WEBVTT - Filmmaker Series: Adam Pranica on Phantom Thread

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<v Speaker 1>Welcome to Movie Crush, a production of I Heart Radio.

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<v Speaker 1>Hey everybody, and welcome to Movie Crush Friday Interview edition

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<v Speaker 1>filmmaker series with my old friend Dadam Pranica. Oh that's nice.

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<v Speaker 1>Who has a nice soap opera glow on his face?

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<v Speaker 1>You know, not enough people sing my name. I've been

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<v Speaker 1>really missing that sing my name, Sing my name and

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<v Speaker 1>the how it goes. Yeah, Hey, buddy, good to see you.

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<v Speaker 1>Just great to see you. It's been a while since

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<v Speaker 1>we've done one of these. It has been a while.

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<v Speaker 1>I think we both kind of secretly been sad about

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<v Speaker 1>completing this project for now. As we all know, Paul

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<v Speaker 1>Thomas Anderson has a film coming out this year, premiering

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<v Speaker 1>it Can I believe? Right, Yeah, I think so, and

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<v Speaker 1>kind of getting back to his I don't know about

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<v Speaker 1>his roots, but sort of a story less like there

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<v Speaker 1>will be blood and Phantom Limb and more like Boogie Nights.

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<v Speaker 1>It sounds like, yeah, maybe he watched Once upon a

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<v Speaker 1>Time in Hollywood and he was like, fuck you, I

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<v Speaker 1>can do it better. Yeah, And of course it won't

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<v Speaker 1>be like Boogie Boogie Nights, but it's it's not a

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<v Speaker 1>movie with probably people that are loathsome and awful. I

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<v Speaker 1>didn't realize this until I started doing a little bit

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<v Speaker 1>of research for this film. But this is like what

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<v Speaker 1>four period pieces in a row for Paul Thomas Anderson,

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<v Speaker 1>and I hadn't realized that until reading that, And I'm

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<v Speaker 1>I'm kind of happy for him to go back to

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<v Speaker 1>the valley. At least I know his next movie is

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<v Speaker 1>going to be a period movie too. But like he's

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<v Speaker 1>such a like California and Paul Thomas Anderson are like

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<v Speaker 1>hand and glove, you know. Yeah, So before we get going,

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<v Speaker 1>we like to talk about what we're drinking, because that's

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<v Speaker 1>what you and I do traditionally, is we go at

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<v Speaker 1>about nine pm my time, six pm your time, and

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<v Speaker 1>you're drinking a big old fish bowl or something that

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<v Speaker 1>a martini. It is. I was trying. I try to

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<v Speaker 1>match my drink to the movie when it's possible. Well, fuck, dude,

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<v Speaker 1>why didn't you tell me you were having a martini?

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<v Speaker 1>I would have had a martini. Well, the last time

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<v Speaker 1>you and I talked to Martiniz, you sprung it on

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<v Speaker 1>me that that you were having one, and I was like, oh,

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<v Speaker 1>that sounds really nice. And then you took a picture

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<v Speaker 1>from your bathtub where you were drinking it. That is

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<v Speaker 1>very true. I had a bathtub martini like Arthur style. Yeah,

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<v Speaker 1>like I think that's the first time and the only

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<v Speaker 1>time I've were done that, by the way, because when

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<v Speaker 1>you send someone a picture like that, what you're kind

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<v Speaker 1>of saying is I'm doing the ritual, right, But it

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<v Speaker 1>was I've only ever had shower beers. I've never had

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<v Speaker 1>bath tub Martiniz. I feel like you're doing it better.

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<v Speaker 1>Highly recommended. Yeah. Yeah, tonight, I'm having a double martini

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<v Speaker 1>in a giant punch bowl of a Martini glass and

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<v Speaker 1>it's got it's not clear because I'm using aged vermouth

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<v Speaker 1>in here. And give me just the rundown of what

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<v Speaker 1>what is in that thing? Oh, it's uh, it's St.

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<v Speaker 1>George Gin. It's this aged vermouth. It's a couple of

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<v Speaker 1>couple of skeets of of orange bitters and then three olives.

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<v Speaker 1>All right, and you don't go dirty, right, you're just

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<v Speaker 1>straight up I don't, but I used to. I feel

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<v Speaker 1>like everyone's first martini is the dirty martini, right, Like

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<v Speaker 1>that's that's the onboarding process for people when they start

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<v Speaker 1>drinking Martiniz. I know it was mine and most of

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<v Speaker 1>my friends started out that way. But I am anti

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<v Speaker 1>dirty now I am like, give it to me hot,

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<v Speaker 1>like like like that cold fire, right like an ice

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<v Speaker 1>cold Martini is is one of the great flavors. I

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<v Speaker 1>don't need. I don't need the olive juice in there,

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<v Speaker 1>Get it out of there. Are you saying that I'm,

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<v Speaker 1>you know, somehow a lesser martini drinker. No, I'm not

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<v Speaker 1>saying that at all. I'm saying I'm stating my personal

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<v Speaker 1>preference and I'm sharing with you my journey. But when

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<v Speaker 1>you say things like I feel like most jerk offs

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<v Speaker 1>when they first try our martini, it's like this, people

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<v Speaker 1>drinking martini is not in a bathtub, and it just sucks. Man.

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<v Speaker 1>That's just not the way to enjoy them. How do

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<v Speaker 1>you like yours? You know, I go dirty, but I

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<v Speaker 1>go I don't eat olives. I don't care for olives,

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<v Speaker 1>but I do like that brine. So you're dirty with

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<v Speaker 1>a limit twist and a little bit. I like that combo.

