Speaker 1: Welcome to Movie Crush, a production of I Heart Radio.
Speaker 1: Hey everybody, and welcome to Movie Crush Friday Interview edition
Speaker 1: filmmaker series with my old friend Dadam Pranica. Oh that's nice.
Speaker 1: Who has a nice soap opera glow on his face?
Speaker 1: You know, not enough people sing my name. I've been
Speaker 1: really missing that sing my name, Sing my name and
Speaker 1: the how it goes. Yeah, Hey, buddy, good to see you.
Speaker 1: Just great to see you. It's been a while since
Speaker 1: we've done one of these. It has been a while.
Speaker 1: I think we both kind of secretly been sad about
Speaker 1: completing this project for now. As we all know, Paul
Speaker 1: Thomas Anderson has a film coming out this year, premiering
Speaker 1: it Can I believe? Right, Yeah, I think so, and
Speaker 1: kind of getting back to his I don't know about
Speaker 1: his roots, but sort of a story less like there
Speaker 1: will be blood and Phantom Limb and more like Boogie Nights.
Speaker 1: It sounds like, yeah, maybe he watched Once upon a
Speaker 1: Time in Hollywood and he was like, fuck you, I
Speaker 1: can do it better. Yeah, And of course it won't
Speaker 1: be like Boogie Boogie Nights, but it's it's not a
Speaker 1: movie with probably people that are loathsome and awful. I
Speaker 1: didn't realize this until I started doing a little bit
Speaker 1: of research for this film. But this is like what
Speaker 1: four period pieces in a row for Paul Thomas Anderson,
Speaker 1: and I hadn't realized that until reading that, And I'm
Speaker 1: I'm kind of happy for him to go back to
Speaker 1: the valley. At least I know his next movie is
Speaker 1: going to be a period movie too. But like he's
Speaker 1: such a like California and Paul Thomas Anderson are like
Speaker 1: hand and glove, you know. Yeah, So before we get going,
Speaker 1: we like to talk about what we're drinking, because that's
Speaker 1: what you and I do traditionally, is we go at
Speaker 1: about nine pm my time, six pm your time, and
Speaker 1: you're drinking a big old fish bowl or something that
Speaker 1: a martini. It is. I was trying. I try to
Speaker 1: match my drink to the movie when it's possible. Well, fuck, dude,
Speaker 1: why didn't you tell me you were having a martini?
Speaker 1: I would have had a martini. Well, the last time
Speaker 1: you and I talked to Martiniz, you sprung it on
Speaker 1: me that that you were having one, and I was like, oh,
Speaker 1: that sounds really nice. And then you took a picture
Speaker 1: from your bathtub where you were drinking it. That is
Speaker 1: very true. I had a bathtub martini like Arthur style. Yeah,
Speaker 1: like I think that's the first time and the only
Speaker 1: time I've were done that, by the way, because when
Speaker 1: you send someone a picture like that, what you're kind
Speaker 1: of saying is I'm doing the ritual, right, But it
Speaker 1: was I've only ever had shower beers. I've never had
Speaker 1: bath tub Martiniz. I feel like you're doing it better.
Speaker 1: Highly recommended. Yeah. Yeah, tonight, I'm having a double martini
Speaker 1: in a giant punch bowl of a Martini glass and
Speaker 1: it's got it's not clear because I'm using aged vermouth
Speaker 1: in here. And give me just the rundown of what
Speaker 1: what is in that thing? Oh, it's uh, it's St.
Speaker 1: George Gin. It's this aged vermouth. It's a couple of
Speaker 1: couple of skeets of of orange bitters and then three olives.
Speaker 1: All right, and you don't go dirty, right, you're just
Speaker 1: straight up I don't, but I used to. I feel
Speaker 1: like everyone's first martini is the dirty martini, right, Like
Speaker 1: that's that's the onboarding process for people when they start
Speaker 1: drinking Martiniz. I know it was mine and most of
Speaker 1: my friends started out that way. But I am anti
Speaker 1: dirty now I am like, give it to me hot,
Speaker 1: like like like that cold fire, right like an ice
Speaker 1: cold Martini is is one of the great flavors. I
Speaker 1: don't need. I don't need the olive juice in there,
Speaker 1: Get it out of there. Are you saying that I'm,
Speaker 1: you know, somehow a lesser martini drinker. No, I'm not
Speaker 1: saying that at all. I'm saying I'm stating my personal
Speaker 1: preference and I'm sharing with you my journey. But when
Speaker 1: you say things like I feel like most jerk offs
Speaker 1: when they first try our martini, it's like this, people
Speaker 1: drinking martini is not in a bathtub, and it just sucks. Man.
Speaker 1: That's just not the way to enjoy them. How do
Speaker 1: you like yours? You know, I go dirty, but I
Speaker 1: go I don't eat olives. I don't care for olives,
Speaker 1: but I do like that brine. So you're dirty with
Speaker 1: a limit twist and a little bit. I like that combo.
Speaker 1: So you have olives in the house, you don't eat
Speaker 1: the olives, you're just or do you buy the Brian?
Speaker 1: I buy dirty sue olive juice? How about that bottled
Speaker 1: and sent right to your door, big fan of Dirty Sue.
Speaker 1: Dirty Sue buys all the olives, makes the juice, and
Speaker 1: then just throws them away. Right. It sounds like a
Speaker 1: real wasteful process. If you ask me, well, if Dirty
Speaker 1: Sue is smart, she'd be in bed with an olive
Speaker 1: oil maker. Actually I don't. I don't even know how
Speaker 1: they get the olive oil brine. I mean, that's not
Speaker 1: olive juice, is it. It's a coincidence that Dirty Sue
Speaker 1: is also your stripper name. It really is. Um I
Speaker 1: wish I had known, No, no problem, not mad. As
Speaker 1: you can see, I have a giant glass of red wine. Yeah,
Speaker 1: this glass is so big, I kind of want to
Speaker 1: hold it with two hands. I'm used to seeing vessels
Speaker 1: that size made out of wood by a Cooper. I'm
Speaker 1: having Jacob Franklin Petizzera nap of alley M really yummy.
Speaker 1: You know, now that I'm living in California, you know
Speaker 1: your next trip out here, you got to go up
Speaker 1: to wine country man enjoy some wine hangs. I'm all
Speaker 1: about it. In fact, we uh, I should just let
Speaker 1: you know because we're gonna do a wine trip with
Speaker 1: our best friends own a wine shop here in town,
Speaker 1: right up the street. I like a friend from college
Speaker 1: and his his partner, and they have never been to
Speaker 1: Nappa in Sonoma. So we're gonna just do a trip
Speaker 1: with him at some point. I should let's just let
Speaker 1: you guys know when that's happening. Please do that'd be great.
Speaker 1: You can just drive on up. You and I have
Speaker 1: had some great wine hangs over the years. I'm looking
Speaker 1: forward to more, indeed, but I'll stick with the wine.
Speaker 1: My urges to to plus. Just down the toilet right now,
Speaker 1: giant Martini. Just finish and then drop a pin in
Speaker 1: the in the time code. Here you go up and
Speaker 1: get your second round. Oh boy, well this is already
Speaker 1: two rounds, so I think this will do it. Yeah,
Speaker 1: I mean, how much of a bottle fits in that
Speaker 1: giant glass? Uh? Well, I didn't want to have to
Speaker 1: go upstairs, so this is a hefty two glasses in
Speaker 1: one glass. I see. That's just being that's just being
Speaker 1: smart right there. Yeah, that's doing a podcast style. Yeah.
Speaker 1: Have you done another round on movie Crush? No, man,
Speaker 1: I haven't seen it yet. I have heard great things,
Speaker 1: and it is it is not just a cursory on
Speaker 1: my list it is high, high on my list of
Speaker 1: a film that was. Yeah, man, I can't wait. And
Speaker 1: of course they're remaking it with I think Leonardo Dicabrio. Yeah,
Speaker 1: I mean, what are you gonna do? I think I've
Speaker 1: learned not to approach Eleo DiCaprio movie with any sort
Speaker 1: of consternation, like he's great, he's gonna he's gonna do
Speaker 1: a great job. But that original is a special film. Yeah.
Speaker 1: I think it said in that way because it's just like,
Speaker 1: of course, amazing foreign film. American person goes, oh well,
Speaker 1: let me do that same movie a couple of years later. Yeah,
Speaker 1: but I get it. Yeah, you can't me money on
Speaker 1: the table at him. You know who who plays a
Speaker 1: great drunk, Leo DiCaprio. Not to go back to Once
Speaker 1: upon a time in Hollywood, but oh no, that guy
Speaker 1: does a great act drunk. You know what I'm says
Speaker 1: he does, and I think we do it well in
Speaker 1: real life. I know, so classy drunk. So you and
Speaker 1: me the kind you want to be around. Like, no
Speaker 1: one likes an angry drunk, a thrower or a yell er.
Speaker 1: We're just we're gigglers. Boy. I remember the very first
Speaker 1: time I ever legit got drunk in college because it
Speaker 1: didn't drink in high school. I was straight and narrow.
Speaker 1: But I got drunk my freshman year in college and
Speaker 1: these girls took me out, fellow freshman who knew I
Speaker 1: didn't drink. They were like, Oh, we're gonna take you
Speaker 1: out and get you drunk, and so these uh, these
Speaker 1: two girls took me out and I got drunk on
Speaker 1: the Sex in the beach is sex in the beaches,
Speaker 1: sexes on the beach. I don't even know what's in
Speaker 1: that st I just know they were like, this is
Speaker 1: nice and a lot of sugar, if I remember correctly,
Speaker 1: And I just remember being in love with the world
Speaker 1: man for the very first time that I drank a
Speaker 1: lot like that, and they were just laughing. They were like,
Speaker 1: you're just love and life, aren't you. You're having fun? Oh? Yes,
Speaker 1: isn't that the goal? I feel very fortunate to be
Speaker 1: wired the way that I am for for consumption like this.
