:28,080 --> 01:12:30,960
Speaker 4: the early nineteen forties. Now these are all on YouTube.

1263
01:12:31,320 --> 01:12:33,280
Speaker 4: I think they were about like eight minutes each. So

1264
01:12:33,320 --> 01:12:35,479
Speaker 4: I went into a bit of a rabbit hole watching

1265
01:12:35,479 --> 01:12:38,760
Speaker 4: a bunch of these. They look great. I mean, you've

1266
01:12:38,800 --> 01:12:43,600
Speaker 4: got vibrant technicolor. The imagery is very Art Deco influenced,

1267
01:12:43,640 --> 01:12:46,000
Speaker 4: even though it's, you know, a little time after that

1268
01:12:46,080 --> 01:12:49,960
Speaker 4: period sharp sound design, It's almost like these were you

1269
01:12:50,000 --> 01:12:52,639
Speaker 4: could tell this was the age of Radio two because

1270
01:12:53,080 --> 01:12:57,800
Speaker 4: the sound effects and the sound design is very sophisticated. Now,

1271
01:12:57,880 --> 01:13:00,680
Speaker 4: rather than just one scene from these the ones that

1272
01:13:00,720 --> 01:13:02,720
Speaker 4: I watched, my pick is actually going to be the

1273
01:13:02,840 --> 01:13:07,240
Speaker 4: opening introductory narration for each short. It's it's repeated each

1274
01:13:07,320 --> 01:13:12,840
Speaker 4: time because it really cemented the Superman character as we'd

1275
01:13:12,920 --> 01:13:15,080
Speaker 4: come to know him, the basics.

1276
01:13:14,760 --> 01:13:18,680
Speaker 6: Faster than a speeding bullet more powerful than a locomotive,

1277
01:13:19,920 --> 01:13:21,960
Speaker 6: able to leap tall buildings at a single bound.

1278
01:13:22,880 --> 01:13:25,280
Speaker 1: The inter the scriptomb is now the Man of Steel.

1279
01:13:26,880 --> 01:13:30,560
Speaker 4: So yeah, these Fleischer shorts were fascinating little time capsules.

1280
01:13:30,640 --> 01:13:33,120
Speaker 4: I would absolutely encourage listeners to check one or two

1281
01:13:33,160 --> 01:13:36,240
Speaker 4: out if you haven't seen them before. They're quite good.

1282
01:13:36,400 --> 01:13:40,800
Speaker 2: Wow, you're just showing off now all the whole it was.

1283
01:13:40,720 --> 01:13:43,479
Speaker 4: So much fun. And you know, eight minutes for these

1284
01:13:43,640 --> 01:13:45,200
Speaker 4: fifty eight minutes for mole Man.

1285
01:13:45,240 --> 01:13:49,200
Speaker 2: Come on, I could fit that in, all right, my

1286
01:13:49,680 --> 01:13:55,080
Speaker 2: number three. I think it's possible that I've never maybe

1287
01:13:55,080 --> 01:13:57,160
Speaker 2: someone who's been through the archives a couple of times,

1288
01:13:57,160 --> 01:13:59,800
Speaker 2: and there are crazy listeners who've done that, I mean

1289
01:14:00,080 --> 01:14:02,800
Speaker 2: in the most positive way. Maybe they can recall whether

1290
01:14:02,880 --> 01:14:05,040
Speaker 2: or not I've ever brought this up before. I don't

1291
01:14:05,040 --> 01:14:10,160
Speaker 2: think I have brought up this scene, even though it is, honestly, Josh,

1292
01:14:10,240 --> 01:14:15,720
Speaker 2: one of the scenes in movie history that looms the

1293
01:14:15,880 --> 01:14:22,240
Speaker 2: largest in my imagination in my memory. It's from Superman

1294
01:14:22,320 --> 01:14:27,559
Speaker 2: the movie, and it's the death of Paw Kent Glenn

1295
01:14:27,760 --> 01:14:34,840
Speaker 2: Ford near the beginning of the film, when a teenage

1296
01:14:35,320 --> 01:14:40,200
Speaker 2: Clark Kent has come home and he's getting some fatherly advice.

1297
01:14:40,960 --> 01:14:43,240
Speaker 10: When you first came to us, we thought that people

1298
01:14:43,280 --> 01:14:46,000
Speaker 10: would come and take you away because when they found

1299
01:14:46,040 --> 01:14:48,280
Speaker 10: out you know the things you could do, and I'd

1300
01:14:48,280 --> 01:14:51,439
Speaker 10: worried us a lot. But then the man gets old

1301
01:14:51,520 --> 01:14:56,160
Speaker 10: or anything's very differently and things get very clear. And

1302
01:14:56,200 --> 01:14:58,479
Speaker 10: there's one thing I do no son, and that is

1303
01:14:58,560 --> 01:15:02,479
Speaker 10: you are here for reason. I don't know whose reason,

1304
01:15:02,560 --> 01:15:05,120
Speaker 10: whatever the reason is, you know, maybe it's because.

1305
01:15:09,960 --> 01:15:13,720
Speaker 5: I don't know much, but I.

1306
01:15:13,680 --> 01:15:20,800
Speaker 10: Do know anything. It's not to score touchdowns.

1307
01:15:21,479 --> 01:15:26,519
Speaker 2: Wonderful portrayal of Paw Kent by Glenn Ford. You know this, Hollywood,

1308
01:15:26,560 --> 01:15:30,920
Speaker 2: I call that who just brings all the gravitas that

1309
01:15:31,120 --> 01:15:35,200
Speaker 2: you need that role to bring, and just instantly gives

1310
01:15:35,200 --> 01:15:40,000
Speaker 2: you a sense of compassion and love for his son.

1311
01:15:40,439 --> 01:15:43,640
Speaker 2: And as they walk up the driveway, he gives him

1312
01:15:43,640 --> 01:15:47,000
Speaker 2: some advice and then Superman runs off with his dog

1313
01:15:47,080 --> 01:15:51,759
Speaker 2: into the garage, and as Pacent heads up the driveway,

1314
01:15:51,800 --> 01:15:56,920
Speaker 2: we see him clutch his left arm and he's having

1315
01:15:57,200 --> 01:15:59,600
Speaker 2: a heart attack. He's having those early signs of a

1316
01:15:59,640 --> 01:16:04,320
Speaker 2: heart atta and he collapses. Everything about this whole sequence,

1317
01:16:04,600 --> 01:16:10,560
Speaker 2: the heart attack itself, The next few moments, the discovery

1318
01:16:10,880 --> 01:16:15,400
Speaker 2: ma Kent seeing that he's down on the ground, and

1319
01:16:15,479 --> 01:16:18,479
Speaker 2: some of the other shots and then into the funeral,

1320
01:16:18,840 --> 01:16:23,960
Speaker 2: which is how the movie transitions. These are the moments, Josh,

1321
01:16:24,000 --> 01:16:27,360
Speaker 2: the use of the camera here and Donner's staging of

1322
01:16:27,400 --> 01:16:32,760
Speaker 2: it that when you rewatch it, it just supports any

1323
01:16:32,880 --> 01:16:37,960
Speaker 2: case for this movie as still and maybe always the

1324
01:16:37,960 --> 01:16:45,920
Speaker 2: definitive Superman movie. The scale of it, the authenticity of it.