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<v Speaker 1>So you have olives in the house, you don't eat

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<v Speaker 1>the olives, you're just or do you buy the Brian?

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<v Speaker 1>I buy dirty sue olive juice? How about that bottled

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<v Speaker 1>and sent right to your door, big fan of Dirty Sue.

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<v Speaker 1>Dirty Sue buys all the olives, makes the juice, and

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<v Speaker 1>then just throws them away. Right. It sounds like a

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<v Speaker 1>real wasteful process. If you ask me, well, if Dirty

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<v Speaker 1>Sue is smart, she'd be in bed with an olive

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<v Speaker 1>oil maker. Actually I don't. I don't even know how

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<v Speaker 1>they get the olive oil brine. I mean, that's not

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<v Speaker 1>olive juice, is it. It's a coincidence that Dirty Sue

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<v Speaker 1>is also your stripper name. It really is. Um I

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<v Speaker 1>wish I had known, No, no problem, not mad. As

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<v Speaker 1>you can see, I have a giant glass of red wine. Yeah,

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<v Speaker 1>this glass is so big, I kind of want to

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<v Speaker 1>hold it with two hands. I'm used to seeing vessels

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<v Speaker 1>that size made out of wood by a Cooper. I'm

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<v Speaker 1>having Jacob Franklin Petizzera nap of alley M really yummy.

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<v Speaker 1>You know, now that I'm living in California, you know

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<v Speaker 1>your next trip out here, you got to go up

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<v Speaker 1>to wine country man enjoy some wine hangs. I'm all

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<v Speaker 1>about it. In fact, we uh, I should just let

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<v Speaker 1>you know because we're gonna do a wine trip with

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<v Speaker 1>our best friends own a wine shop here in town,

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<v Speaker 1>right up the street. I like a friend from college

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<v Speaker 1>and his his partner, and they have never been to

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<v Speaker 1>Nappa in Sonoma. So we're gonna just do a trip

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<v Speaker 1>with him at some point. I should let's just let

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<v Speaker 1>you guys know when that's happening. Please do that'd be great.

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<v Speaker 1>You can just drive on up. You and I have

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<v Speaker 1>had some great wine hangs over the years. I'm looking

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<v Speaker 1>forward to more, indeed, but I'll stick with the wine.

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<v Speaker 1>My urges to to plus. Just down the toilet right now,

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<v Speaker 1>giant Martini. Just finish and then drop a pin in

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<v Speaker 1>the in the time code. Here you go up and

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<v Speaker 1>get your second round. Oh boy, well this is already

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<v Speaker 1>two rounds, so I think this will do it. Yeah,

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<v Speaker 1>I mean, how much of a bottle fits in that

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<v Speaker 1>giant glass? Uh? Well, I didn't want to have to

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<v Speaker 1>go upstairs, so this is a hefty two glasses in

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<v Speaker 1>one glass. I see. That's just being that's just being

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<v Speaker 1>smart right there. Yeah, that's doing a podcast style. Yeah.

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<v Speaker 1>Have you done another round on movie Crush? No, man,

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<v Speaker 1>I haven't seen it yet. I have heard great things,

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<v Speaker 1>and it is it is not just a cursory on

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<v Speaker 1>my list it is high, high on my list of

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<v Speaker 1>a film that was. Yeah, man, I can't wait. And

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<v Speaker 1>of course they're remaking it with I think Leonardo Dicabrio. Yeah,

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<v Speaker 1>I mean, what are you gonna do? I think I've

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<v Speaker 1>learned not to approach Eleo DiCaprio movie with any sort

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<v Speaker 1>of consternation, like he's great, he's gonna he's gonna do

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<v Speaker 1>a great job. But that original is a special film. Yeah.

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<v Speaker 1>I think it said in that way because it's just like,

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<v Speaker 1>of course, amazing foreign film. American person goes, oh well,

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<v Speaker 1>let me do that same movie a couple of years later. Yeah,

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<v Speaker 1>but I get it. Yeah, you can't me money on

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<v Speaker 1>the table at him. You know who who plays a

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<v Speaker 1>great drunk, Leo DiCaprio. Not to go back to Once

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<v Speaker 1>upon a time in Hollywood, but oh no, that guy

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<v Speaker 1>does a great act drunk. You know what I'm says

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<v Speaker 1>he does, and I think we do it well in

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<v Speaker 1>real life. I know, so classy drunk. So you and

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<v Speaker 1>me the kind you want to be around. Like, no

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<v Speaker 1>one likes an angry drunk, a thrower or a yell er.

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<v Speaker 1>We're just we're gigglers. Boy. I remember the very first

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<v Speaker 1>time I ever legit got drunk in college because it

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<v Speaker 1>didn't drink in high school. I was straight and narrow.

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<v Speaker 1>But I got drunk my freshman year in college and

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<v Speaker 1>these girls took me out, fellow freshman who knew I

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<v Speaker 1>didn't drink. They were like, Oh, we're gonna take you

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<v Speaker 1>out and get you drunk, and so these uh, these

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<v Speaker 1>two girls took me out and I got drunk on

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<v Speaker 1>the Sex in the beach is sex in the beaches,

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<v Speaker 1>sexes on the beach. I don't even know what's in

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<v Speaker 1>that st I just know they were like, this is

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<v Speaker 1>nice and a lot of sugar, if I remember correctly,

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<v Speaker 1>And I just remember being in love with the world

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<v Speaker 1>man for the very first time that I drank a

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<v Speaker 1>lot like that, and they were just laughing. They were like,

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<v Speaker 1>you're just love and life, aren't you. You're having fun? Oh? Yes,

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<v Speaker 1>isn't that the goal? I feel very fortunate to be

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<v Speaker 1>wired the way that I am for for consumption like this.