Speaker 1: I fully recognize and appreciate that many people aren't. Many
Speaker 1: people have the problem or the curse. Yeah, I'm glad
Speaker 1: I'm not cursed in that way because I do enjoy
Speaker 1: what it does for me. Yeah, you know what I've
Speaker 1: never done when I've been drinking. I wanted to start
Speaker 1: a fight? No, yeah, sober for that matter, Yeah, no,
Speaker 1: not at all. And you know what the main reason is,
Speaker 1: I don't never want to get punched in the face
Speaker 1: in my life. Yeah, Nor does it sound fun to
Speaker 1: punch anyone else in the face. It sounds very painful
Speaker 1: for the hand. Yeah, it sounds a little more enjoy
Speaker 1: well than getting punched in the vase. But yeah, that's
Speaker 1: where I stopped. Yeah, I think we've talked about it before.
Speaker 1: You're not gonna go pick a fight with some money together?
Speaker 1: Oh right? At that point? Or were we going to
Speaker 1: fight each other? There was something? And uh? And the
Speaker 1: reason is like, between the two of us, the odds
Speaker 1: are pretty good that one of us won't be punched
Speaker 1: in the face. All right, man, so let's get into it.
Speaker 1: We of course will cover that. Whenever the new PTA
Speaker 1: gets released, we'll see that and do it do it
Speaker 1: live or not live? But you know, soon after it
Speaker 1: comes out, Oh yeah, let's rent out a movie theater
Speaker 1: do it live. I wonder if they're gonna still do that. God,
Speaker 1: I don't know have you done that yet? The are
Speaker 1: you're talking about during COVID, like where you could rent
Speaker 1: the theater out for a hundred bucks or whatever. Uh.
Speaker 1: I wanted to do that very badly, but no theaters
Speaker 1: within like hundreds of miles of me made that possible,
Speaker 1: so they didn't play play that game. That's right, they
Speaker 1: were no. I think you could do it in Seattle.
Speaker 1: I was envious of that, but I couldn't do it
Speaker 1: down here? Could you? Did you? Uh? We can? I
Speaker 1: did not. My daughter went to a birthday party um
Speaker 1: where her friends had rented a theater for like thirteen girls,
Speaker 1: and Emily went to that. It was not able to
Speaker 1: go because I was podcasting, but she said it was
Speaker 1: a lot of fun. I bet I have not been
Speaker 1: back to a movie theater yet. I still haven't either.
Speaker 1: I'm ready. I just are they even open? And Elliott
Speaker 1: probably not? Uh they are Here's I don't like. I
Speaker 1: understand the fun of ripping the band aid off and
Speaker 1: going back to see like God Dela versus King Kong
Speaker 1: or something, but I kind of want my first movie
Speaker 1: back to be like good, Yeah, you see too. I
Speaker 1: thought about a quiet place to this week, and it
Speaker 1: never aligned with my schedule, and I think that'll is
Speaker 1: supposed to be pretty good for what it is. But
Speaker 1: I'm kind of with you. I wanted to be a
Speaker 1: great movie. Yeah, yeah, I do too, And uh, I'm
Speaker 1: not I'm not up to speed on on the release
Speaker 1: calendar either. I feel like things are just coming back
Speaker 1: online now to where we're starting to get an understanding
Speaker 1: of when you're I don't know when when your tent
Speaker 1: pole movies are coming out. Well, I know you and
Speaker 1: I I mean, if we don't see Top Gun together,
Speaker 1: then there's something wrong. Gott to see Top Gun together.
Speaker 1: I gotta tell you, I don't know if if you
Speaker 1: edit things like this out of the show. So maybe
Speaker 1: you will. And I'm sorry for saying. I quite coincidentally, uh,
Speaker 1: and and Poker buddies with the writer of the new
Speaker 1: Top Gun movie, and it is taking everything in my
Speaker 1: power not to just nerd out on this guy and
Speaker 1: ask a million questions. Holy cow. Yeah, I'm not gonna
Speaker 1: edit that out unless you feel like he would not
Speaker 1: want the world to know he plays poker. No, I mean,
Speaker 1: the guy is super cool, and I'm I'm like, I'm
Speaker 1: like shape a king playing poker, like right with all
Speaker 1: the questions I have, But what a great movie. What
Speaker 1: a great opportunity for that, like to make that your
Speaker 1: first movie? Back when is that supposed to be out? Like,
Speaker 1: I don't know. I mean, they've certainly got a backlog
Speaker 1: of films they have had in the Bond movie and
Speaker 1: the Black Widow movie. We've got everything from last year,
Speaker 1: and then they also started making movies again at some point,
Speaker 1: so I'm sure there's some other new stuff. I got
Speaker 1: all these olives in front of me. I feel like
Speaker 1: I can't eat the olives on our show because of Saponia.
Speaker 1: I'm gonna I'm gonna eat an olive. I'm just gonna.
Speaker 1: I'm hoping you're gonna vamp here, all right, I will
Speaker 1: vamp Let's get into Phantom Thread. This is the last
Speaker 1: movie that he has made because we've been going in order. Uh.
Speaker 1: This is another movie with Daniel day Lewis. Yea. This
Speaker 1: is a movie. One of the great foreheads in all
Speaker 1: of film. Um. This is a movie that deviates from
Speaker 1: the the father son dynamic into a mother's son situation.
Speaker 1: Even though the mother in this film has passed on,
Speaker 1: she does appear via a vision at one point, and
Speaker 1: she very much just looms large as a whole don't
Speaker 1: you think it's a very hereditary type scene when she appears,
Speaker 1: right it is? It looks like a horror movie for
Speaker 1: a second. Yeah, yeah. I kept playing for something to
Speaker 1: happen there, and nothing did that was really elegantly done
Speaker 1: and not played for the jump scare anything, just played
Speaker 1: for the mood. And it's such a mood film the
Speaker 1: whole way. It's very consistent like that it is. I
Speaker 1: think in another director's hands you could have you could
Speaker 1: veer into sort of horror movie territory with this movie. Yeah,
Speaker 1: if you wanted to, you'd have to change it up some,
Speaker 1: but not a whole lot. It's interesting how much how
Speaker 1: much genre decision can come to down to the edit.
Speaker 1: Like I think you could make this a horror film
Speaker 1: with no new scenes at all, just how you cut it,
Speaker 1: Like you turn up the Johnny Greenwood a little bit,
Speaker 1: or maybe you uh, you get some weirder Johnny Greenwood
Speaker 1: and all of a sudden, I think it's right there,
Speaker 1: especially with how intense Daniel day Lewis is in this film.
Speaker 1: I mean, I I watched this with my wife. I
Speaker 1: don't know if you watched this alone or not, and
Speaker 1: it was her first time watching it, and she's very
Speaker 1: much a like a fan of the costume period type
Speaker 1: of film, and my expectation was that she would love
Speaker 1: it m but she did not, and it was because
Speaker 1: of uh of Woodcocks character. I just love saying that name.
Speaker 1: I'm gonna say this as often as possible. Reynolds character is.
Speaker 1: I love it every time. I feel like they didn't
Speaker 1: overdo the dialogue that included that name either very specifically
Speaker 1: because they knew the absurdity of the name. I guarantee
Speaker 1: you and I agree with that. And I guarantee you
Speaker 1: that Paul Thomas Anderson very much chuckled to himself when
Speaker 1: he thought of that name. Yeah. I mean what I
Speaker 1: read is that he he sort of pitched the idea
Speaker 1: to two D D L and laughed and laughed about
Speaker 1: the name of the character. And that was one of
Speaker 1: the reasons he got him, uh, he was able to
Speaker 1: get him involved in the film. Was It's Yeah, it's
Speaker 1: hard to believe. It's strange credulity that, you know, Paul
Speaker 1: Thomas Anderson and Daniel the Lewis would just be phone
Speaker 1: buddies laughing about Reynolds. Woodcock is a name but from
Speaker 1: what I read. That's how this movie got put together.
Speaker 1: That's hysterical. Yeah, I believe it too. That's funny. Yeah,
Speaker 1: it's a movie very much about power and the push
Speaker 1: and pull of that power. It's a movie with a
Speaker 1: great twist, kind of a double twist. Uh. And I
Speaker 1: even have here on my notes like the beginning music
Speaker 1: sounds like something out of a horror movie. Yeah. I
Speaker 1: wonder one of the questions I had for you, And like,
Speaker 1: just to tie off that comment about my wife watching this,
Speaker 1: I wonder how well this film has aged for you,
Speaker 1: because I feel like for a long time, films about
Speaker 1: the asshole with a misunderstood genius complex and the enablers
Speaker 1: they surround themselves with was like sort of a genre
Speaker 1: of itself. And I seeing this through my wife's size,
Speaker 1: I understood how poorly that has aged because was that
Speaker 1: one of her beefs. Yeah, yeah, Like, like, this guy's
Speaker 1: an asshole and he's he's cruel to people around him,
Speaker 1: and obviously he is, but I also found him funny.
Speaker 1: And there is a lot of comedy in this film.
Speaker 1: That breakfast order for Yeah, yeah, big fun, big, big fun.