1325
01:16:46,760 --> 01:16:49,599
Speaker 2: He's using a lot of deep focus, so you really

1326
01:16:49,640 --> 01:16:52,640
Speaker 2: get these rich landscapes. I don't know if it was

1327
01:16:52,680 --> 01:16:55,599
Speaker 2: actually shot in Kansas or not, but it certainly feels

1328
01:16:56,120 --> 01:17:00,559
Speaker 2: like it was. And the moment Josh f Ample when

1329
01:17:00,600 --> 01:17:03,920
Speaker 2: Makent yells Jonathan when she sees him down on the

1330
01:17:03,920 --> 01:17:09,479
Speaker 2: ground and it cuts to Clark in the garage with

1331
01:17:10,040 --> 01:17:17,160
Speaker 2: the dog. It's this silhouetted moment where they are in

1332
01:17:17,240 --> 01:17:20,200
Speaker 2: front of the doorway of the barn, you know, and

1333
01:17:20,520 --> 01:17:24,280
Speaker 2: you see the light coming through the barn and they're

1334
01:17:24,360 --> 01:17:27,160
Speaker 2: in shadow, and it's almost like one of those John

1335
01:17:27,200 --> 01:17:31,639
Speaker 2: Wayne in the Searchers like shots. It feels mythic that

1336
01:17:31,680 --> 01:17:34,960
Speaker 2: shot does. And something about that moment again, I'm watching

1337
01:17:34,960 --> 01:17:38,160
Speaker 2: this as a very young kid, and I'll say my

1338
01:17:38,280 --> 01:17:41,799
Speaker 2: dad had a heart attack his dad had a heart attack.

1339
01:17:42,720 --> 01:17:45,240
Speaker 2: And I don't know that I ever got the whole

1340
01:17:45,240 --> 01:17:48,040
Speaker 2: story now that I think about it, about how it happened.

1341
01:17:49,040 --> 01:17:53,360
Speaker 2: But as a kid hearing the story of my grandfather,

1342
01:17:53,400 --> 01:17:55,599
Speaker 2: who I never met, he died before I was born,

1343
01:17:55,800 --> 01:17:57,960
Speaker 2: hearing the story of how he had a heart attack,

1344
01:17:58,960 --> 01:18:02,720
Speaker 2: whatever I heard, because I didn't get a lot of details,

1345
01:18:03,320 --> 01:18:06,719
Speaker 2: I filled in the blank. Sure sure with Superman the movie,

1346
01:18:07,320 --> 01:18:11,759
Speaker 2: I envisioned my grandfather again who I never met, going

1347
01:18:11,840 --> 01:18:15,600
Speaker 2: down like clutching his arm, and surely he was outside

1348
01:18:15,640 --> 01:18:18,920
Speaker 2: his house, like in the driveway, and he went down

1349
01:18:19,000 --> 01:18:22,920
Speaker 2: exactly like Glenn Ford does this film. That's how I

1350
01:18:23,000 --> 01:18:25,240
Speaker 2: envisioned it. How else could it be. So this scene,

1351
01:18:25,280 --> 01:18:27,960
Speaker 2: as I said, has always been one that's been kind

1352
01:18:27,960 --> 01:18:30,200
Speaker 2: of important to me. It wasn't until later that I

1353
01:18:30,280 --> 01:18:34,160
Speaker 2: realized that my version of a heart attack, or what

1354
01:18:34,240 --> 01:18:39,160
Speaker 2: I imagined that looked like a man, a fifty sixty seventy

1355
01:18:39,200 --> 01:18:41,000
Speaker 2: year old man having a heart attack, What that looked

1356
01:18:41,040 --> 01:18:44,160
Speaker 2: like was something that was just fictional, was out of

1357
01:18:44,439 --> 01:18:46,400
Speaker 2: a movie. And like I said, when it goes to

1358
01:18:46,439 --> 01:18:49,280
Speaker 2: the cemetery, when it then goes to the funeral, it's

1359
01:18:49,320 --> 01:18:53,120
Speaker 2: this wonderful dissolve, and then it starts on a pan

1360
01:18:53,360 --> 01:18:57,080
Speaker 2: with the camera panning left and here again the shots,

1361
01:18:57,640 --> 01:19:01,919
Speaker 2: the compositions as you see Clark and his mother standing

1362
01:19:01,960 --> 01:19:05,559
Speaker 2: sort of in the side of the frame and another

1363
01:19:06,400 --> 01:19:10,360
Speaker 2: couple in the other corner. It's just so beautifully rendered.

1364
01:19:10,400 --> 01:19:15,040
Speaker 2: And the line too, talk about the emotion of this scene,

1365
01:19:15,080 --> 01:19:18,880
Speaker 2: emotion that I surely never felt. Unfortunately, watching Superman twenty

1366
01:19:18,920 --> 01:19:22,240
Speaker 2: twenty five, the line Clark says to his mother, all

1367
01:19:22,280 --> 01:19:24,280
Speaker 2: those powers and I couldn't even save him.

1368
01:19:24,560 --> 01:19:28,960
Speaker 4: Yeah, Donner manages just some incredible imagery in a movie

1369
01:19:29,000 --> 01:19:31,479
Speaker 4: that I think at first memory we just think of

1370
01:19:31,600 --> 01:19:34,120
Speaker 4: as a lot of bright reds and blues. But it's

1371
01:19:34,200 --> 01:19:36,360
Speaker 4: much more than that. And as far as pa Kens go,

1372
01:19:37,000 --> 01:19:39,080
Speaker 4: and a little more Man of Steel price here, Kevin

1373
01:19:39,120 --> 01:19:42,439
Speaker 4: Costner really good in that role in Man of Steel

1374
01:19:42,520 --> 01:19:46,639
Speaker 4: maybe for me one of the highlights there. So all right,

1375
01:19:46,760 --> 01:19:50,240
Speaker 4: so we are at our number two picks, and this

1376
01:19:50,320 --> 01:19:54,240
Speaker 4: is where I'm going to go to Superman two, my

1377
01:19:54,439 --> 01:19:58,160
Speaker 4: childhood Superman movie. As we were saying, you know, probably

1378
01:19:58,160 --> 01:20:00,000
Speaker 4: too young to have seen the first film in theater.

1379
01:20:00,360 --> 01:20:03,880
Speaker 4: Pretty sure I saw this one in theaters and certainly

1380
01:20:04,520 --> 01:20:08,640
Speaker 4: rewatched this over and over again when I was I

1381
01:20:08,680 --> 01:20:11,240
Speaker 4: don't know, maybe ten or so. I mean, watching clips

1382
01:20:11,280 --> 01:20:16,160
Speaker 4: today preparing for this list, so deeply nostalgic, I realize,

1383
01:20:16,160 --> 01:20:19,280
Speaker 4: oh my goodness, I just put these on repeat when

1384
01:20:19,280 --> 01:20:22,200
Speaker 4: I was a kid, one of them that I loved,

1385
01:20:22,200 --> 01:20:26,519
Speaker 4: and I'm picking here. I definitely remember being giddy over

1386
01:20:26,600 --> 01:20:30,160
Speaker 4: the soap opera drama of the moment in Superman two

1387
01:20:30,240 --> 01:20:35,320
Speaker 4: when Margo kidders Lois finally forces Christopher Reeve as Clark

1388
01:20:35,560 --> 01:20:36,919
Speaker 4: to admit that he's Superman.