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<v Speaker 1>I fully recognize and appreciate that many people aren't. Many

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<v Speaker 1>people have the problem or the curse. Yeah, I'm glad

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<v Speaker 1>I'm not cursed in that way because I do enjoy

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<v Speaker 1>what it does for me. Yeah, you know what I've

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<v Speaker 1>never done when I've been drinking. I wanted to start

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<v Speaker 1>a fight? No, yeah, sober for that matter, Yeah, no,

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<v Speaker 1>not at all. And you know what the main reason is,

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<v Speaker 1>I don't never want to get punched in the face

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<v Speaker 1>in my life. Yeah, Nor does it sound fun to

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<v Speaker 1>punch anyone else in the face. It sounds very painful

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<v Speaker 1>for the hand. Yeah, it sounds a little more enjoy

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<v Speaker 1>well than getting punched in the vase. But yeah, that's

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<v Speaker 1>where I stopped. Yeah, I think we've talked about it before.

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<v Speaker 1>You're not gonna go pick a fight with some money together?

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<v Speaker 1>Oh right? At that point? Or were we going to

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<v Speaker 1>fight each other? There was something? And uh? And the

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<v Speaker 1>reason is like, between the two of us, the odds

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<v Speaker 1>are pretty good that one of us won't be punched

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<v Speaker 1>in the face. All right, man, so let's get into it.

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<v Speaker 1>We of course will cover that. Whenever the new PTA

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<v Speaker 1>gets released, we'll see that and do it do it

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<v Speaker 1>live or not live? But you know, soon after it

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<v Speaker 1>comes out, Oh yeah, let's rent out a movie theater

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<v Speaker 1>do it live. I wonder if they're gonna still do that. God,

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<v Speaker 1>I don't know have you done that yet? The are

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<v Speaker 1>you're talking about during COVID, like where you could rent

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<v Speaker 1>the theater out for a hundred bucks or whatever. Uh.

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<v Speaker 1>I wanted to do that very badly, but no theaters

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<v Speaker 1>within like hundreds of miles of me made that possible,

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<v Speaker 1>so they didn't play play that game. That's right, they

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<v Speaker 1>were no. I think you could do it in Seattle.

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<v Speaker 1>I was envious of that, but I couldn't do it

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<v Speaker 1>down here? Could you? Did you? Uh? We can? I

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<v Speaker 1>did not. My daughter went to a birthday party um

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<v Speaker 1>where her friends had rented a theater for like thirteen girls,

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<v Speaker 1>and Emily went to that. It was not able to

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<v Speaker 1>go because I was podcasting, but she said it was

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<v Speaker 1>a lot of fun. I bet I have not been

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<v Speaker 1>back to a movie theater yet. I still haven't either.

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<v Speaker 1>I'm ready. I just are they even open? And Elliott

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<v Speaker 1>probably not? Uh they are Here's I don't like. I

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<v Speaker 1>understand the fun of ripping the band aid off and

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<v Speaker 1>going back to see like God Dela versus King Kong

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<v Speaker 1>or something, but I kind of want my first movie

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<v Speaker 1>back to be like good, Yeah, you see too. I

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<v Speaker 1>thought about a quiet place to this week, and it

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<v Speaker 1>never aligned with my schedule, and I think that'll is

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<v Speaker 1>supposed to be pretty good for what it is. But

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<v Speaker 1>I'm kind of with you. I wanted to be a

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<v Speaker 1>great movie. Yeah, yeah, I do too, And uh, I'm

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<v Speaker 1>not I'm not up to speed on on the release

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<v Speaker 1>calendar either. I feel like things are just coming back

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<v Speaker 1>online now to where we're starting to get an understanding

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<v Speaker 1>of when you're I don't know when when your tent

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<v Speaker 1>pole movies are coming out. Well, I know you and

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<v Speaker 1>I I mean, if we don't see Top Gun together,

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<v Speaker 1>then there's something wrong. Gott to see Top Gun together.

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<v Speaker 1>I gotta tell you, I don't know if if you

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<v Speaker 1>edit things like this out of the show. So maybe

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<v Speaker 1>you will. And I'm sorry for saying. I quite coincidentally, uh,

0:12:36.920 --> 0:12:39.600
<v Speaker 1>and and Poker buddies with the writer of the new

0:12:39.640 --> 0:12:44.360
<v Speaker 1>Top Gun movie, and it is taking everything in my

0:12:44.480 --> 0:12:46.920
<v Speaker 1>power not to just nerd out on this guy and

0:12:46.960 --> 0:12:50.360
<v Speaker 1>ask a million questions. Holy cow. Yeah, I'm not gonna

0:12:50.440 --> 0:12:53.040
<v Speaker 1>edit that out unless you feel like he would not

0:12:53.160 --> 0:12:55.319
<v Speaker 1>want the world to know he plays poker. No, I mean,

0:12:55.320 --> 0:12:59.520
<v Speaker 1>the guy is super cool, and I'm I'm like, I'm

0:12:59.559 --> 0:13:02.480
<v Speaker 1>like shape a king playing poker, like right with all

0:13:02.520 --> 0:13:06.520
<v Speaker 1>the questions I have, But what a great movie. What