Speaker 1: I love it. Man, he's ordering all this food I
Speaker 1: thought I wrote it down. I love how he doesn't
Speaker 1: order it all at once. It's like order, order a
Speaker 1: piece of it, and then wait and then another and
Speaker 1: then wait. Yeah, relsh welsh rare bit cream butter. It's
Speaker 1: also sumptuous, you know, everything is dead and bacon, some
Speaker 1: scones and uh. And then at the very end he
Speaker 1: just throws in in some sausages. The move move. I
Speaker 1: love this, this technique, Like I'm I'm not going to
Speaker 1: call it a seduction technique because I don't think this
Speaker 1: is something that Reynolds does all the time, Like I
Speaker 1: don't feel like this is his move. But the and
Speaker 1: I felt for a long time never do bits on tips.
Speaker 1: This is something that that I say on The Greatest
Speaker 1: Generation show, like like when you're be as nice as
Speaker 1: you can to a service industry person and don't funk
Speaker 1: with them, and the idea, yeah, yeah, you're you're not.
Speaker 1: They're they're working for tips. So the idea of taking
Speaker 1: away her her written notes of the order and and
Speaker 1: and asking if she remembers, I have to say it
Speaker 1: made me laugh. It was funny. It was pretty funny,
Speaker 1: and it was also sort of a power control thing.
Speaker 1: Um and I don't even think I answered your question
Speaker 1: is so kind of go how's this age for me?
Speaker 1: I I know that was sort of a genre, but
Speaker 1: his movies and this movie is so like its own thing.
Speaker 1: I kind of just have it in its own capsule.
Speaker 1: I don't even think about it as like bad man
Speaker 1: in power abusing the people around him, even though that's
Speaker 1: what's going on. Um, and this is only the second
Speaker 1: time I've seen it. Emily and I saw it together.
Speaker 1: The first time, I really loved it. The uh, I
Speaker 1: don't think so. I think we saw it at home,
Speaker 1: and then this time I was it was a solo
Speaker 1: watch just because she wasn't here, but she she wanted
Speaker 1: to watch it again. She was kind of not upset,
Speaker 1: but just disappointed that she didn't get to watch it again.
Speaker 1: Um and I and I really like the movie a
Speaker 1: lot like Paul Thomas Anderson is just like he's he's
Speaker 1: doing something different every time out that you that you
Speaker 1: normally see in a film, and he's working on a
Speaker 1: different level. And I get that a lot of people
Speaker 1: don't like this stuff. We said this about the Master
Speaker 1: and there will be blood. Uh, and that's you know,
Speaker 1: I kind of admire someone just for making the movie
Speaker 1: he wants to make and not not necessarily to please
Speaker 1: an audience. Totally agree, and there are so few filmmakers
Speaker 1: who have that kind of latitude. Like I don't want
Speaker 1: that to stop. I always want to see what Paul
Speaker 1: Thomas Anderson wants to do. Yeah, I wonder where how
Speaker 1: this came to him? And yeah, you know, I mean
Speaker 1: what I read is he, uh, he either watched a
Speaker 1: film or read something about Balenciaga as a as a
Speaker 1: fashion designer, and then he just sort of went down
Speaker 1: that rabbit hole of like the cult of personality there
Speaker 1: and and came to it as kind of a new enthusiast,
Speaker 1: which is like so interesting that that he chased down
Speaker 1: a new interest and made a film about that. Like
Speaker 1: that that feels like power to me. It's I mean,
Speaker 1: the power that Paul Thomas Anderson has as a filmmaker
Speaker 1: to just be allowed, be permitted and to have a
Speaker 1: budget and go do his own thing is one thing.
Speaker 1: But as like a creative person, there's a there's a
Speaker 1: there's a separate but equal power that has to do
Speaker 1: with his interests, and those interests don't necessarily align with
Speaker 1: his strengths, like imagine being Paul Thomas Anderson and knowing
Speaker 1: what your strengths are and going, I just learned about
Speaker 1: the fashion industry in this era. What if I could
Speaker 1: tell an interesting story here and then he goes and
Speaker 1: does it. I think that's really admirable. It is, And
Speaker 1: I also wonder if you know, of course, Daniel day
Speaker 1: Lewis has supposedly retired after this film, and I believe him,
Speaker 1: do you? I do. I think he's like a boxer.
Speaker 1: I think I think you're picking up the phone, aren't
Speaker 1: you if you're him, because you know, if the phone
Speaker 1: is ringing, you're getting someone's best pitch. You want to
Speaker 1: know what's out there. But he's been getting the best
Speaker 1: pitch for a while. Yeah, he didn't have to fake retirement.
Speaker 1: I don't know. I don't know. We'll see, but I
Speaker 1: wonder how much he uh when he was picking his films.
Speaker 1: I wonder how much he would choose them based on like, well,
Speaker 1: I'm gonna have to learn to sew now like because
Speaker 1: he very famously goes super method and learns how to
Speaker 1: do these things, whether it's becoming a full on carpenter
Speaker 1: or learning how to really so address so I wonder
Speaker 1: if he like that. That's a lot of bad I mean,
Speaker 1: I'm kind of joking, but I'm kind of not. I mean,
Speaker 1: that's a lot of baggage to come with a film
Speaker 1: like do I have it in me to learn how
Speaker 1: to be a probably not a master seamsters or anything
Speaker 1: or seemster. What would you call it? Oh, I like seemster.
Speaker 1: I it's it has to be wrong, but yeah, but
Speaker 1: that's why I like it. Yeah, I'm just curious about
Speaker 1: that if he, uh, if he even considers that stuff like,
Speaker 1: I'm going to have to do this because that's my process.
Speaker 1: That's got to be part of the phone of being
Speaker 1: an actor, though, too, is trying on the character and
Speaker 1: living in him for as long as it takes. I mean,
Speaker 1: you're right about his intensity and his reputation as an
Speaker 1: intense person requires that. I mean, it's it looks believable
Speaker 1: throughout when you see him. Yes, I read that. Vicky Creeps.
Speaker 1: Is that how I pronounced her last name? You know,
Speaker 1: I didn't look it up, but I mean I believe
Speaker 1: if she's of German heritage, which I think she is, right,
Speaker 1: all right, I apologize if it's not correct. I'm gonna
Speaker 1: stay consistent. I think it's creeps if it's I E.
Speaker 1: Like she met dd L on set, like on the
Speaker 1: first day of shooting, which has got to be like
Speaker 1: probably the best way to do it because you don't
Speaker 1: wanna get you don't want to get to your wagon
Speaker 1: a week ahead of time, and like you know, the
Speaker 1: deal with d d L. You gotta call him by
Speaker 1: his his character name and do all that. But like yeah,
Speaker 1: but like for for it to just be on day
Speaker 1: one of the shoot, like that's think how I think
Speaker 1: you want to work with him, like without having to
Speaker 1: get used to a weirdness and you're gonna be intimidated
Speaker 1: either way, so it's not like one is any better
Speaker 1: than the other as far as like making you relax.
Speaker 1: I wonder if dd L had to, like I call
Speaker 1: him d d O, like he's a like he's Diamond
Speaker 1: Dallas Page or I just love that. I wonder if
Speaker 1: he had to like suppress because he is so method
Speaker 1: the eating of giant breakfasts like that, Like I wonder
Speaker 1: if he always had to have cream and sausages and
Speaker 1: and all that. I bet he did. Breakfast is a
Speaker 1: big part of this movie, like not even being funny
Speaker 1: there are a lot of scenes great Breakfast movie around
Speaker 1: that breakfast table and the ritual that he needs, which
Speaker 1: is too have a And you know, I kind of
Speaker 1: like his style, like I'm into a nice quiet morning
Speaker 1: as well, which you know you can't have anymore once
Speaker 1: you have a kid. But um, to me, there's nothing
Speaker 1: wrong if you're if you have no kids, if you're
Speaker 1: married or in a relationship and you live with someone
Speaker 1: waking up and not saying much to each other for
Speaker 1: the first hour or so, it was fine, Oh yeah,
Speaker 1: that's the dream, right, And I'm not groggy or grumpy
Speaker 1: or anything. But there's something about putting on some music
Speaker 1: and just having a very slow start to the day
Speaker 1: that is really appealing to me. Is toast the loudest
Speaker 1: food it was when when she that scene was pretty
Speaker 1: funny too. There was a lot of humor in this movie,
Speaker 1: and I love like it's not just the buttering of
Speaker 1: the toast. Like there's the scene later on where they're
Speaker 1: out on the veranda having breakfast and she's like chewing,
Speaker 1: She's like biting into the toast in such a great way,
Speaker 1: and and the the rack in on on woods on
Speaker 1: Woodcock's face. This is right after they got married. I
Speaker 1: think this is their honeymoon and he like looks out
Speaker 1: in the middle distance, like, my god, what have I done? Right?
Speaker 1: I'm stuck with this for breakfast forever? Yeah. I mean
Speaker 1: the sound design is very kind of funny in those
Speaker 1: scenes because the one where they're inside with his sister,
Speaker 1: which we'll get to her in a second, what a
Speaker 1: what an acting role? Um? It is so sound design
Speaker 1: e to maximize the sound of the knife being put
Speaker 1: back on the plate, the buttering of the toast, the chewing,
Speaker 1: the pouring of the tea, which she does, you know,
Speaker 1: with a little flair that he liked it first. But
Speaker 1: now there's in nineties SNL sketch that Will Ferrell is
Speaker 1: in that is like, that's that sole Conceit is an
Speaker 1: angry father at his family and it sound is turned
Speaker 1: up so hot on on the dinner plates and the
Speaker 1: sound of silverware on those plates as a passive aggressive sound.
Speaker 1: And I know p t A is a big SNL fan.