1389
01:20:37,720 --> 01:20:38,640
Speaker 1: Are Superman?

1390
01:20:38,800 --> 01:20:39,000
Speaker 3: Oh?

1391
01:20:39,080 --> 01:20:39,920
Speaker 9: Loss, come on TVIY.

1392
01:20:41,400 --> 01:20:44,120
Speaker 4: Part of the magic in this scene is the slow

1393
01:20:44,600 --> 01:20:50,080
Speaker 4: transition Reeve makes from Clark to Superman. And it's like

1394
01:20:50,960 --> 01:20:55,400
Speaker 4: one step Superman, two steps back to Clark. We've got

1395
01:20:55,640 --> 01:20:59,360
Speaker 4: his flustered denial. You can hear that's his instinct. That's

1396
01:20:59,400 --> 01:21:02,519
Speaker 4: all Clark, right. But then what follows it almost a

1397
01:21:02,560 --> 01:21:06,320
Speaker 4: half second later, a soft punch of the pillow That Superman.

1398
01:21:06,800 --> 01:21:09,559
Speaker 4: Then he walks away from her, turns his back to her.

1399
01:21:09,600 --> 01:21:13,880
Speaker 4: That's Clark. And then he commits, turns around, not only

1400
01:21:13,920 --> 01:21:17,240
Speaker 4: takes off his glasses, but if you watch this scene,

1401
01:21:17,680 --> 01:21:22,519
Speaker 4: watch how he changes his posture. His whole body morphs

1402
01:21:23,000 --> 01:21:26,080
Speaker 4: when he decides he's going to drop the charade.

1403
01:21:26,320 --> 01:21:27,120
Speaker 9: I don't know why I did that.

1404
01:21:28,760 --> 01:21:29,559
Speaker 6: Maybe you wanted to.

1405
01:21:31,320 --> 01:21:32,160
Speaker 9: I don't think I did.

1406
01:21:33,520 --> 01:21:38,600
Speaker 6: Well. Maybe you didn't want to with your mind, but

1407
01:21:38,680 --> 01:21:39,519
Speaker 6: maybe you wanted.

1408
01:21:39,280 --> 01:21:39,920
Speaker 9: To with your heart.

1409
01:21:42,520 --> 01:21:45,880
Speaker 4: Just a note here on the John Williams score, which

1410
01:21:45,960 --> 01:21:50,880
Speaker 4: applies pretty much to both Superman and Superman two. It's

1411
01:21:50,960 --> 01:21:53,680
Speaker 4: often remembered for its triumphant blasts, which are a lot

1412
01:21:53,720 --> 01:21:56,800
Speaker 4: of fun, but the real genius in watching a lot

1413
01:21:56,840 --> 01:22:00,559
Speaker 4: of these scenes is how it's employed in the soft moments,

1414
01:22:00,720 --> 01:22:03,640
Speaker 4: so you barely notice it in the background. It's a

1415
01:22:03,720 --> 01:22:08,240
Speaker 4: variation on the same theme, but it's there quietly, softly,

1416
01:22:08,400 --> 01:22:11,719
Speaker 4: almost as if the score is gently holding the movie

1417
01:22:11,720 --> 01:22:15,280
Speaker 4: in its hands. And this is what happens in this

1418
01:22:15,800 --> 01:22:19,720
Speaker 4: wonderful scene. You are Superman from Superman two, which is

1419
01:22:20,040 --> 01:22:21,519
Speaker 4: where I'm going with my number two.

1420
01:22:22,600 --> 01:22:26,439
Speaker 2: It's not only that his entire posture changes, which it does.

1421
01:22:27,360 --> 01:22:30,040
Speaker 2: You watch that scene and you see how as he turns,

1422
01:22:30,640 --> 01:22:34,559
Speaker 2: he fills his entire chest his lungs with air, and

1423
01:22:35,000 --> 01:22:38,959
Speaker 2: it could be a case that that was Reeve showing Superman.

1424
01:22:39,640 --> 01:22:42,040
Speaker 2: It's almost the opposite of a sigh. You know, where

1425
01:22:42,040 --> 01:22:45,439
Speaker 2: he's finally like, Okay, I'm accepting that I'm finally going

1426
01:22:45,520 --> 01:22:47,360
Speaker 2: to do this, and he's kind of mustering the courage.

1427
01:22:47,400 --> 01:22:51,519
Speaker 2: But it also seems like it's just that in keeping

1428
01:22:51,560 --> 01:22:57,280
Speaker 2: with that idea of his posture and assuming the role

1429
01:22:57,360 --> 01:23:02,160
Speaker 2: of Superman, it is if he's broadening his entire chest.

1430
01:23:03,080 --> 01:23:03,880
Speaker 4: To who he really is.

1431
01:23:04,040 --> 01:23:06,680
Speaker 2: That's right that moment. Yeah, yeah, And I'm glad you

1432
01:23:06,720 --> 01:23:10,439
Speaker 2: mentioned the score because that's another element, of course of

1433
01:23:10,439 --> 01:23:14,560
Speaker 2: that death of Pop Kent scene, is the way the

1434
01:23:14,640 --> 01:23:19,120
Speaker 2: John Williams score just subtly turns and becomes more sorrowful

1435
01:23:19,479 --> 01:23:24,200
Speaker 2: there when Jonathan starts to feel those symptoms the signs

1436
01:23:24,280 --> 01:23:27,559
Speaker 2: of the heart attack. My number two is also from

1437
01:23:27,920 --> 01:23:33,040
Speaker 2: Superman two, and I'm going to call this another very

1438
01:23:33,640 --> 01:23:40,639
Speaker 2: satisfying scene. It is the end of Superman two. It

1439
01:23:40,720 --> 01:23:47,120
Speaker 2: is the climactic ending anyway. It is defeating Zod at

1440
01:23:47,160 --> 01:23:53,679
Speaker 2: the Fortress of Solitude, the entire sequence where we see

1441
01:23:53,880 --> 01:24:00,840
Speaker 2: Superman turn the table, deceive General Zod his his two

1442
01:24:00,960 --> 01:24:06,200
Speaker 2: minion and take away their power. And what I love

1443
01:24:06,200 --> 01:24:08,280
Speaker 2: about it, there's two things I really love about it. Well,

1444
01:24:08,280 --> 01:24:12,360
Speaker 2: there's three. One is just again you're watching that and

1445
01:24:13,680 --> 01:24:18,040
Speaker 2: Superman reeve as Superman tricks you as an audience member,

1446
01:24:18,080 --> 01:24:22,240
Speaker 2: at least as a kid certainly, and you believe that

1447
01:24:22,880 --> 01:24:26,360
Speaker 2: they've beat him. You believe, even though it's a Superman movie,

1448
01:24:26,600 --> 01:24:29,400
Speaker 2: that they're taking his powers away. You don't notice that

1449
01:24:29,400 --> 01:24:32,320
Speaker 2: the color is changed outside the room and that he's

1450
01:24:32,360 --> 01:24:35,519
Speaker 2: really tricked them and taken their powers away. You're sure

1451
01:24:35,560 --> 01:24:39,320
Speaker 2: that he's lost, he can't beat them, and it's over,

1452
01:24:39,800 --> 01:24:42,400
Speaker 2: Just like Lois Lane in that scene, who's covering her eyes.