0:13:06.640 --> 0:13:10.200
<v Speaker 1>a great opportunity for that, like to make that your

0:13:10.240 --> 0:13:14.320
<v Speaker 1>first movie? Back when is that supposed to be out? Like,

0:13:14.360 --> 0:13:16.040
<v Speaker 1>I don't know. I mean, they've certainly got a backlog

0:13:16.080 --> 0:13:18.040
<v Speaker 1>of films they have had in the Bond movie and

0:13:18.080 --> 0:13:20.559
<v Speaker 1>the Black Widow movie. We've got everything from last year,

0:13:21.440 --> 0:13:24.240
<v Speaker 1>and then they also started making movies again at some point,

0:13:24.280 --> 0:13:26.280
<v Speaker 1>so I'm sure there's some other new stuff. I got

0:13:26.320 --> 0:13:27.880
<v Speaker 1>all these olives in front of me. I feel like

0:13:27.880 --> 0:13:31.880
<v Speaker 1>I can't eat the olives on our show because of Saponia.

0:13:32.559 --> 0:13:35.200
<v Speaker 1>I'm gonna I'm gonna eat an olive. I'm just gonna.

0:13:35.280 --> 0:13:37.600
<v Speaker 1>I'm hoping you're gonna vamp here, all right, I will

0:13:37.720 --> 0:13:42.960
<v Speaker 1>vamp Let's get into Phantom Thread. This is the last

0:13:43.880 --> 0:13:47.600
<v Speaker 1>movie that he has made because we've been going in order. Uh.

0:13:47.640 --> 0:13:50.760
<v Speaker 1>This is another movie with Daniel day Lewis. Yea. This

0:13:50.800 --> 0:13:53.480
<v Speaker 1>is a movie. One of the great foreheads in all

0:13:53.520 --> 0:13:59.760
<v Speaker 1>of film. Um. This is a movie that deviates from

0:13:59.840 --> 0:14:05.720
<v Speaker 1>the the father son dynamic into a mother's son situation.

0:14:07.160 --> 0:14:09.280
<v Speaker 1>Even though the mother in this film has passed on,

0:14:09.440 --> 0:14:12.080
<v Speaker 1>she does appear via a vision at one point, and

0:14:12.120 --> 0:14:15.880
<v Speaker 1>she very much just looms large as a whole don't

0:14:15.880 --> 0:14:19.640
<v Speaker 1>you think it's a very hereditary type scene when she appears,

0:14:19.760 --> 0:14:22.560
<v Speaker 1>right it is? It looks like a horror movie for

0:14:22.560 --> 0:14:26.640
<v Speaker 1>a second. Yeah, yeah. I kept playing for something to

0:14:26.680 --> 0:14:30.680
<v Speaker 1>happen there, and nothing did that was really elegantly done

0:14:30.760 --> 0:14:33.680
<v Speaker 1>and not played for the jump scare anything, just played

0:14:33.760 --> 0:14:36.840
<v Speaker 1>for the mood. And it's such a mood film the

0:14:36.880 --> 0:14:41.200
<v Speaker 1>whole way. It's very consistent like that it is. I

0:14:41.240 --> 0:14:46.520
<v Speaker 1>think in another director's hands you could have you could

0:14:46.640 --> 0:14:50.320
<v Speaker 1>veer into sort of horror movie territory with this movie. Yeah,

0:14:50.600 --> 0:14:52.040
<v Speaker 1>if you wanted to, you'd have to change it up some,

0:14:52.240 --> 0:14:58.240
<v Speaker 1>but not a whole lot. It's interesting how much how

0:14:58.320 --> 0:15:00.720
<v Speaker 1>much genre decision can come to down to the edit.

0:15:01.160 --> 0:15:03.440
<v Speaker 1>Like I think you could make this a horror film

0:15:03.480 --> 0:15:09.240
<v Speaker 1>with no new scenes at all, just how you cut it,

0:15:09.320 --> 0:15:11.760
<v Speaker 1>Like you turn up the Johnny Greenwood a little bit,

0:15:12.000 --> 0:15:15.040
<v Speaker 1>or maybe you uh, you get some weirder Johnny Greenwood

0:15:15.160 --> 0:15:17.520
<v Speaker 1>and all of a sudden, I think it's right there,

0:15:17.960 --> 0:15:21.640
<v Speaker 1>especially with how intense Daniel day Lewis is in this film.

0:15:21.680 --> 0:15:25.720
<v Speaker 1>I mean, I I watched this with my wife. I

0:15:25.760 --> 0:15:27.720
<v Speaker 1>don't know if you watched this alone or not, and

0:15:27.760 --> 0:15:30.480
<v Speaker 1>it was her first time watching it, and she's very

0:15:30.600 --> 0:15:34.520
<v Speaker 1>much a like a fan of the costume period type

0:15:34.560 --> 0:15:37.600
<v Speaker 1>of film, and my expectation was that she would love

0:15:37.600 --> 0:15:42.239
<v Speaker 1>it m but she did not, and it was because

0:15:42.640 --> 0:15:47.160
<v Speaker 1>of uh of Woodcocks character. I just love saying that name.

0:15:47.160 --> 0:15:51.240
<v Speaker 1>I'm gonna say this as often as possible. Reynolds character is.