Speaker 1: I wonder if that inspired the intensity of these scenes
Speaker 1: because it's it's so fun and funny to me. Well,
Speaker 1: and though it's you know, it's kind of funny and all,
Speaker 1: but it really serves a purpose in this film, because
Speaker 1: not only is she disrupting his breakfast, but then there's
Speaker 1: the when she learns how to quietly butter her toast,
Speaker 1: like that all comes back around and you know she's
Speaker 1: she's now being a good little girl around this guy
Speaker 1: who can't have her making any noise, which is really obnoxious. Yeah,
Speaker 1: it's it. Do you ever feel like she's broken? Because
Speaker 1: I don't. I feel like this film very specifically chooses
Speaker 1: two onboard her power early so that we aren't feeling
Speaker 1: sorry for almost character like we do initially like too soon,
Speaker 1: like you're like, oh, man, like don't tell her to
Speaker 1: wipe off her lipstick like that, like that shitty, But
Speaker 1: but almost immediately, like way four halfway through the film,
Speaker 1: she calls him out on his bullshit like the only
Speaker 1: thing I only think you're acting strong line is like
Speaker 1: her her like throwing down the gauntlet like like fuck you,
Speaker 1: I know who you really are, And I think that's
Speaker 1: so important, Like where in time in the film that
Speaker 1: that happens, So you're not feeling sorry for Almo or
Speaker 1: thinking that she's a victim of of woodcocks deal and
Speaker 1: like one of the things my wife asked, was like,
Speaker 1: where Almah's parents and and to me, I was like,
Speaker 1: almost parents would be fucking thrilled in in nineteen fifties.
Speaker 1: What what country is this in? Is this in? Uh?
Speaker 1: This is in England? Yeah, like in nine fifties England,
Speaker 1: post war England for for a waitress to hook up
Speaker 1: with with rich, renowned fashion Yeah, yeah, no, I totally agree.
Speaker 1: There is that tension though. I think, like you want
Speaker 1: who make sure she's okay? But she really is. She's
Speaker 1: a strong character and she displays that in a few ways.
Speaker 1: You know. She has that one line that you were
Speaker 1: talking about with him. She and it's a little bit later,
Speaker 1: but she stands up to Cyril when she wants to
Speaker 1: give him the surprise party. And Cyril is more frightening
Speaker 1: than anyone in this movie, maybe more frightening than anyone
Speaker 1: in any movie ever. She's Manville. Oh man, She's incredible
Speaker 1: but so intimidating. And that guy that one where she
Speaker 1: just sucking evisceerates her brother with that one. That one scene, man,
Speaker 1: it shows who really has the power. I love it
Speaker 1: so much. It's I love that scene and I love
Speaker 1: her in it. It's great how she never raises her
Speaker 1: voice like ever, Yeah, her power comes from her choice
Speaker 1: of words, and like the economy of those words. It's great,
Speaker 1: it's great. But so she stands up to Cyril. She
Speaker 1: I mean, all throughout the movie, she's taking control. She
Speaker 1: goes to the dance by herself on the Year's Eve,
Speaker 1: she um, she she goes with him, She makes the
Speaker 1: choice to sort of be his hero and getting that
Speaker 1: dress off of off. The lady's constantly making empowering decisions
Speaker 1: until straight through to the end when she's you know,
Speaker 1: ultimately empower all along. I love that scene where they
Speaker 1: take the ladies dress off together because that I feel
Speaker 1: like that's the first time you get the sense that
Speaker 1: they're a team, especially in the wedding, even before that
Speaker 1: even happens, like Alma is almost more angry about the
Speaker 1: situation than than Woodcock. They're like at that wedding table
Speaker 1: together watching this dress get fucked up, and she's like
Speaker 1: almost shaking with anger about it. It's one of the
Speaker 1: aspects of the film and her character that that makes
Speaker 1: you believe she's going to be okay, and she has
Speaker 1: agency and she's like she's in it for herself. Like
Speaker 1: I stopped worrying about her at that moment in a
Speaker 1: in a good way. Yeah, and she this movie, I
Speaker 1: could see the same story being so different and different
Speaker 1: filmmaker's hands, and she really like has so much respect
Speaker 1: for him. It's never like, oh, you're just an abusive
Speaker 1: monster and I'm I'm under your thumb. Like she takes control,
Speaker 1: like I said, and she she at the very beginning
Speaker 1: those book ended sort of confessional scenes where you later
Speaker 1: learned that she's speaking to the young doctor, but she
Speaker 1: calls him the most amazing man. And this is all
Speaker 1: in the future, you know. I think you need that
Speaker 1: too to begin the film, to be grounded in the
Speaker 1: idea that she's going to be okay, She's always going
Speaker 1: to be okay. Yeah, I think that's really important. I
Speaker 1: think without those bookends it feels a little more sketchy
Speaker 1: in a way you don't want. Yeah, this film like
Speaker 1: like totally it's weird. What does the work right? Like
Speaker 1: the dialogue is so efficient and cutting that that it's
Speaker 1: doing a lot of the work. But also the sound
Speaker 1: design of this film is something that I love. And
Speaker 1: the house is a character. Those footsteps on the wood
Speaker 1: floor really emphasize the emotional stakes of the characters inside
Speaker 1: that house, and I love how turned up they are.
Speaker 1: I love how you can hear people stopping around. Oh yeah.
Speaker 1: And then that first beautiful shot up the stairwell into
Speaker 1: the light. That's one of my I mean, it's a
Speaker 1: it's a movie shot. We've seen a bunch of times,
Speaker 1: but this is one of the best uses of it
Speaker 1: is looking up through not a spiral staircase, but just
Speaker 1: you know, multiple floors of stairs kind of winding around
Speaker 1: one another. Yeah, and he is there's I don't know, man,
Speaker 1: he makes just the most beautiful movies. There's such a
Speaker 1: sumptuous quality to his period work. Yeah, they're authentic and
Speaker 1: gorgeous and like there's never a frame that doesn't look like, well,
Speaker 1: that's exactly how it probably looked back then. He I
Speaker 1: read that he very and by he, I mean Paul
Speaker 1: Thomas Anderson really specifically did not want super clean film,
Speaker 1: Like he didn't want this to look digital at all.
Speaker 1: Like he really wanted this to look, uh like promised
Speaker 1: it a little bit like a little foggy, a little dusty,
Speaker 1: a little imperfect in a way that really adds character
Speaker 1: to the locations here. Like for as wealthy as Woodcock
Speaker 1: has to be for as large as he lives in
Speaker 1: his home. Like, I never really got the sense of
Speaker 1: the he had a nice home. It was just big
Speaker 1: and it and it served him as a place to
Speaker 1: do his work, right, Yeah, I mean, And I think
Speaker 1: like our idea of nice these days is so different,
Speaker 1: Like and you don't even have to be into modern homes,
Speaker 1: but I think everything has to be so pristine and
Speaker 1: the white you know, court site countertops, and that's just
Speaker 1: sort of the look these days. It's very crisp and clean,
Speaker 1: whether it's a craftsman or a modern And back then,
Speaker 1: these are ancient houses that were lived in with old furniture,
Speaker 1: and it was post war in England. That was in
Speaker 1: England was just fucking mess after the war. They don't
Speaker 1: really talk much about it, but it's sort of there.
Speaker 1: Do you think that Reynolds was a veteran? No, wouldn't.
Speaker 1: Why not? I don't know, man, it just it doesn't.
Speaker 1: I agree with you too, but I can't like it,
Speaker 1: wouldn't he have been or because he was part of
Speaker 1: the aristocracy, you think that that wasn't that wasn't what
Speaker 1: he would have No, I'm saying like because he was
Speaker 1: of a certain social status, like he wouldn't have been
Speaker 1: I don't know, or he was too old maybe yeah,
Speaker 1: I mean, if he's playing his age, he's what like
Speaker 1: mid fifties, I guess so, and that would have been.
Speaker 1: But this is in the fifties, so it could have
Speaker 1: potentially been ten years earlier. But maybe in his forties
Speaker 1: during the war and howl does she? I mean things
Speaker 1: were pretty desperate for a time in Europe and in England.
Speaker 1: I wonder, like I wonder what happened to men of
Speaker 1: his age at that time, rally around the old calls
Speaker 1: the boy Yeah what what? Yeah? I love all those
Speaker 1: driving shots too, when you attach a camera to a car,
Speaker 1: like either the hood of the car or the trunk
Speaker 1: of the car, it's just a cool shot. I love it.