1453
01:24:42,439 --> 01:24:47,200
Speaker 2: She can't even watch as it's happening, right, and your heartbroken,

1454
01:24:47,960 --> 01:24:50,519
Speaker 2: And so then we get the twist and we love that,

1455
01:24:51,320 --> 01:24:55,519
Speaker 2: But beyond that, it really is just a masterclass of

1456
01:24:55,600 --> 01:25:00,240
Speaker 2: Reeve from an acting standpoint, the fun he's had having

1457
01:25:00,640 --> 01:25:04,439
Speaker 2: the little devious fun he's having with Hackman, who's also

1458
01:25:04,520 --> 01:25:08,000
Speaker 2: having such devious fun, like the way he tricks him.

1459
01:25:08,320 --> 01:25:12,240
Speaker 9: Trying to get them all into this molecule chamber. It

1460
01:25:12,360 --> 01:25:15,920
Speaker 9: takes away their powers, see and turns them into ordinary

1461
01:25:16,040 --> 01:25:21,839
Speaker 9: human beings. Now, if you could, they'll.

1462
01:25:21,640 --> 01:25:24,360
Speaker 6: Go in there general as a trapped, you, poisonous snake.

1463
01:25:25,040 --> 01:25:28,800
Speaker 4: That's a molecule chamber. It makes people like you into

1464
01:25:28,840 --> 01:25:29,400
Speaker 4: people like me.

1465
01:25:30,320 --> 01:25:33,439
Speaker 2: You can't believe for a second that Superman seems to

1466
01:25:33,479 --> 01:25:36,520
Speaker 2: trust him, of course, all part of the ruse.

1467
01:25:37,560 --> 01:25:38,639
Speaker 9: Hake my hand.

1468
01:25:40,160 --> 01:25:44,479
Speaker 1: And sweary tourn loyalty to sort.

1469
01:25:45,400 --> 01:25:47,040
Speaker 2: I said there were two or three things I loved

1470
01:25:47,080 --> 01:25:50,000
Speaker 2: about it, There's so many more. The way he crushes

1471
01:25:50,439 --> 01:25:56,679
Speaker 2: his hand, the way Hackman points out what really happened

1472
01:25:57,000 --> 01:25:57,640
Speaker 2: he switched it.

1473
01:25:58,640 --> 01:26:00,640
Speaker 9: He did it to them, I mean the lights were

1474
01:26:00,680 --> 01:26:04,400
Speaker 9: on out here, well, he was safe in there.

1475
01:26:05,160 --> 01:26:08,280
Speaker 2: And then of course, hey, you know something, Lewis Lane

1476
01:26:08,360 --> 01:26:10,720
Speaker 2: puts it all together, a real pain in the neck,

1477
01:26:12,160 --> 01:26:15,320
Speaker 2: gives her the fist to the face, versa is that

1478
01:26:15,479 --> 01:26:21,519
Speaker 2: her name? And just so many great moments they're defeating Zod.

1479
01:26:22,360 --> 01:26:25,400
Speaker 4: Yeah, I'm trying to remember now again having rewatched it

1480
01:26:25,560 --> 01:26:31,040
Speaker 4: so many times. Like, was I onto the plan? You know,

1481
01:26:31,080 --> 01:26:33,280
Speaker 4: because when you talked about the light definitely wasn't like

1482
01:26:33,360 --> 01:26:36,439
Speaker 4: the lights switching. That's such like a great clue to

1483
01:26:36,600 --> 01:26:40,519
Speaker 4: give to kids in the audience too, right, Yeah, And

1484
01:26:40,640 --> 01:26:44,280
Speaker 4: you do wonder as Donner and collaborators were thinking about

1485
01:26:44,600 --> 01:26:48,240
Speaker 4: who they're making this movie for, right, because it works

1486
01:26:48,280 --> 01:26:50,479
Speaker 4: on both levels and obviously worked for us at a

1487
01:26:50,560 --> 01:26:52,600
Speaker 4: young age, but I think you know it works for

1488
01:26:52,680 --> 01:26:56,519
Speaker 4: adults too, So yeah, that's a great pick, all right,

1489
01:26:57,360 --> 01:27:00,280
Speaker 4: number one, no brainer, no brainer, number one for me,

1490
01:27:00,760 --> 01:27:02,479
Speaker 4: one of those that as soon as we talked about this,

1491
01:27:02,800 --> 01:27:05,360
Speaker 4: I knew it was going to be there. The helicopter

1492
01:27:05,479 --> 01:27:09,839
Speaker 4: rescue from nineteen seventy eight Superman, and I'm picking officially

1493
01:27:09,920 --> 01:27:12,760
Speaker 4: the whole sequence here, but honestly, it could just be

1494
01:27:13,120 --> 01:27:19,360
Speaker 4: that delightful Quippi exchange mid rescue between Superman and Lukas easy.

1495
01:27:19,200 --> 01:27:23,120
Speaker 1: Wiz, I've got you, You've got me, both got you.

1496
01:27:24,360 --> 01:27:28,679
Speaker 4: As a Superman sequence, though, this this really has it all. First,

1497
01:27:28,760 --> 01:27:31,519
Speaker 4: you get the phone booth gag. It's not a booth.

1498
01:27:31,600 --> 01:27:33,200
Speaker 4: He runs up to the phone, but it's like an

1499
01:27:33,280 --> 01:27:36,360
Speaker 4: open phone stand, so he doesn't know where to go.

1500
01:27:36,520 --> 01:27:39,360
Speaker 4: He's got to do that speed change in the revolving

1501
01:27:39,520 --> 01:27:42,800
Speaker 4: door again like as a kid, something that's funny but

1502
01:27:42,880 --> 01:27:45,479
Speaker 4: also how cool. Look how fast the door is going.

1503
01:27:45,800 --> 01:27:48,840
Speaker 4: We were easily entertained as kids at him. But you

1504
01:27:49,040 --> 01:27:53,720
Speaker 4: get such clean, clear effects work throughout this sequence that

1505
01:27:53,880 --> 01:27:59,040
Speaker 4: is paired with practical stunts, clearly rooted in the real world.

1506
01:27:59,280 --> 01:28:03,880
Speaker 4: That is a helicopter. You know, we can touch these things,

1507
01:28:04,720 --> 01:28:06,679
Speaker 4: and I think that you know, it's probably a fair

1508
01:28:06,720 --> 01:28:11,599
Speaker 4: amount of rear projection. But whatever combination, it all looks

1509
01:28:11,760 --> 01:28:14,960
Speaker 4: really good. And yeah, as we touched on, it's it's

1510
01:28:15,000 --> 01:28:17,679
Speaker 4: better than just about anything in the new twenty twenty

1511
01:28:17,720 --> 01:28:20,720
Speaker 4: five Superman in terms of effects. All of this, to

1512
01:28:20,800 --> 01:28:23,160
Speaker 4: the points you've been making about Richard Donner as director,

1513
01:28:23,439 --> 01:28:30,880
Speaker 4: just economically staged, smartly staged, composed in a way that

1514
01:28:31,200 --> 01:28:36,360
Speaker 4: isn't calling attention to itself, but is rather letting the

1515
01:28:36,600 --> 01:28:43,000
Speaker 4: excitement emerge on its own. There's something that a filmmaker

1516
01:28:43,040 --> 01:28:46,479
Speaker 4: who's not pushing the pedal down too hard but knows

1517
01:28:46,520 --> 01:28:49,519
Speaker 4: how to push the pedal. That's what you see Donner doing.