0:15:54.120 --> 0:15:58.040
<v Speaker 1>I love it every time. I feel like they didn't

0:15:58.120 --> 0:16:02.600
<v Speaker 1>overdo the dialogue that included that name either very specifically

0:16:02.640 --> 0:16:06.520
<v Speaker 1>because they knew the absurdity of the name. I guarantee

0:16:06.520 --> 0:16:08.840
<v Speaker 1>you and I agree with that. And I guarantee you

0:16:08.880 --> 0:16:13.200
<v Speaker 1>that Paul Thomas Anderson very much chuckled to himself when

0:16:13.240 --> 0:16:15.680
<v Speaker 1>he thought of that name. Yeah. I mean what I

0:16:15.720 --> 0:16:18.200
<v Speaker 1>read is that he he sort of pitched the idea

0:16:18.320 --> 0:16:22.200
<v Speaker 1>to two D D L and laughed and laughed about

0:16:22.880 --> 0:16:24.680
<v Speaker 1>the name of the character. And that was one of

0:16:24.720 --> 0:16:27.880
<v Speaker 1>the reasons he got him, uh, he was able to

0:16:27.880 --> 0:16:34.280
<v Speaker 1>get him involved in the film. Was It's Yeah, it's

0:16:34.280 --> 0:16:38.440
<v Speaker 1>hard to believe. It's strange credulity that, you know, Paul

0:16:38.440 --> 0:16:41.120
<v Speaker 1>Thomas Anderson and Daniel the Lewis would just be phone

0:16:41.160 --> 0:16:44.880
<v Speaker 1>buddies laughing about Reynolds. Woodcock is a name but from

0:16:44.960 --> 0:16:47.920
<v Speaker 1>what I read. That's how this movie got put together.

0:16:48.480 --> 0:16:59.880
<v Speaker 1>That's hysterical. Yeah, I believe it too. That's funny. Yeah,

0:17:00.560 --> 0:17:04.679
<v Speaker 1>it's a movie very much about power and the push

0:17:04.680 --> 0:17:07.520
<v Speaker 1>and pull of that power. It's a movie with a

0:17:07.520 --> 0:17:14.200
<v Speaker 1>great twist, kind of a double twist. Uh. And I

0:17:14.320 --> 0:17:18.720
<v Speaker 1>even have here on my notes like the beginning music

0:17:18.760 --> 0:17:23.480
<v Speaker 1>sounds like something out of a horror movie. Yeah. I

0:17:23.600 --> 0:17:27.119
<v Speaker 1>wonder one of the questions I had for you, And like,

0:17:27.800 --> 0:17:31.960
<v Speaker 1>just to tie off that comment about my wife watching this,

0:17:32.160 --> 0:17:35.080
<v Speaker 1>I wonder how well this film has aged for you,

0:17:36.480 --> 0:17:42.360
<v Speaker 1>because I feel like for a long time, films about

0:17:43.000 --> 0:17:48.840
<v Speaker 1>the asshole with a misunderstood genius complex and the enablers

0:17:48.880 --> 0:17:52.160
<v Speaker 1>they surround themselves with was like sort of a genre

0:17:53.320 --> 0:17:59.080
<v Speaker 1>of itself. And I seeing this through my wife's size,

0:17:59.760 --> 0:18:05.679
<v Speaker 1>I understood how poorly that has aged because was that

0:18:05.720 --> 0:18:08.520
<v Speaker 1>one of her beefs. Yeah, yeah, Like, like, this guy's

0:18:08.520 --> 0:18:10.959
<v Speaker 1>an asshole and he's he's cruel to people around him,

0:18:11.040 --> 0:18:17.359
<v Speaker 1>and obviously he is, but I also found him funny.

0:18:17.560 --> 0:18:21.120
<v Speaker 1>And there is a lot of comedy in this film.

0:18:21.200 --> 0:18:26.560
<v Speaker 1>That breakfast order for Yeah, yeah, big fun, big, big fun.

0:18:27.440 --> 0:18:30.480
<v Speaker 1>I love it. Man, he's ordering all this food I

0:18:30.520 --> 0:18:34.240
<v Speaker 1>thought I wrote it down. I love how he doesn't

0:18:34.320 --> 0:18:37.199
<v Speaker 1>order it all at once. It's like order, order a

0:18:37.240 --> 0:18:40.359
<v Speaker 1>piece of it, and then wait and then another and

0:18:40.400 --> 0:18:45.080
<v Speaker 1>then wait. Yeah, relsh welsh rare bit cream butter. It's

0:18:45.080 --> 0:18:49.159
<v Speaker 1>also sumptuous, you know, everything is dead and bacon, some

0:18:49.280 --> 0:18:54.040
<v Speaker 1>scones and uh. And then at the very end he

0:18:54.160 --> 0:19:01.800
<v Speaker 1>just throws in in some sausages. The move move. I

0:19:01.880 --> 0:19:04.840
<v Speaker 1>love this, this technique, Like I'm I'm not going to

0:19:04.960 --> 0:19:07.159
<v Speaker 1>call it a seduction technique because I don't think this

0:19:07.200 --> 0:19:10.040
<v Speaker 1>is something that Reynolds does all the time, Like I

0:19:10.080 --> 0:19:14.919
<v Speaker 1>don't feel like this is his move. But the and

0:19:14.960 --> 0:19:17.960
<v Speaker 1>I felt for a long time never do bits on tips.

0:19:18.040 --> 0:19:20.879
<v Speaker 1>This is something that that I say on The Greatest

0:19:20.920 --> 0:19:24.159
<v Speaker 1>Generation show, like like when you're be as nice as

0:19:24.200 --> 0:19:27.120
<v Speaker 1>you can to a service industry person and don't funk

0:19:27.160 --> 0:19:31.840
<v Speaker 1>with them, and the idea, yeah, yeah, you're you're not.