Speaker 1: It looks it always feels dangerous. It's very uh Lawrence
Speaker 1: of Arabia, right like that, Like in the way that
Speaker 1: that film depicted fast motorcycle driving in a way that
Speaker 1: that felt like Checkov's motorcycle. Like I it made me
Speaker 1: feel nervous for him, but but it seemed like so
Speaker 1: much fun. You get in a low slung sports car
Speaker 1: and drive like that, Like I was envious of all
Speaker 1: of those scenes that had to be great fun and
Speaker 1: if you're if you're Daniel day Lewis, like you're actually
Speaker 1: driving the car totally. Yeah. What's funny is too later
Speaker 1: on when she and this is is on the nose
Speaker 1: as Paul Thomas Anderson gets metaphorically, but um, when she's
Speaker 1: sort of taking control, she literally gets in the driver's
Speaker 1: seat and and drives him that one night, and and
Speaker 1: it didn't occur to me the person time I saw it,
Speaker 1: but I was like, that's kind of funny, Like he
Speaker 1: was like, all right, she's in the driver's seat of
Speaker 1: this relationship. Now, let's let's literally put her in the
Speaker 1: driver's seat. That kind of I feel like that was
Speaker 1: the moment she tested the boundaries of what she would
Speaker 1: be permitted to do as a as a caretaker figure
Speaker 1: for him, right, Like that's the first time she she
Speaker 1: slides over and and she's like, I've got it, and
Speaker 1: it's what and when he allows it, that feels like
Speaker 1: a really big moment. It's not the same as being
Speaker 1: weakened by illness and being cared for by her later,
Speaker 1: but I think it's related. I think so too, and
Speaker 1: she she I think I think the power switch comes early,
Speaker 1: like you said, because she realizes that he needs her, yeah,
Speaker 1: probably more than she needs him in a way, because
Speaker 1: she could go off and pretty young woman and and
Speaker 1: marry the doctor or whoever she wants, you know, and
Speaker 1: he's he's much more limited. Like I mean, you get
Speaker 1: the feeling there have been a bunch of women before
Speaker 1: her because of the way they introduced the one lady
Speaker 1: there at first, yeah, and then falling out of fashion
Speaker 1: a bit. And he's older. And that scene on New
Speaker 1: Year's was so carefully done because I think that's the
Speaker 1: scene that supports your argument, because if we because we
Speaker 1: we see her as youthful and energetic and capable of
Speaker 1: of meeting new people and socializing. She's not desperate for him,
Speaker 1: and we don't see her making out with someone or like.
Speaker 1: That wasn't a scene of her stepping out on him,
Speaker 1: but it was a message sent that she could And
Speaker 1: it's how great did that scene look so great? What
Speaker 1: a fun party? That looks like? Like so often you
Speaker 1: see a party scene in a film and you're like,
Speaker 1: that's a film party scene. Yes, that doesn't look like
Speaker 1: that would be that much fun, But this party looks
Speaker 1: like so much fun. Yeah, it was amazing. I mean
Speaker 1: he dropped some serious cash on that, you know, five
Speaker 1: minutes scene. Anytime you drop balloons in a scene, you
Speaker 1: better get it. You can't go back to one after
Speaker 1: the balloons drop. Very hard to reset that I have
Speaker 1: here in my notes too, ad him. I think you'll
Speaker 1: appreciate this is going back to the beginning with her
Speaker 1: first date. Is there ever more of a time to
Speaker 1: get up and run out of a restaurant when your
Speaker 1: date tells you he has a lock of his mother's
Speaker 1: hairson into his coat jacket. Yeah, that should have been
Speaker 1: it for her. She should have been like, all right,
Speaker 1: I'm out, thank you. Maybe that played differently in the fifties.
Speaker 1: Maybe love that trivia though, right, like the idea of
Speaker 1: of the great sewing something into the lining. I think that, yeah,
Speaker 1: that's what he mentions, like like and then that's like
Speaker 1: the little note that got sewn into the she wasn't
Speaker 1: a queen. She was, yeah, some sort of princess or something. Yeah,
Speaker 1: like like that note that I can't remember now, I
Speaker 1: wish I remembered. Yeah, but yeah sure, and she takes
Speaker 1: it out power yeah, yeah, big power move. She's always
Speaker 1: usurping his power. Ah yeah, I mean this movie, if
Speaker 1: you don't even watch closely, that you might think this
Speaker 1: is a movie about a young woman who's being controlled
Speaker 1: by this older man, And it's really not what's going
Speaker 1: on at all, right, It's it's that soft power, which
Speaker 1: is often the biggest power behind the scenes. Well, in
Speaker 1: the power of the muse. Um it's a very valuable
Speaker 1: like you know, you're an asset if you're the muse
Speaker 1: of someone who needs it. Never cursed is what's sewn
Speaker 1: into the stitching. And that was a call back to
Speaker 1: the conversation they had earlier where you know, there's so
Speaker 1: much superstition around wedding dresses in this time, like you
Speaker 1: don't want to touch one if you're unmarried, and on
Speaker 1: and on. That was that was pretty fun trivia too
Speaker 1: that I wasn't aware of. I thought it was interesting
Speaker 1: that these siblings, like I keep wanting to call him
Speaker 1: plain view Um Woodcock has his ritual when he meets her,
Speaker 1: which was view Woodcock is is my poor name, is
Speaker 1: to take away her her writing pad, kind of quiz
Speaker 1: her in away on whether or not she remembers, but
Speaker 1: also have this keepsake to take home, so that was
Speaker 1: his power move and cereals, do you remember the first
Speaker 1: thing she does, she fucking smells her that's right, like
Speaker 1: an and calls out everything she'd eaten and everything she's wearing.
Speaker 1: What kind of soap she used? I mean, talk about
Speaker 1: a power move, man. There is a real element to
Speaker 1: like her being cattle in that in that scene, like
Speaker 1: all measured up, and uh, that's the only time I
Speaker 1: really felt bad for her because the dynamics shifted so
Speaker 1: quickly when Cyril came in there. She gets smelled down
Speaker 1: and when he's measuring her, embarking out her measurements so
Speaker 1: coldly like she's a mannequin. That's the That's the only
Speaker 1: time where I see her really like, I mean, not suffering, suffering,
Speaker 1: but you know what I mean. There's a neutrality to
Speaker 1: Vicky Creeps's performance there though, that I think kind of
Speaker 1: saves it from that creep factor. And I don't know
Speaker 1: if this is just me projecting or not, but I mean,
Speaker 1: so much of that scene is thrilling for her. She's
Speaker 1: a it's it's a little bit pretty woman right like
Speaker 1: she's she was a waitress days ago, and now she's
Speaker 1: getting measured for a dress that in a thousand years
Speaker 1: she'd never be able to afford by the best dressmaker
Speaker 1: in her country. Like, like, there's there's elements of that too,
Speaker 1: and it's a great Like what a first impression between
Speaker 1: her and Cyril. Yeah, I mean that whole scene was
Speaker 1: meant to put her, to let her know her place
Speaker 1: in that situation. Nothing to humanize is like measurements though,
Speaker 1: right well, and remember what he says to He says,
Speaker 1: you have no breasts, and but then he says, you're perfect.
Speaker 1: It's my job to give you some if I choose to,
Speaker 1: if I choose to. Yeah, that those the words there
Speaker 1: at the end, Man, is the line, I guess, Yeah,
Speaker 1: that's the line. Yeah. Great, And it's right there sort
Speaker 1: of at the end of that first act that things
Speaker 1: start to turn a little bit. I mean, she's basically
Speaker 1: told that her taste is incorrect, she's not allowed to
Speaker 1: have an opinion, and you really think this movie is
Speaker 1: going in that direction hard, and she she's just she
Speaker 1: she's not having it though. I like how you never
Speaker 1: see her dressed poorly, like she's dressed for work when
Speaker 1: you first meet her, but you never see her like
Speaker 1: wearing rags. This isn't like the literal rags to reach
Speaker 1: his story, and I like that about this film, Like
Speaker 1: her transformation goes from you see her at work and
Speaker 1: she's dressed nice and neat for her shift, and then
Speaker 1: you see her later and she's dressed up for her
Speaker 1: date and she looks great for the date, and then
Speaker 1: from then on you never see her not looking amazing
Speaker 1: in something that that was made for her. I love
Speaker 1: the casting of her because I you know, she was
Speaker 1: basically an unknown in the United States, very pretty and
Speaker 1: just has that great European look to her face, and
Speaker 1: it would have just ruined it. I think if he
Speaker 1: would have I to cast some American actor. She's really beautiful,
Speaker 1: but she's also really uh Like she's got that Sarah
Speaker 1: Paulson vibe where she could be anyone in any movie,
Speaker 1: Like I I feel like you could she could be
Speaker 1: anything in a in a way that's got to be
Speaker 1: exciting for any actor. Like I hope she's getting called
Speaker 1: for all of it and just turning a bunch of
Speaker 1: ship down that she doesn't want to do, because I
Speaker 1: feel like she would fit right in to whatever you're making.
Speaker 1: I feel like I saw her not in something but
Speaker 1: that she was going to be in something soon, just
Speaker 1: like a couple of days ago, or maybe she was
Speaker 1: in a trailer or something, but she didn't like just
Speaker 1: blow up all this is what like four years ago. Yeah,
Speaker 1: I mean there was no there was no rocket career
Speaker 1: trajectory after this. But I don't feel like that's how
Speaker 1: it works with ensemble Paul Thomas Anderson films. Really like
Speaker 1: he's not a starmaker like that. Yeah, I think you're right,
Speaker 1: because these movies, I mean that they're not there's an
Speaker 1: audience for them. But the audience for Phantom Thread wasn't huge.
Speaker 1: Like I don't know what this did at the box office,
Speaker 1: but serious film lovers is who goes in zzs. I
Speaker 1: wonder to use a film analogy if, like you know
Speaker 1: how some athletes are painted as like a system quarterback,
Speaker 1: Like that quarterback played great for that team because the
Speaker 1: system made them great. I wonder if you get painted
Speaker 1: with that brush if you're in a Paul Thomas Anderson
Speaker 1: film or similar where where you get that great director
Speaker 1: brush on you and and the reputation is, well, yeah,
Speaker 1: she's great, but she was in a Paul Thomas Anderson film,
Speaker 1: and that's why and I wonder if if that like
Speaker 1: hurts you as an actor in a weird way. I
Speaker 1: don't know, I mean a bit. She's been busy in Europe. Yeah,
Speaker 1: I mean that that's her jam. She's just, you know,
Speaker 1: not everyone wants to like. I feel like the woman
Speaker 1: in Inglorious Bastards kind of did a couple of bigger
Speaker 1: mainstream movies here and then I think was content to
Speaker 1: stay in Europe for the most part. Yeah, yeah, you
Speaker 1: want to stay in Europe. You don't want to come
Speaker 1: out here. So let's talk about the powership a little bit.