1518
01:28:49,640 --> 01:28:53,600
Speaker 4: And there's a distinction there that can be overlooked. And

1519
01:28:53,800 --> 01:28:57,200
Speaker 4: maybe some people can dismiss Superman as not being you know,

1520
01:28:57,400 --> 01:29:00,960
Speaker 4: quite as flashy or as exciting. But a sequence like this,

1521
01:29:01,200 --> 01:29:04,600
Speaker 4: it's all there. Everything you need is there. Yeah, And

1522
01:29:04,720 --> 01:29:07,679
Speaker 4: here's here's the main thing. This scene is all about

1523
01:29:07,720 --> 01:29:12,799
Speaker 4: rescue and doing this list watching all sorts of Superman.

1524
01:29:13,160 --> 01:29:15,760
Speaker 4: That that's the heart of the character for me. That's

1525
01:29:15,800 --> 01:29:18,960
Speaker 4: what I probably people will say, duh, but again, not

1526
01:29:19,040 --> 01:29:23,240
Speaker 4: a Superman guy. That's what I realized is Superman exists

1527
01:29:23,439 --> 01:29:28,280
Speaker 4: not to defeat, not to conquer, not to bludgeon, simply

1528
01:29:28,400 --> 01:29:32,320
Speaker 4: to save and rescue. And it's interesting because that is

1529
01:29:32,479 --> 01:29:35,599
Speaker 4: not that's a very simple concept that can be difficult

1530
01:29:35,640 --> 01:29:38,760
Speaker 4: to sustain. I do think maybe that's why his sequels

1531
01:29:39,000 --> 01:29:42,880
Speaker 4: peter out. Maybe it's why we don't need other variations

1532
01:29:43,040 --> 01:29:46,240
Speaker 4: beyond Donners is this is a simple idea. This is

1533
01:29:46,280 --> 01:29:49,240
Speaker 4: a guy who's here to save and rescue. Audiences have

1534
01:29:49,360 --> 01:29:51,720
Speaker 4: not been content with that. We crave more conflict, we

1535
01:29:51,840 --> 01:29:54,240
Speaker 4: crave more villains. I mean, we got to a point

1536
01:29:54,240 --> 01:29:58,280
Speaker 4: where it was Superman v. Batman. Nobody needed that. That

1537
01:29:58,600 --> 01:30:01,519
Speaker 4: has nothing to do with Superman Man. You know, at

1538
01:30:01,560 --> 01:30:04,120
Speaker 4: his best, Superman's just he's just a hero scooping up

1539
01:30:04,120 --> 01:30:06,960
Speaker 4: a helicopter falling from the sky. It's all we get here,

1540
01:30:07,600 --> 01:30:11,639
Speaker 4: and it's more than enough. I wasn't alone in this pick.

1541
01:30:11,840 --> 01:30:15,280
Speaker 4: To other subscribers to that LARSONNAFIL newsletter singled it out.

1542
01:30:15,320 --> 01:30:18,000
Speaker 4: So I just want to give them a little time here.

1543
01:30:18,200 --> 01:30:20,519
Speaker 4: Ed Redman said, it just set the tone for what

1544
01:30:20,600 --> 01:30:22,080
Speaker 4: a fun movie it was going to be, and how

1545
01:30:22,200 --> 01:30:26,040
Speaker 4: Christopher Reeve brought his charm and enthusiasm to the role,

1546
01:30:26,520 --> 01:30:29,320
Speaker 4: and then Jeremy Kennis when it's capped off with the

1547
01:30:29,400 --> 01:30:33,760
Speaker 4: score as he catches the helicopter. It's perfect. So yeah,

1548
01:30:33,840 --> 01:30:36,560
Speaker 4: for me, maybe the perfect Superman moment. It's at my

1549
01:30:36,720 --> 01:30:39,120
Speaker 4: number one, the helicopter rescue.

1550
01:30:39,560 --> 01:30:41,880
Speaker 2: You know who else was smart enough to have it

1551
01:30:41,960 --> 01:30:46,160
Speaker 2: at number one, Josh me back on episode five seventy nine.

1552
01:30:46,280 --> 01:30:49,760
Speaker 4: Seriously, all right, but now come on, you can bring

1553
01:30:49,840 --> 01:30:50,160
Speaker 4: it back.

1554
01:30:50,720 --> 01:30:53,000
Speaker 2: No, I thought about it, believe me, especially as I

1555
01:30:53,120 --> 01:30:55,960
Speaker 2: was rushing to prepare. I thought, hey, joint number one,

1556
01:30:56,040 --> 01:30:59,160
Speaker 2: I'll just look for my notes from last time and

1557
01:30:59,400 --> 01:31:02,240
Speaker 2: repeat my But I thought, no, you know what, there

1558
01:31:02,320 --> 01:31:06,400
Speaker 2: are so many good scenes from the Superman movies, but

1559
01:31:06,680 --> 01:31:09,760
Speaker 2: especially just from Superman the Movie, that I don't need

1560
01:31:09,840 --> 01:31:13,080
Speaker 2: to repeat myself. And I decided. I decided to go

1561
01:31:13,640 --> 01:31:17,839
Speaker 2: with a different scene from Superman the movie involving Superman

1562
01:31:18,240 --> 01:31:22,960
Speaker 2: and Lois, and I had one first flight scene here

1563
01:31:23,040 --> 01:31:25,160
Speaker 2: in this top five. Of course, my number four from

1564
01:31:25,680 --> 01:31:30,320
Speaker 2: Man of Steel. I'm going at number one for this list,

1565
01:31:31,200 --> 01:31:37,200
Speaker 2: with the first flight that Lois and Superman have that

1566
01:31:38,200 --> 01:31:43,080
Speaker 2: culminates the interview scene that they have ready.

1567
01:31:43,920 --> 01:31:49,080
Speaker 5: Clark said that you're just a figment of somebody's imagination.

1568
01:31:49,800 --> 01:31:54,519
Speaker 9: Like Peter pamp Lark who's that your boyfriend Clark?

1569
01:31:55,040 --> 01:31:56,640
Speaker 1: Oh, Clark, No, he's nothing. He's just.

1570
01:32:00,080 --> 01:32:03,439
Speaker 9: Peter pan flu his children loves in fairy Tale.

1571
01:32:12,439 --> 01:32:17,599
Speaker 2: This is another great example of the John Williams score

1572
01:32:18,840 --> 01:32:22,600
Speaker 2: doing a lot of the heavy lifting, right. It's so

1573
01:32:22,840 --> 01:32:27,040
Speaker 2: good this flying sequence. The music that's what it's called

1574
01:32:27,080 --> 01:32:31,160
Speaker 2: on the soundtrack, and what has to work here, Josh,

1575
01:32:31,280 --> 01:32:34,480
Speaker 2: And it's just a very small thing, but with the filmmaking.