0:19:31.960 --> 0:19:35.320
<v Speaker 1>They're they're working for tips. So the idea of taking

0:19:35.359 --> 0:19:41.000
<v Speaker 1>away her her written notes of the order and and

0:19:41.000 --> 0:19:43.879
<v Speaker 1>and asking if she remembers, I have to say it

0:19:43.920 --> 0:19:46.760
<v Speaker 1>made me laugh. It was funny. It was pretty funny,

0:19:46.760 --> 0:19:49.400
<v Speaker 1>and it was also sort of a power control thing.

0:19:50.560 --> 0:19:53.440
<v Speaker 1>Um and I don't even think I answered your question

0:19:53.480 --> 0:19:55.000
<v Speaker 1>is so kind of go how's this age for me?

0:19:56.200 --> 0:19:59.480
<v Speaker 1>I I know that was sort of a genre, but

0:20:00.600 --> 0:20:03.480
<v Speaker 1>his movies and this movie is so like its own thing.

0:20:04.080 --> 0:20:06.640
<v Speaker 1>I kind of just have it in its own capsule.

0:20:06.680 --> 0:20:09.800
<v Speaker 1>I don't even think about it as like bad man

0:20:09.840 --> 0:20:13.120
<v Speaker 1>in power abusing the people around him, even though that's

0:20:13.160 --> 0:20:16.920
<v Speaker 1>what's going on. Um, and this is only the second

0:20:16.960 --> 0:20:18.520
<v Speaker 1>time I've seen it. Emily and I saw it together.

0:20:18.560 --> 0:20:23.480
<v Speaker 1>The first time, I really loved it. The uh, I

0:20:23.520 --> 0:20:25.040
<v Speaker 1>don't think so. I think we saw it at home,

0:20:26.119 --> 0:20:28.760
<v Speaker 1>and then this time I was it was a solo

0:20:28.800 --> 0:20:32.080
<v Speaker 1>watch just because she wasn't here, but she she wanted

0:20:32.080 --> 0:20:34.160
<v Speaker 1>to watch it again. She was kind of not upset,

0:20:34.200 --> 0:20:36.080
<v Speaker 1>but just disappointed that she didn't get to watch it again.

0:20:37.119 --> 0:20:40.840
<v Speaker 1>Um and I and I really like the movie a

0:20:40.840 --> 0:20:45.400
<v Speaker 1>lot like Paul Thomas Anderson is just like he's he's

0:20:45.440 --> 0:20:48.480
<v Speaker 1>doing something different every time out that you that you

0:20:48.600 --> 0:20:51.919
<v Speaker 1>normally see in a film, and he's working on a

0:20:51.960 --> 0:20:54.480
<v Speaker 1>different level. And I get that a lot of people

0:20:54.520 --> 0:20:56.440
<v Speaker 1>don't like this stuff. We said this about the Master

0:20:56.560 --> 0:20:59.840
<v Speaker 1>and there will be blood. Uh, and that's you know,

0:21:00.480 --> 0:21:03.080
<v Speaker 1>I kind of admire someone just for making the movie

0:21:03.119 --> 0:21:05.240
<v Speaker 1>he wants to make and not not necessarily to please

0:21:05.280 --> 0:21:10.600
<v Speaker 1>an audience. Totally agree, and there are so few filmmakers

0:21:10.600 --> 0:21:14.080
<v Speaker 1>who have that kind of latitude. Like I don't want

0:21:14.080 --> 0:21:16.240
<v Speaker 1>that to stop. I always want to see what Paul

0:21:16.240 --> 0:21:20.359
<v Speaker 1>Thomas Anderson wants to do. Yeah, I wonder where how

0:21:20.359 --> 0:21:24.600
<v Speaker 1>this came to him? And yeah, you know, I mean

0:21:24.680 --> 0:21:27.600
<v Speaker 1>what I read is he, uh, he either watched a

0:21:27.680 --> 0:21:31.760
<v Speaker 1>film or read something about Balenciaga as a as a

0:21:31.800 --> 0:21:34.000
<v Speaker 1>fashion designer, and then he just sort of went down

0:21:34.000 --> 0:21:37.640
<v Speaker 1>that rabbit hole of like the cult of personality there

0:21:38.560 --> 0:21:42.480
<v Speaker 1>and and came to it as kind of a new enthusiast,

0:21:42.560 --> 0:21:47.800
<v Speaker 1>which is like so interesting that that he chased down

0:21:47.840 --> 0:21:52.000
<v Speaker 1>a new interest and made a film about that. Like

0:21:52.040 --> 0:21:54.320
<v Speaker 1>that that feels like power to me. It's I mean,

0:21:54.480 --> 0:21:57.080
<v Speaker 1>the power that Paul Thomas Anderson has as a filmmaker

0:21:57.520 --> 0:22:00.320
<v Speaker 1>to just be allowed, be permitted and to have a

0:22:00.320 --> 0:22:02.120
<v Speaker 1>budget and go do his own thing is one thing.