Speaker 1: I think. I mean this, like I said, you know
Speaker 1: a few times, this movie is all about power and
Speaker 1: then it going from one to the other. And I
Speaker 1: think when it really happens for the first time, like
Speaker 1: they spend a little bit of that beginning sort of
Speaker 1: dehumanizing her somewhat, is when he is broken from work
Speaker 1: for the first time and she cares for him and
Speaker 1: realizes that she loves that feeling of this powerful man
Speaker 1: being brought to his knees and her being the key
Speaker 1: to nursing this great person back to doing their great work.
Speaker 1: Big foreshadowing of what's to come, obviously, but I think
Speaker 1: that's really when that that turn happens. Yeah, And her
Speaker 1: performance is so subtle that when she recognizes that, it's
Speaker 1: fun like like, it's not too much later that she's
Speaker 1: back out in the forest getting mushrooms, you know. Yeah,
Speaker 1: which you don't know exactly what's going on at first,
Speaker 1: and then they make it pretty obvious, you know, it's
Speaker 1: not like they make that they hold that to the
Speaker 1: very end to reveal like it shows her reading about
Speaker 1: the poison stuff. Yeah, I mean the reveal of the
Speaker 1: film is that he's into it when that moment comes.
Speaker 1: But but but the road there is so delicious. Well
Speaker 1: we'll get to that. I want to talk about it now,
Speaker 1: but we'll get to that. Um. I love the barber
Speaker 1: Rows stuff, you know, the lady they take the dress
Speaker 1: off of because she functions. Is this again it's it's
Speaker 1: all about This movie is all about power, Like he
Speaker 1: detests that she has the power over his life somewhere
Speaker 1: that he needs he has to do this work for
Speaker 1: her because she pays him a lot of money to
Speaker 1: do it. It's interesting, like you hear about her before
Speaker 1: she shows up and you're like, oh, what is she
Speaker 1: going to be? Like, she's going to be awful. She
Speaker 1: wasn't that bad, and that's that's what my point was
Speaker 1: going to be, is like she's a rich debutante, like
Speaker 1: like she's just sort of unhappy. I think she's just
Speaker 1: an unhappy, rich drunk who's not mean to him or
Speaker 1: like you're I'm sure you've been in professional relationships where
Speaker 1: that feel parasitic, where you're like, I gotta do this
Speaker 1: thing and this person is being shitty to me, But
Speaker 1: that isn't what's going on here, Like he just seeks
Speaker 1: a purity in how his work is treated and be
Speaker 1: because she isn't capable of that. That's the hang up, right,
Speaker 1: And and he hates like I think Cyril even says
Speaker 1: that she pays for this house, yeah, which is what
Speaker 1: makes the risk of taking the dress off of her
Speaker 1: feel so filled with tension, Like is he sacrificing something
Speaker 1: greater than we think in that moment? I mean, clearly not,
Speaker 1: because he gets to keep his house. But something tells
Speaker 1: me that Barbara Rose is one who would sober up
Speaker 1: and and and still wanted him to do work for her. Yeah. Yeah,
Speaker 1: because she's embarrassed and she knows she's a loathsome drunk
Speaker 1: I love that scene, like when they first access her
Speaker 1: her penthouse or whatever at the wedding, Barbara Roses Handler
Speaker 1: is on the scene and it's just like incapable of
Speaker 1: and she's so outclassed. Yeah, she brought a knife to
Speaker 1: a gun fight there for sure, you want the dress
Speaker 1: she's in bed and then and then uh, Vicky is
Speaker 1: the one who like he doesn't even shove her through
Speaker 1: the door, like like you said earlier, She's she's all
Speaker 1: about going to get that thing, yeah, which I love.
Speaker 1: It was a big moment when she did that. It
Speaker 1: changed the tone of her whole character. Well, and it's
Speaker 1: right after that that she she stands up to Cyril
Speaker 1: about the birthday party, and boy, that scene was to
Speaker 1: see how discombobulated he was for his routine to be
Speaker 1: disrupted in the house to be empty, and like how
Speaker 1: many times did he asked where Cyril was in that
Speaker 1: first like a minute? Yeah, when did she leave? Where Cyril?
Speaker 1: Where Cyril? When she coming back, it was like it
Speaker 1: became kind of pathological. Yeah, and and creepy again, he's
Speaker 1: like a man child almost. Well, I mean it is
Speaker 1: that enabler thing right he needs, Like I feel like
Speaker 1: he is self aware enough to know that he his
Speaker 1: behavior is boorish. Sure, but what he has is Cyril
Speaker 1: in his back pocket, Cyril making it okay. And if
Speaker 1: no one was around to make it okay, maybe he'd
Speaker 1: be capable of changing the way he treats people. But
Speaker 1: as long as you don't have that check, Cyril is
Speaker 1: just going to keep kicking the Joanna's of the world
Speaker 1: out of his house for his for all time. And
Speaker 1: Vicky becomes that check. Yeah, And it's at that dinner
Speaker 1: scene where she finally they finally have it out and
Speaker 1: she calls him out, and that scene is actually has
Speaker 1: some pretty funny stuff too, when he's, ah, where's your gun?
Speaker 1: Whom you're gun? You come to kill me? Where's your gun?
Speaker 1: Like that's so funny, and I know he was trying
Speaker 1: to get a laugh out of that. How surprised were
Speaker 1: you when the scene where Cyril says that she likes Alma.
Speaker 1: I'm pretty surprised, actually, me too. That was a big
Speaker 1: as big of a reveal as anything. Almost. I love
Speaker 1: that moment because I like, I like feeling like Alma
Speaker 1: won her over, and it was especially good feeling that
Speaker 1: it that I didn't know that it had happened until
Speaker 1: she said it. It was a nice reveal. Is it
Speaker 1: that thing though, where someone stands up to the asshole
Speaker 1: and then the asshole then respects them. Is that what
Speaker 1: happened there? But I think it's interesting that Almah doesn't
Speaker 1: know that, Like Cyril never tells Alma that she. I
Speaker 1: think she treats her a little better going forward. But
Speaker 1: I if you ask Alma from then on, if if
Speaker 1: she's found herself on Cyril's good side, I think Alma
Speaker 1: would say no, she she hates me as as much
Speaker 1: as ever. Right, But does Cyril get that respect? Because
Speaker 1: Alma did stand up to her, absolutely, but she would
Speaker 1: never give her that. I mean what's interesting is like
Speaker 1: in that early scene where you where you recognize Cyril's
Speaker 1: power when she kicks out Joanna. I feel like Joanna
Speaker 1: is resistant to Cyril like in a way that Why
Speaker 1: didn't Joanna make it work in that same way? I
Speaker 1: don't know. Well, Joanna didn't do it in a clever way.
Speaker 1: She was more sort of stomping her feet about her
Speaker 1: situation and Alma and Vicky was much more clever. That
Speaker 1: had to be it, right, Yeah, you're just calling her
Speaker 1: by your actor name. I know that's weird. You're very
Speaker 1: familiar with Vicky creeps. You're kind of being a Vicky creep, Chuck,
Speaker 1: I'm being a Vicky creep. No, Alma is much more
Speaker 1: clever and and I think, I bet you there's been
Speaker 1: a lot of women to come through in that role
Speaker 1: as as living mannequin um slash toast butterer. And I
Speaker 1: think that Alma is the most capable, the smartest, the
Speaker 1: most clever, the strongest. And I think game represent game
Speaker 1: respect game, and Cyril knows that. I like that. I
Speaker 1: never got the feeling that this was coming from a
Speaker 1: place where almost got nothing to lose, Like I think
Speaker 1: we've seen this movie before where the Alma of the
Speaker 1: film rags two riches herself into a position where like, like,
Speaker 1: what does she care if she fux this up? She's
Speaker 1: going to go back to her waitress job and things
Speaker 1: are going to be fine. There is that is not
Speaker 1: suggested at all. Yeah, she she acts in her interest
Speaker 1: in a way that is completely uncoupled from any sort
Speaker 1: of consequence. And I like not knowing that. I like
Speaker 1: not cutting to her in her room in the home
Speaker 1: after she gets into an altercation with Cyril and her
Speaker 1: like heavily breathing, like holy shit, like should I have
Speaker 1: done that? You never get a sense of Alma's inner
Speaker 1: life in a way that I think you would get
Speaker 1: in a lot of other films. And I think this
Speaker 1: makes Alma a stronger character, Like making her a little
Speaker 1: less known works in her favor and makes her stronger. Yeah,
Speaker 1: And I think that's also a reason why she is
Speaker 1: a person unto herself. There is no best friend, there's
Speaker 1: no sister, there are no parents, like they're there because
Speaker 1: normally in a movie like this, she would call her
Speaker 1: her sister or her friend and talk about what's going
Speaker 1: on in this House of Horrors or whatever, and she's
Speaker 1: totally just I mean, this movie is as a very
Speaker 1: isolating feeling, kind of like there will be blood in
Speaker 1: some ways, you know what, come to think of it,
Speaker 1: Like no one has an inner life in this movie.
Speaker 1: No one gets that moment to step back and think
Speaker 1: and and regret or fear or hope or or anything.
Speaker 1: Everything is played out in front of someone else, isn't it.