1576
01:32:35,160 --> 01:32:39,280
Speaker 2: As he as Superman starts to lift her off the ground,

1577
01:32:40,680 --> 01:32:43,560
Speaker 2: the shot is he's talking to her, and it's a

1578
01:32:43,640 --> 01:32:47,080
Speaker 2: two shot in medium close up, and he's been talking

1579
01:32:47,160 --> 01:32:51,160
Speaker 2: to her in that two shot for something like twenty

1580
01:32:51,280 --> 01:32:53,799
Speaker 2: or thirty seconds. I think, as I'm kind of scanning

1581
01:32:53,880 --> 01:32:57,000
Speaker 2: through it, they are held in that shot, and then

1582
01:32:57,160 --> 01:32:59,360
Speaker 2: I think they walk into it, and so they're in

1583
01:32:59,479 --> 01:33:02,960
Speaker 2: close up and they're talking to each other and then

1584
01:33:02,960 --> 01:33:05,880
Speaker 2: they start to lift off. And at the beginning of

1585
01:33:05,960 --> 01:33:08,840
Speaker 2: the shot, rather than when they start to fly, they've

1586
01:33:08,840 --> 01:33:11,679
Speaker 2: already cut to the wide shot, they start to take

1587
01:33:11,760 --> 01:33:17,840
Speaker 2: off in that close up, so it feels we feel like, oh,

1588
01:33:17,960 --> 01:33:21,640
Speaker 2: this is real. You know, Superman's starting to fly already

1589
01:33:22,000 --> 01:33:24,759
Speaker 2: as they're in that shot. Even though it was probably

1590
01:33:25,439 --> 01:33:29,120
Speaker 2: more practical for him to start moving right in that

1591
01:33:29,280 --> 01:33:31,840
Speaker 2: close up because he's not really needing to lift off

1592
01:33:31,880 --> 01:33:35,000
Speaker 2: the ground necessarily, it feels to us like he's starting

1593
01:33:35,040 --> 01:33:38,600
Speaker 2: to fly. Then we get the wide shot where he

1594
01:33:38,800 --> 01:33:44,080
Speaker 2: does come off that balcony, and the wire work or

1595
01:33:44,400 --> 01:33:47,600
Speaker 2: whatever effects they're using their Josh is just so seamless,

1596
01:33:48,000 --> 01:33:50,759
Speaker 2: you know, you know, there's real projection there or anything,

1597
01:33:51,160 --> 01:33:53,639
Speaker 2: and we have to believe it. We have to think

1598
01:33:53,680 --> 01:33:56,599
Speaker 2: in that moment that he really has somehow just lifted

1599
01:33:56,680 --> 01:33:59,840
Speaker 2: off that balcony with her, and we do now as

1600
01:34:00,000 --> 01:34:03,680
Speaker 2: they fly through the sky here in complete opposition to

1601
01:34:04,479 --> 01:34:08,240
Speaker 2: the scene. Very different scene obviously, but a very different

1602
01:34:08,800 --> 01:34:12,559
Speaker 2: type of editing and overall kind of staging this compared

1603
01:34:12,560 --> 01:34:14,920
Speaker 2: to the Man of Steel scene. This is all about

1604
01:34:15,600 --> 01:34:20,439
Speaker 2: the romance and they're bonding in this moment and it

1605
01:34:20,600 --> 01:34:26,040
Speaker 2: is so elegant and graceful and what I really appreciate

1606
01:34:26,400 --> 01:34:29,880
Speaker 2: about it the most, Josh, even though it still has

1607
01:34:30,040 --> 01:34:34,280
Speaker 2: that awe to it because you see them fly around

1608
01:34:34,320 --> 01:34:38,760
Speaker 2: the Statue of Liberty and around all the skyscrapers at night, right,

1609
01:34:39,320 --> 01:34:42,000
Speaker 2: it does have that especially if you were watching it

1610
01:34:42,160 --> 01:34:44,200
Speaker 2: on a big screen, you get a little bit of

1611
01:34:44,240 --> 01:34:47,559
Speaker 2: the spectacle. But it goes back to something we were

1612
01:34:47,600 --> 01:34:53,000
Speaker 2: talking about in relation to that great scene in Jurassic

1613
01:34:53,080 --> 01:34:56,960
Speaker 2: Park where they first see the dinosaurs. Watch this scene

1614
01:34:57,120 --> 01:35:02,519
Speaker 2: and notice how much of the time is spent not

1615
01:35:02,760 --> 01:35:08,520
Speaker 2: looking at long shots of them flying and the surroundings

1616
01:35:08,600 --> 01:35:12,240
Speaker 2: their environment. How much of it is spent on their faces.

1617
01:35:13,160 --> 01:35:17,719
Speaker 2: It is all about the experience that they're having together,

1618
01:35:18,000 --> 01:35:22,160
Speaker 2: but especially the experience that Lois Lane is having in

1619
01:35:22,360 --> 01:35:26,360
Speaker 2: the air with Superman. And I don't really want to

1620
01:35:26,479 --> 01:35:31,639
Speaker 2: undersell it, like how many different variations credit to Margo Kidder.

1621
01:35:31,800 --> 01:35:36,080
Speaker 2: How many variations on first fear can you come up

1622
01:35:36,120 --> 01:35:37,920
Speaker 2: with as an actress? She has to come up with

1623
01:35:38,000 --> 01:35:41,000
Speaker 2: quite a few. And then that sense of wonder, that

1624
01:35:41,320 --> 01:35:44,760
Speaker 2: sense of awe that she has. We see a lot

1625
01:35:44,840 --> 01:35:49,120
Speaker 2: of variations from her and they all work in this

1626
01:35:49,880 --> 01:35:54,320
Speaker 2: three minute ish sequence. It is all about her experience

1627
01:35:54,479 --> 01:35:57,920
Speaker 2: and the experience we're having through her as she flies

1628
01:35:58,000 --> 01:35:59,439
Speaker 2: through the sky with him.

1629
01:36:05,520 --> 01:36:09,800
Speaker 4: Thus concludes our top five Margot Kidder scenes. Yes, she's

1630
01:36:09,880 --> 01:36:10,360
Speaker 4: so great.

1631
01:36:10,680 --> 01:36:14,000
Speaker 2: There you have it. Those are our top five Margot

1632
01:36:14,040 --> 01:36:19,360
Speaker 2: Kitder and Superman moments. Josh, do you have any honorable mentions?

1633
01:36:19,800 --> 01:36:22,280
Speaker 4: Yeah, I mentioned the Man of Steel pick here and

1634
01:36:22,479 --> 01:36:25,680
Speaker 4: it doesn't actually come from me, but I want to

1635
01:36:25,800 --> 01:36:27,880
Speaker 4: give Man of Steel a little more credit. Here the

1636
01:36:28,000 --> 01:36:30,400
Speaker 4: Zack Snyder film from twenty thirteen. This is from reader

1637
01:36:30,520 --> 01:36:33,880
Speaker 4: Jeff van Vikel, who talks about the moment where a

1638
01:36:33,960 --> 01:36:37,479
Speaker 4: Superman is surrendering to the authorities Henry Cavill's Superman. He

1639
01:36:37,560 --> 01:36:40,880
Speaker 4: basically restrains his own powers. Jeff wrote, he does a

1640
01:36:40,920 --> 01:36:44,599
Speaker 4: little thing with his eyebrows that shows vulnerability. The best

1641
01:36:44,640 --> 01:36:47,600
Speaker 4: Superman moments are the ones that highlight his humanity and

1642
01:36:47,680 --> 01:36:51,000
Speaker 4: in a movie otherwise painting him as an emotionless hunk,

1643
01:36:51,400 --> 01:36:54,080
Speaker 4: this brief exchange gives us a tiny glimpse into what

1644
01:36:54,200 --> 01:36:56,400
Speaker 4: Cavill could have done with a character had he been