0:22:02.119 --> 0:22:06.320
<v Speaker 1>But as like a creative person, there's a there's a

0:22:06.480 --> 0:22:08.840
<v Speaker 1>there's a separate but equal power that has to do

0:22:08.880 --> 0:22:12.439
<v Speaker 1>with his interests, and those interests don't necessarily align with

0:22:12.520 --> 0:22:16.160
<v Speaker 1>his strengths, like imagine being Paul Thomas Anderson and knowing

0:22:16.160 --> 0:22:19.280
<v Speaker 1>what your strengths are and going, I just learned about

0:22:19.880 --> 0:22:23.040
<v Speaker 1>the fashion industry in this era. What if I could

0:22:23.040 --> 0:22:25.600
<v Speaker 1>tell an interesting story here and then he goes and

0:22:25.640 --> 0:22:28.919
<v Speaker 1>does it. I think that's really admirable. It is, And

0:22:28.960 --> 0:22:31.760
<v Speaker 1>I also wonder if you know, of course, Daniel day

0:22:31.800 --> 0:22:35.760
<v Speaker 1>Lewis has supposedly retired after this film, and I believe him,

0:22:36.359 --> 0:22:39.600
<v Speaker 1>do you? I do. I think he's like a boxer.

0:22:39.680 --> 0:22:44.000
<v Speaker 1>I think I think you're picking up the phone, aren't

0:22:44.040 --> 0:22:46.600
<v Speaker 1>you if you're him, because you know, if the phone

0:22:46.640 --> 0:22:49.919
<v Speaker 1>is ringing, you're getting someone's best pitch. You want to

0:22:49.920 --> 0:22:51.520
<v Speaker 1>know what's out there. But he's been getting the best

0:22:51.520 --> 0:22:54.440
<v Speaker 1>pitch for a while. Yeah, he didn't have to fake retirement.

0:22:55.600 --> 0:22:57.199
<v Speaker 1>I don't know. I don't know. We'll see, but I

0:22:57.240 --> 0:23:01.240
<v Speaker 1>wonder how much he uh when he was picking his films.

0:23:02.040 --> 0:23:07.120
<v Speaker 1>I wonder how much he would choose them based on like, well,

0:23:07.160 --> 0:23:10.160
<v Speaker 1>I'm gonna have to learn to sew now like because

0:23:10.240 --> 0:23:14.040
<v Speaker 1>he very famously goes super method and learns how to

0:23:14.080 --> 0:23:17.320
<v Speaker 1>do these things, whether it's becoming a full on carpenter

0:23:17.440 --> 0:23:20.399
<v Speaker 1>or learning how to really so address so I wonder

0:23:20.440 --> 0:23:22.639
<v Speaker 1>if he like that. That's a lot of bad I mean,

0:23:22.680 --> 0:23:24.280
<v Speaker 1>I'm kind of joking, but I'm kind of not. I mean,

0:23:24.280 --> 0:23:26.000
<v Speaker 1>that's a lot of baggage to come with a film

0:23:26.040 --> 0:23:28.240
<v Speaker 1>like do I have it in me to learn how

0:23:28.240 --> 0:23:31.359
<v Speaker 1>to be a probably not a master seamsters or anything

0:23:31.440 --> 0:23:34.600
<v Speaker 1>or seemster. What would you call it? Oh, I like seemster.

0:23:34.760 --> 0:23:39.880
<v Speaker 1>I it's it has to be wrong, but yeah, but

0:23:39.920 --> 0:23:42.320
<v Speaker 1>that's why I like it. Yeah, I'm just curious about

0:23:42.359 --> 0:23:45.080
<v Speaker 1>that if he, uh, if he even considers that stuff like,

0:23:45.119 --> 0:23:47.520
<v Speaker 1>I'm going to have to do this because that's my process.

0:23:50.960 --> 0:23:52.520
<v Speaker 1>That's got to be part of the phone of being

0:23:52.520 --> 0:23:54.919
<v Speaker 1>an actor, though, too, is trying on the character and

0:23:54.960 --> 0:23:59.680
<v Speaker 1>living in him for as long as it takes. I mean,

0:24:00.000 --> 0:24:03.000
<v Speaker 1>you're right about his intensity and his reputation as an

0:24:03.040 --> 0:24:07.720
<v Speaker 1>intense person requires that. I mean, it's it looks believable

0:24:07.760 --> 0:24:14.480
<v Speaker 1>throughout when you see him. Yes, I read that. Vicky Creeps.

0:24:15.160 --> 0:24:17.520
<v Speaker 1>Is that how I pronounced her last name? You know,

0:24:17.600 --> 0:24:19.240
<v Speaker 1>I didn't look it up, but I mean I believe

0:24:19.240 --> 0:24:24.280
<v Speaker 1>if she's of German heritage, which I think she is, right,

0:24:24.400 --> 0:24:26.880
<v Speaker 1>all right, I apologize if it's not correct. I'm gonna

0:24:26.880 --> 0:24:29.880
<v Speaker 1>stay consistent. I think it's creeps if it's I E.

0:24:31.040 --> 0:24:34.760
<v Speaker 1>Like she met dd L on set, like on the

0:24:34.800 --> 0:24:37.600
<v Speaker 1>first day of shooting, which has got to be like

0:24:37.720 --> 0:24:40.760
<v Speaker 1>probably the best way to do it because you don't

0:24:40.800 --> 0:24:44.000
<v Speaker 1>wanna get you don't want to get to your wagon

0:24:44.200 --> 0:24:46.040
<v Speaker 1>a week ahead of time, and like you know, the

0:24:46.080 --> 0:24:48.280
<v Speaker 1>deal with d d L. You gotta call him by

0:24:48.400 --> 0:24:52.080
<v Speaker 1>his his character name and do all that. But like yeah,

0:24:52.200 --> 0:24:54.680
<v Speaker 1>but like for for it to just be on day

0:24:54.680 --> 0:24:56.960
<v Speaker 1>one of the shoot, like that's think how I think

0:24:57.000 --> 0:24:59.359
<v Speaker 1>you want to work with him, like without having to

0:24:59.400 --> 0:25:02.159
<v Speaker 1>get used to a weirdness and you're gonna be intimidated

0:25:02.200 --> 0:25:06.160
<v Speaker 1>either way, so it's not like one is any better

0:25:06.200 --> 0:25:08.880
<v Speaker 1>than the other as far as like making you relax.