Speaker 1: I'm trying to think if there's a single scene with
Speaker 1: by themselves. No, I don't think there is. And I
Speaker 1: think that's part of what makes so many of the
Speaker 1: interactions in this film feel fraught or dangerous or or
Speaker 1: filled with tension. And then you slather the Johnny Greenwood
Speaker 1: on that and like forget its bread and butter on toast.
Speaker 1: Oh yeah, very loud toast. That's Johnny Greenwood. Yeah, so
Speaker 1: you got Johnny Greenwood and you also have some classical
Speaker 1: pieces here and there really works for the movie. It
Speaker 1: wasn't Johnny Greenwood from There Will Be Blood, Like I
Speaker 1: love his range, because that that would have made it
Speaker 1: feel like a horror movie. I think I love like
Speaker 1: Johnny Greenwood, and There Will Be Blood is like nine
Speaker 1: out of ten strength, and I feel like he dialed
Speaker 1: it down to like a four here and it's perfect
Speaker 1: in the in the way that like the edit that
Speaker 1: you detect is a bad edit. I feel like music
Speaker 1: works that way too, right, Like this is this is
Speaker 1: adding to the feeling instead of making itself the star
Speaker 1: of the moment, right, Yeah, which is really in a
Speaker 1: merchant ivory like this is probably pt a stab at
Speaker 1: a merchant ivory type of thing. Yeah, in his own
Speaker 1: sort of fucked up way. Yeah, And especially because the
Speaker 1: film is so interested in the diagetic sounds of the life,
Speaker 1: like of the life in that house, the stopping and
Speaker 1: the clinking and the toast and and all of that. Yeah,
Speaker 1: I'm trying to find the breakfast scene. Ah see what
Speaker 1: exactly what Cyril says, because, like you said, though, it's
Speaker 1: really the way she says it, more so than the
Speaker 1: actual lines, because in my head, you know, I'm thinking
Speaker 1: she says like, I will fucking end you. She doesn't
Speaker 1: say that, right, It's that don't pick a fight, right all? Right?
Speaker 1: Here we go? Here we go. Do you like me
Speaker 1: to ask im to leave? No? Why for me to
Speaker 1: make a ghost? Go ahead and do it. But please
Speaker 1: don't let her sit around waiting for you. I'm very
Speaker 1: fond of her. You're very fond of her, are you?
Speaker 1: In that case? M you don't turn it on me.
Speaker 1: I don't want your cloud on your setups and shut
Speaker 1: right up to pick a fight with me. You certainly
Speaker 1: would't come out of life right through you and you
Speaker 1: who ends up on the floor understood. Oh man, I've
Speaker 1: never been more scared of a character in a Paul
Speaker 1: Thomas Anderson film than After That Life or any movie like.
Speaker 1: That's one of the scariest scenes in any movie. I
Speaker 1: think that's so great, man, I wonder if I can
Speaker 1: get sued for that. It's so interesting how Leslie Manville's
Speaker 1: physicality isn't there in this movie. Like she never gets
Speaker 1: in anyone's face, she never points a finger, No, she
Speaker 1: never raises her voice. And that scene is so emblematic
Speaker 1: of this It's like I feel like she's holding her
Speaker 1: teacup or something when she says it, like she's drinking.
Speaker 1: And it's so casually delivered in a way that like
Speaker 1: the most powerful people are able to do, Like it's
Speaker 1: it would be nothing for her to destroy him. Yeah,
Speaker 1: and that's thirty seconds. Uh and you too, Humongous things
Speaker 1: happen there, which is you really finally see who truly
Speaker 1: is the beast in this movie and who has control?
Speaker 1: And you also know for sure that she is sticking
Speaker 1: up for Alm in a big way. Yeah, Like you
Speaker 1: can't treat her like who's who's the first one? Joanna? Joanna? Yeah,
Speaker 1: Like I'm not gonna let you do that. I wonder
Speaker 1: how close they came to Like obviously this is a
Speaker 1: Daniel day Lewis joint, but like you could you could
Speaker 1: fill a lot of this movie with with Leslie Manville
Speaker 1: up to up to the level of of Daniel day
Speaker 1: Lewis minutes and I don't. And I think the movie
Speaker 1: becomes better and better when you do give me a prequel,
Speaker 1: That's what I'm saying. Like her, I could use the
Speaker 1: the eight episode HBO Max mini series that's just Cyril
Speaker 1: and Cyril's life. I think she was nominated. Did she
Speaker 1: win an Oscar? Oh boy, I do not know that.
Speaker 1: I'm pretty sure she was nominated. She's deserving of of
Speaker 1: all the things for this. Yeah, I mean there. I
Speaker 1: have so much respect for these roles that are just
Speaker 1: played between the forehead and the chin, you know, yeah, yeah, yeah,
Speaker 1: the control of it. And imagine being in a film
Speaker 1: with with DDL and like toe to toe, yeah, toe
Speaker 1: to fucking toe, Like she is not diminished next to
Speaker 1: him at all. She's incredible. Yeah. I bet when she
Speaker 1: read this script and saw that specific scene and she's like,
Speaker 1: I'm gonna go up against Daniel day Lewis basically and
Speaker 1: tell him I own his ass. Like what an opportunity
Speaker 1: for an actor. It's pretty cool. I love how you know,
Speaker 1: like you do this with wardrobe right, like a character
Speaker 1: is put together and finished and in control when you
Speaker 1: look at them, like if they're costuming is perfect and
Speaker 1: on point. And this is one of those films that
Speaker 1: makes that clear. Like when Reynolds is dressed, he's he's
Speaker 1: a beautiful man and he looks put together. But like
Speaker 1: the way you suggest that he's unwell is with his
Speaker 1: hair and when and like there's that fallen Samurai quality
Speaker 1: to him, like when when his hair kind of falls
Speaker 1: out a little bit when he's sick. That's how you
Speaker 1: can tell when he's fucked up. I love how they
Speaker 1: do that. Yeah, and I'm trying to remember the first
Speaker 1: time I saw this, Like I was really thrown Like
Speaker 1: I didn't have any spoilers going into it. Yeah, me too.
Speaker 1: I thought, you know, I thought she was maybe trying
Speaker 1: to kill him slowly and get away with it at Yeah,
Speaker 1: it's the implication if you if you haven't seen the film,
Speaker 1: because a thousand movies have told that exact story. Yeah,
Speaker 1: and oh boy, like what a stroke of genius idea
Speaker 1: to like turn that on its head and yanked the
Speaker 1: rug out from under the viewer. That don't not only
Speaker 1: have this to be a control thing for her, but
Speaker 1: like you said, the big the beg ending man, I mean,
Speaker 1: what did you think the first time you saw that
Speaker 1: and you realized that he was into it? What a scene?
Speaker 1: I mean I think I probably laughed, but I laughed
Speaker 1: not because it was funny. I just laughed at the
Speaker 1: audacity and the and the realization of that being, of
Speaker 1: that being the reveal. I loved it. I loved it
Speaker 1: the first time I saw it, and I loved it
Speaker 1: in the subsequent viewings of the movie. It's it's so
Speaker 1: satisfying to suspect that it's coming from a dark place
Speaker 1: but instead real is that, um that it's sympathetic, Like
Speaker 1: it's both characters taking something from this arrangement and and
Speaker 1: getting what they need. It's it's really brilliant. It's brilliant
Speaker 1: in a way that doesn't make you feel dirty either,
Speaker 1: you know. Like this again, I feel like so much
Speaker 1: of what so many scenes that we talk about when
Speaker 1: we talk about this film are like, Wow, they really
Speaker 1: avoided the big mistake here. The cliche is what they avoided,
Speaker 1: and this is another example of that. Like it could
Speaker 1: have this this film car could have rolled into the
Speaker 1: ditch in this moment, especially, and it didn't. Instead, it's
Speaker 1: like the strength of the actors in this scene make
Speaker 1: it makes sense and make it understandable. I think, actually,
Speaker 1: thinking back, I'm pretty sure I was a little confused
Speaker 1: at the end, and and I'm brave enough to admit
Speaker 1: that I wasn't right away like, oh my god, he
Speaker 1: was into it. I think it was more like Emma
Speaker 1: and I were both like, but what just happened was that? Yeah,
Speaker 1: and this is the kind of movie that you know.
Speaker 1: I dive right into the internet afterward it's quickly confirmed.
Speaker 1: I'm like, yeah, that's exactly what was going on, because
Speaker 1: it's such an unconventional thing to do. I don't feel
Speaker 1: too bad for being a little confused. I really like
Speaker 1: reading scripts. I haven't read this script, but I've got
Speaker 1: to believe that the parenthetical for this performance for Daniel
Speaker 1: day Lewis is like Reynolds Woodcock eats the mushrooms at Alma,
Speaker 1: Like like that's that's the vibe, like like the omelets
Speaker 1: in front of him and he and the tension of
Speaker 1: just sort of chopping it up, yeah, looking right right
Speaker 1: at her, looking right at her and taking it down,
Speaker 1: like he eats the mushrooms at Alma. Yeah, yeah, and
Speaker 1: that look on his face, Um, it's weird he has this.
Speaker 1: It's almost like and I think upon this viewing, and
Speaker 1: this is where I sort of gathered this was that
Speaker 1: he has this primal desire almost to lose control and
Speaker 1: to be submissive and to be taken care of. But
Speaker 1: I don't even think he understands that. Does that make sense?