1645
01:36:56,439 --> 01:36:59,840
Speaker 4: given the opportunity for a few moments. Visually desaturated though

1646
01:36:59,880 --> 01:37:04,560
Speaker 4: the image, maybe Superman is warm, quiet and kind, sacrificing

1647
01:37:04,640 --> 01:37:07,240
Speaker 4: his ego and comfort for the sake of others. That's

1648
01:37:07,320 --> 01:37:09,639
Speaker 4: what I want to see out of this particular man

1649
01:37:09,880 --> 01:37:12,800
Speaker 4: in tights. So yeah, thank you Jeff for that. And

1650
01:37:12,920 --> 01:37:16,200
Speaker 4: then an honorable mention of my own. Maybe the scene,

1651
01:37:16,439 --> 01:37:20,479
Speaker 4: Adam that gripped me the most from Superman two is

1652
01:37:20,560 --> 01:37:24,080
Speaker 4: the Niagara Falls rescue. Yeah, watching it again today, and

1653
01:37:24,160 --> 01:37:27,760
Speaker 4: it's not really all that great of a sequence, but

1654
01:37:27,920 --> 01:37:30,120
Speaker 4: as a kid, and being a kid who was always

1655
01:37:31,160 --> 01:37:34,080
Speaker 4: just tempted to hang on the wrong side of a

1656
01:37:34,600 --> 01:37:38,160
Speaker 4: railing over a precipice, the thought crossed my mind, you know,

1657
01:37:38,560 --> 01:37:42,439
Speaker 4: to see that that boy do it fall and Superman

1658
01:37:42,600 --> 01:37:45,760
Speaker 4: rescue him. Yeah, that one stuck with me.

1659
01:37:47,000 --> 01:37:50,280
Speaker 2: So obviously my number one from last time, the helicopter

1660
01:37:50,360 --> 01:37:52,880
Speaker 2: rescue your number one honorable mention this time the other

1661
01:37:53,880 --> 01:37:56,560
Speaker 2: Superman scene I had on that list, I'll throw in

1662
01:37:56,640 --> 01:37:59,960
Speaker 2: as an honorable mention from Man of Steel. Actually, it's

1663
01:38:00,120 --> 01:38:03,599
Speaker 2: I think a flashback that Superman is having where he's

1664
01:38:03,640 --> 01:38:06,960
Speaker 2: in a classroom as a young boy, like in grade school.

1665
01:38:07,280 --> 01:38:09,479
Speaker 2: The scene is called or when you find it online,

1666
01:38:09,520 --> 01:38:11,720
Speaker 2: the World's too Big. He's talking to his mom and

1667
01:38:11,760 --> 01:38:14,639
Speaker 2: he's saying the world's too big. He can't handle all

1668
01:38:14,720 --> 01:38:18,240
Speaker 2: the noise because of course he experiences everything. He feels

1669
01:38:18,360 --> 01:38:23,560
Speaker 2: everything on a level that normal kids don't feel an experience.

1670
01:38:23,640 --> 01:38:26,360
Speaker 2: And I really like that scene. And you mentioned Kevin Costner.

1671
01:38:27,479 --> 01:38:29,479
Speaker 2: I did find a reddit I didn't read it, but

1672
01:38:29,600 --> 01:38:31,879
Speaker 2: I did see a Reddit thread as I was googling

1673
01:38:31,960 --> 01:38:36,120
Speaker 2: something where there are some people shocking. There's some people

1674
01:38:36,160 --> 01:38:38,720
Speaker 2: out there who I guess hate this scene, or at

1675
01:38:38,800 --> 01:38:42,760
Speaker 2: least hate the whole plot line or this moment itself,

1676
01:38:42,960 --> 01:38:46,960
Speaker 2: the decision to have this character go out this way.

1677
01:38:47,280 --> 01:38:56,680
Speaker 2: But Jonathan's sacrifice, Kevin Costner's paw kent that scene. I

1678
01:38:56,720 --> 01:39:00,360
Speaker 2: actually really liked that whole scene and that moment he

1679
01:39:00,479 --> 01:39:03,880
Speaker 2: makes for his son, as misguided of course as it is,

1680
01:39:04,400 --> 01:39:07,360
Speaker 2: and as it maybe even seems in the moment, you believe.

1681
01:39:08,040 --> 01:39:10,720
Speaker 2: I believe that character believes it's the only thing he

1682
01:39:10,800 --> 01:39:11,040
Speaker 2: can do.

1683
01:39:11,320 --> 01:39:12,280
Speaker 4: Yeah, Costner's good.

1684
01:39:12,560 --> 01:39:15,720
Speaker 2: Yeah, he's really good. Chris's number one from last time.

1685
01:39:16,360 --> 01:39:19,600
Speaker 2: I'll mention here, especially as it's the lead up to

1686
01:39:19,760 --> 01:39:22,919
Speaker 2: my number one from this time, the interview with Superman.

1687
01:39:23,320 --> 01:39:27,200
Speaker 2: And I know we're not supposed to talk about Brian

1688
01:39:27,320 --> 01:39:29,760
Speaker 2: Singer at all, and I don't really want to talk

1689
01:39:29,760 --> 01:39:32,240
Speaker 2: about Superman Returns because I didn't like the movie much

1690
01:39:32,280 --> 01:39:36,840
Speaker 2: at all. But Chris and Glenn Superman officionados did have

1691
01:39:37,080 --> 01:39:40,599
Speaker 2: multiple picks from Superman Returns, and the scene where Superman

1692
01:39:40,720 --> 01:39:46,160
Speaker 2: saves the airplane is pretty exciting. When I rewatched it today, it's.

1693
01:39:46,160 --> 01:39:50,120
Speaker 4: Closer in spirit, I think actually to seventy eight Superman

1694
01:39:50,320 --> 01:39:52,479
Speaker 4: than in a lot of ways, this latest version is

1695
01:39:52,600 --> 01:39:55,400
Speaker 4: so it's it's that one's a curiosity for sure.

1696
01:39:55,680 --> 01:39:58,400
Speaker 2: Again, those are our top five Superman movie moments. You

1697
01:39:58,479 --> 01:40:02,639
Speaker 2: can find those choices and links to watch those scenes

1698
01:40:02,720 --> 01:40:06,400
Speaker 2: at film spotting dot net slash list. We would love

1699
01:40:06,479 --> 01:40:09,120
Speaker 2: to hear your thoughts, your picks, and any of the

1700
01:40:09,200 --> 01:40:11,360
Speaker 2: thoughts about the show. You can email feedback at film

1701
01:40:11,400 --> 01:40:13,400
Speaker 2: spotting dot net. Josh that is our show.

1702
01:40:13,640 --> 01:40:16,839
Speaker 4: You can connect with Adam and the show on Instagram, Facebook,

1703
01:40:16,920 --> 01:40:20,360
Speaker 4: and letterboxed at film Spotting. I'm at those places as

1704
01:40:20,439 --> 01:40:23,519
Speaker 4: well as Blue Sky as Larson on film. We are

1705
01:40:23,600 --> 01:40:26,559
Speaker 4: independently produced and listeners supported. You can support the show

1706
01:40:26,640 --> 01:40:30,599
Speaker 4: by joining the film Spotting Family at film spottingfamily dot com.

1707
01:40:31,000 --> 01:40:34,040
Speaker 4: You can listen early and ad free, get a weekly newsletter,

1708
01:40:34,160 --> 01:40:37,719
Speaker 4: monthly bonus episodes, and access to the entire show archive.

1709
01:40:38,240 --> 01:40:40,400
Speaker 4: If you want show t shirts or other merch go

1710
01:40:40,479 --> 01:40:43,000
Speaker 4: to film spotting dot net slash shop.

1711
01:40:43,360 --> 01:40:45,720
Speaker 2: In that film Spotting archive, you can find the show

1712
01:40:45,840 --> 01:40:49,400
Speaker 2: we've mentioned multiple times with Chris Klemik and Glenn Weldon.

1713
01:40:49,680 --> 01:40:53,040
Speaker 2: We reviewed Batman Visuperman dot of Justice. You can probably

1714
01:40:53,080 --> 01:40:56,360
Speaker 2: skip that part go right to the Batman Superman movie moments.

1715
01:40:56,400 --> 01:40:59,360
Speaker 2: We actually drop that in our podcast feed earlier this week.

1716
01:40:59,439 --> 01:41:02,840
Speaker 2: That's episode seventy nine. Man of Steel was reviewed on

1717
01:41:02,920 --> 01:41:06,920
Speaker 2: episode four fifty and Superman Returns was reviewed way back

1718
01:41:07,080 --> 01:41:11,000
Speaker 2: on episode one twelve with Sam Van Halgren, big big

1719
01:41:11,120 --> 01:41:15,040
Speaker 2: fan of that film. In limited release, you can see

1720
01:41:15,200 --> 01:41:18,439
Speaker 2: Don't Let's Go to the Dogs tonight. This is actress

1721
01:41:18,600 --> 01:41:21,640
Speaker 2: and Beth David's making her directing debut with an adaptation

1722
01:41:21,800 --> 01:41:25,560
Speaker 2: of Alexander Fuller's memoir about growing up during the Zimbabwean

1723
01:41:25,640 --> 01:41:29,200
Speaker 2: War for Independence. You can also see To a Land Unknown.

1724
01:41:29,600 --> 01:41:33,120
Speaker 2: This is about Palestinine refugees trying to score fake passports

1725
01:41:33,160 --> 01:41:35,559
Speaker 2: to get out of Athens. Our friend, Isaac Feldberg says,

1726
01:41:35,840 --> 01:41:38,799
Speaker 2: crafted with the same flavor of rough, vivid street poetry

1727
01:41:38,880 --> 01:41:42,120
Speaker 2: that flowed through Ramin Barani's chop Shop and its forefather,

1728
01:41:42,600 --> 01:41:46,320
Speaker 2: Vittorio de Sica's Bicycle Thieves. That's some heady company, Josh.

1729
01:41:46,960 --> 01:41:49,960
Speaker 2: In wide release, I know what you did last summer.

1730
01:41:50,040 --> 01:41:52,720
Speaker 2: We're we're just reheating it, recycling it.

1731
01:41:53,240 --> 01:41:53,519
Speaker 6: Why not?

1732
01:41:53,640 --> 01:41:55,840
Speaker 2: What reterm do you want to use? The ninety seven

1733
01:41:55,920 --> 01:41:56,760
Speaker 2: film with the same name.

1734
01:41:57,000 --> 01:41:59,839
Speaker 4: Yeah, just as reheat. Reheat covers it all smurfs?

1735
01:42:00,520 --> 01:42:01,400
Speaker 2: Is this another reheat?

1736
01:42:02,040 --> 01:42:03,800
Speaker 4: And there's a note here that smurfs sing?

1737
01:42:04,200 --> 01:42:05,360
Speaker 2: So they're singing this time?

1738
01:42:05,720 --> 01:42:08,439
Speaker 4: Did they not sing before? Didn't they sing in the

1739
01:42:08,600 --> 01:42:10,640
Speaker 4: cartoon you and I grew up on along Site they

1740
01:42:10,680 --> 01:42:14,000
Speaker 4: did Superman? They always sang. Yeah, this is not the

1741
01:42:14,120 --> 01:42:15,200
Speaker 4: New Kids and.

1742
01:42:15,760 --> 01:42:19,560
Speaker 2: Eddington Sheriff Joaquin Phoenix and Mayor Pedro Pascal come to

1743
01:42:19,600 --> 01:42:22,559
Speaker 2: blows in small town New Mexico and the latest from

1744
01:42:22,600 --> 01:42:26,880
Speaker 2: ari Astor. I somehow lucked out and got out of

1745
01:42:27,000 --> 01:42:28,800
Speaker 2: duty on this duty.

1746
01:42:29,439 --> 01:42:32,200
Speaker 4: Wow, the Addington disinterest.

1747
01:42:32,680 --> 01:42:35,960
Speaker 2: Yeah, well, you know, I am not a big ari

1748
01:42:36,160 --> 01:42:36,800
Speaker 2: Astor guy.

1749
01:42:37,080 --> 01:42:37,800
Speaker 4: As this is true.

1750
01:42:38,000 --> 01:42:40,880
Speaker 2: We have already commented on how going back to twenty

1751
01:42:40,960 --> 01:42:43,680
Speaker 2: twenty does seem a little dispiriting at the moment, but

1752
01:42:43,920 --> 01:42:46,919
Speaker 2: you will be making that trip along with the Chicago Tribunes.

1753
01:42:47,360 --> 01:42:50,680
Speaker 2: Michael Phillips will also share our top five Joaquin Phoenix performances.

1754
01:42:50,720 --> 01:42:53,920
Speaker 2: There may be a couple of other quick reviews thrown

1755
01:42:54,080 --> 01:42:55,360
Speaker 2: in there as well.

1756
01:42:55,600 --> 01:42:58,280
Speaker 4: Film Spotting is produced by Golden Joe Desso and Sam

1757
01:42:58,400 --> 01:43:01,600
Speaker 4: Van Haggren. Without Sam Golden Joe, this show wouldn't go

1758
01:43:02,080 --> 01:43:05,760
Speaker 4: Our production assistant is Sophiekempinar. Special thanks to everyone at

1759
01:43:05,920 --> 01:43:10,400
Speaker 4: wbeazy Chicago. More information is available at wbeazy dot org.

1760
01:43:10,840 --> 01:43:12,920
Speaker 4: For film Spotting, I'm Josh Larson.

1761
01:43:12,800 --> 01:43:15,000
Speaker 2: And I'm Adam Kempinar. Thanks for listening.

1762
01:43:15,200 --> 01:43:19,760
Speaker 9: This conversation can serve no purpose anymore. The fine.

1763
01:43:36,040 --> 01:43:38,960
Speaker 2: Film spotting is listeners supported. Join the film Spotting Family

1764
01:43:39,040 --> 01:43:41,920
Speaker 2: at film spottingfamily dot com and get access to ad

1765
01:43:41,960 --> 01:43:45,360
Speaker 2: free episodes, monthly bonus shows, our weekly newsletter, and, for

1766
01:43:45,439 --> 01:43:48,080
Speaker 2: the first time, all into one place, the entire film

1767
01:43:48,120 --> 01:43:50,800
Speaker 2: spotting archive going back to two thousand and five. That's

1768
01:43:50,840 --> 01:43:52,559
Speaker 2: a film Spotting Family dot com

1769
01:43:55,520 --> 01:43:56,000
Speaker 6: Panically