Speaker 1: It does make sense, and I wonder if it's brought
Speaker 1: it out in him maybe. Yeah, I mean, so much
Speaker 1: of so many disordered thoughts or or or or interests
Speaker 1: in nineteen fifty in the nineteen fifties, I feel like
Speaker 1: we're you know, whispered about. I don't believe that Reynolds,
Speaker 1: like there's probably not a name for what this is,
Speaker 1: but like orders on sado masochism in a way, right,
Speaker 1: But but I don't, you know, if this were happening
Speaker 1: in if this is happening today, I think it would
Speaker 1: very easily have that label. But back then, I think
Speaker 1: Reynolds has got to just be titillated by what he's
Speaker 1: feeling without without a name for it. Yeah, I mean,
Speaker 1: part of me thinks he had this primal desire that
Speaker 1: she tapped into that he didn't know was there. Like
Speaker 1: it happened and he was like, Oh, I like the
Speaker 1: way that felt, because I'm a person that has to
Speaker 1: control my environment down to the tinner of the breakfast sounds,
Speaker 1: and to to lose to give that control up appealed
Speaker 1: to him in a way that I don't think he
Speaker 1: realized it would. Or maybe she just didn't bore him.
Speaker 1: You know what. This is like the tenth time we're
Speaker 1: going to ring the spell here, But this film doesn't
Speaker 1: turn into misery here in a way it's so easily
Speaker 1: could have, Like, and I think it's fixed with dialogue,
Speaker 1: like Alma, And this isn't secret dialogue either. This isn't
Speaker 1: just Almah talking to her doctor friend about him, like
Speaker 1: they allude to this, Alma and Reynolds between each other,
Speaker 1: like they talk around what this relationship dynamic is when
Speaker 1: he's sick in a way that helps, it helps unmisery
Speaker 1: the moment in a way that makes you believe where
Speaker 1: you have to believe it at the end of the film,
Speaker 1: that she's not trying to kill him, and that they're good. Yeah,
Speaker 1: they're good with it, like and not just good with it,
Speaker 1: but they're like good with each other, good with each other.
Speaker 1: And I feel like he's he is finally relieved this
Speaker 1: hold of control that has allowed him to be free
Speaker 1: in a way, and and she has gained this power
Speaker 1: that she probably didn't know she ever had, and the
Speaker 1: way she talks about him. Then those book ended scenes
Speaker 1: with the doctor, it's all right there, man, she's she's smiley.
Speaker 1: I've got a great relationship with my wife, and I'm
Speaker 1: fortunate to say that I love her a lot. But
Speaker 1: if you told me that, like, like four days of
Speaker 1: diarrhea would make our relationship like better? Hell yeah, hell yeah,
Speaker 1: what about you wouldn't wouldn't you take it? I would
Speaker 1: eat that almond so fast? Hell yeah? Yeah, I've already
Speaker 1: got four days of diarrhea per month, Like it's unfair.
Speaker 1: Yeah yeah, that seems like a fair trade, especially for
Speaker 1: the road that Reynolds has been on. It seems like
Speaker 1: like he's found the one. It's a happy ending, right.
Speaker 1: I wonder where this. I wonder what the endgame is.
Speaker 1: So I wonder where these people are in five years.
Speaker 1: You can't keep poisoning yourself like that and not have
Speaker 1: some sort of long term effect, right, I wouldn't think so.
Speaker 1: And I think eventually diarrhea probably you chase that mushroom dragon.
Speaker 1: Long enough, you're just gonna keep eating more and more
Speaker 1: of these things. I think that's probably a bad deal. Yeah.
Speaker 1: Does it end up in an accidental killing? Yeah, I
Speaker 1: mean in the fifties, absolutely, Yeah, I think Reynolds is
Speaker 1: dead in two years. Like, and I'm betting the under
Speaker 1: This isn't one of those movies that where I kind
Speaker 1: of delight in thinking like where did these characters go
Speaker 1: from here? Like these movies are best sort of left
Speaker 1: as they are. You know what's interesting about the triangle
Speaker 1: of Cyril and Reynolds and Alma is that Cyril never
Speaker 1: knows what Alma's doing to Reynolds, and if she did,
Speaker 1: it would never work, it would never be worth it.
Speaker 1: And so like to to think about a timeline where
Speaker 1: Reynolds is dead and it's the Alma and Cereal show.
Speaker 1: That's big fun. Yeah, the phantom sequel. Yeah, why is
Speaker 1: this called the phantom thread? Is that the name of
Speaker 1: the thing that you stitch into someone's lining? I don't know.
Speaker 1: I don't know why, I don't I don't think that
Speaker 1: I wasn't able to find that. Yeah, I don't know either.
Speaker 1: By the way, thank you for sending me that Instagram.
Speaker 1: I'm meant to shout that out, and I was waiting
Speaker 1: for you the what's it called the color palette cinema?
Speaker 1: Color palette cinema. Yeah, I sent that to you because
Speaker 1: I just recently found out that you yourself had an Instagram.
Speaker 1: I've known you for years. I found out I found
Speaker 1: it a month ago that you had it. I've only
Speaker 1: had it for about six months, so i haven't been
Speaker 1: on for long. It's great. Yeah, I enjoy it. But yeah,
Speaker 1: color palette cinema, you guys on Instagram has film stills
Speaker 1: and then a color chart. Yes, basically yes, watches of
Speaker 1: the color palette of that scene. And you know a
Speaker 1: lot of times that scene is indicative of that movie
Speaker 1: as a whole. Yeah, very cool stuff. And you sent
Speaker 1: me the Master, I think right, or was it there
Speaker 1: will be blood? I think I sent you the Master.
Speaker 1: It's very much like a I feel like you could
Speaker 1: pitch the idea for this Instagram by starting with Wes Anderson,
Speaker 1: like like a very a very in your face color
Speaker 1: palette type of filmmaker. But you realize when you when
Speaker 1: you follow an account like this, just how how many
Speaker 1: filmmakers work work in these tones? Tones that that become
Speaker 1: their own. And I feel like, like speaking of Wes Anderson,
Speaker 1: like Phantom Thread feels like a Wes Anderson film shot
Speaker 1: at forty five degree angles instead of head on. Like
Speaker 1: every I feel like every scene is is fixed in
Speaker 1: a way that that unlike Wes Anderson, is a little
Speaker 1: less fixed. You know, it doesn't make it like composition,
Speaker 1: doesn't make itself the star of the moment. Yeah, I
Speaker 1: mean it's definitely p t A's least showy. Yeah. Camera wise,
Speaker 1: I think they're a few here and there, but it's
Speaker 1: it's pretty locked down. I read that he wanted Bob
Speaker 1: Elswood for it and he wasn't available, and so it
Speaker 1: was cinematography by committee. Like that's the legend of this film,
Speaker 1: is the p t A shot at himself, But he
Speaker 1: has he's denied that and said that it was by committee.
Speaker 1: But whatever the truth is, it's it's a really beautiful film.
Speaker 1: It is as they all are. Yeah, it makes me
Speaker 1: sad that this project is almost over. We we got
Speaker 1: the one we're coming up, but we'll just have to
Speaker 1: think of what what else we want to do. We
Speaker 1: gotta start a new series. Yeah, I mean, we can
Speaker 1: do whatever you want we can do a filmmaker series
Speaker 1: or a genre thing or or just or just just
Speaker 1: films that we like. Yeah, we can do Maybe we'll
Speaker 1: do another round, Like, maybe we'll just do films that
Speaker 1: that we like, films that we like. I'm into that,
Speaker 1: let's do it. I just want to keep doing this
Speaker 1: with with you. This is a lot of fun. Yeah,
Speaker 1: me too, absolutely, And I know we're going to see
Speaker 1: each other in September, which I'm super excited about. Yes,
Speaker 1: me too. Are super secret hang in person hangs with
Speaker 1: you and your lovely wife and Ben Harrison and his wife,
Speaker 1: Yeah and the gang back to Yeah. Yeah, I'm really
Speaker 1: looking forward to that. It's fun to make plans and
Speaker 1: amen and look forward to things again. All right, dude,
Speaker 1: well this is great. That's gonna come out in a
Speaker 1: couple of weeks. Where can people follow you always like
Speaker 1: to plug your ship? Uh well, I am known for
Speaker 1: too great podcasts at the moment. The greatest generation is
Speaker 1: my Star Trek podcast, and the greatest discovery is my
Speaker 1: new Star Trek podcast. That's right, And I like I
Speaker 1: like guesting on shows, so so i I'm a I'm
Speaker 1: a guest on on my Friends shows like yours and
Speaker 1: I can be found. I'm out there. I'm on Twitter
Speaker 1: and cut for time and follow me there that I
Speaker 1: think I think that's uh. I think those are all
Speaker 1: the bases to go. All right, fantastic sir, So thank
Speaker 1: you Adam, And for now, this concludes our PTA series
Speaker 1: until the new one comes out. I hope everyone has
Speaker 1: enjoyed it and checks out these movies. I'm sorry we
Speaker 1: didn't get the punch drunk love. I don't do repeats.
Speaker 1: You can take it up with Tony Hill if you
Speaker 1: ever see him out. Oh yeah, a bunch of that
Speaker 1: nice guy right in the face, only Hale. That'll be
Speaker 1: your first misfight with with the nicest guy in Hollywood.
Speaker 1: I do not want to be that kind of famous.
Speaker 1: All right, Thanks Budd, thank you. Movie Crash is produced
Speaker 1: and written by Charles Bryant and Meel Brown, edited and
Speaker 1: engineered by Seth Nicholas Johnson, and scored by Noel Brown
Speaker 1: here in our home studio at Potsty Market, Atlanta, Georgia.
Speaker 1: For I Heart Radio. For more podcasts for my Heart Radio,
Speaker 1: visit the I Heart Radio app, Apple podcast, or wherever
Speaker 1: you listen to your favorite shows.