0:25:09.880 --> 0:25:13.879
<v Speaker 1>I wonder if dd L had to, like I call

0:25:13.960 --> 0:25:16.720
<v Speaker 1>him d d O, like he's a like he's Diamond

0:25:16.760 --> 0:25:22.880
<v Speaker 1>Dallas Page or I just love that. I wonder if

0:25:22.920 --> 0:25:25.960
<v Speaker 1>he had to like suppress because he is so method

0:25:26.560 --> 0:25:30.120
<v Speaker 1>the eating of giant breakfasts like that, Like I wonder

0:25:30.160 --> 0:25:34.320
<v Speaker 1>if he always had to have cream and sausages and

0:25:34.320 --> 0:25:37.919
<v Speaker 1>and all that. I bet he did. Breakfast is a

0:25:37.920 --> 0:25:41.359
<v Speaker 1>big part of this movie, like not even being funny

0:25:41.400 --> 0:25:44.959
<v Speaker 1>there are a lot of scenes great Breakfast movie around

0:25:44.960 --> 0:25:48.920
<v Speaker 1>that breakfast table and the ritual that he needs, which

0:25:48.960 --> 0:25:53.919
<v Speaker 1>is too have a And you know, I kind of

0:25:53.960 --> 0:25:56.680
<v Speaker 1>like his style, like I'm into a nice quiet morning

0:25:56.680 --> 0:25:58.600
<v Speaker 1>as well, which you know you can't have anymore once

0:25:58.600 --> 0:26:01.879
<v Speaker 1>you have a kid. But um, to me, there's nothing

0:26:01.920 --> 0:26:04.840
<v Speaker 1>wrong if you're if you have no kids, if you're

0:26:04.840 --> 0:26:06.760
<v Speaker 1>married or in a relationship and you live with someone

0:26:07.560 --> 0:26:09.560
<v Speaker 1>waking up and not saying much to each other for

0:26:09.560 --> 0:26:13.040
<v Speaker 1>the first hour or so, it was fine, Oh yeah,

0:26:13.080 --> 0:26:16.000
<v Speaker 1>that's the dream, right, And I'm not groggy or grumpy

0:26:16.080 --> 0:26:18.720
<v Speaker 1>or anything. But there's something about putting on some music

0:26:18.760 --> 0:26:21.640
<v Speaker 1>and just having a very slow start to the day

0:26:21.640 --> 0:26:24.680
<v Speaker 1>that is really appealing to me. Is toast the loudest

0:26:24.760 --> 0:26:29.040
<v Speaker 1>food it was when when she that scene was pretty

0:26:29.040 --> 0:26:31.119
<v Speaker 1>funny too. There was a lot of humor in this movie,

0:26:31.800 --> 0:26:34.159
<v Speaker 1>and I love like it's not just the buttering of

0:26:34.200 --> 0:26:36.600
<v Speaker 1>the toast. Like there's the scene later on where they're

0:26:36.600 --> 0:26:40.560
<v Speaker 1>out on the veranda having breakfast and she's like chewing,

0:26:40.640 --> 0:26:44.160
<v Speaker 1>She's like biting into the toast in such a great way,

0:26:44.200 --> 0:26:48.880
<v Speaker 1>and and the the rack in on on woods on

0:26:48.880 --> 0:26:51.480
<v Speaker 1>Woodcock's face. This is right after they got married. I

0:26:51.520 --> 0:26:53.920
<v Speaker 1>think this is their honeymoon and he like looks out

0:26:53.920 --> 0:26:56.600
<v Speaker 1>in the middle distance, like, my god, what have I done? Right?

0:26:58.000 --> 0:27:02.320
<v Speaker 1>I'm stuck with this for breakfast forever? Yeah. I mean

0:27:02.359 --> 0:27:05.040
<v Speaker 1>the sound design is very kind of funny in those

0:27:05.080 --> 0:27:09.399
<v Speaker 1>scenes because the one where they're inside with his sister,

0:27:10.000 --> 0:27:12.359
<v Speaker 1>which we'll get to her in a second, what a

0:27:12.400 --> 0:27:16.640
<v Speaker 1>what an acting role? Um? It is so sound design

0:27:16.640 --> 0:27:20.560
<v Speaker 1>e to maximize the sound of the knife being put

0:27:20.600 --> 0:27:22.959
<v Speaker 1>back on the plate, the buttering of the toast, the chewing,

0:27:23.359 --> 0:27:25.159
<v Speaker 1>the pouring of the tea, which she does, you know,

0:27:25.160 --> 0:27:29.719
<v Speaker 1>with a little flair that he liked it first. But

0:27:29.760 --> 0:27:32.720
<v Speaker 1>now there's in nineties SNL sketch that Will Ferrell is

0:27:32.800 --> 0:27:36.919
<v Speaker 1>in that is like, that's that sole Conceit is an

0:27:37.040 --> 0:27:40.480
<v Speaker 1>angry father at his family and it sound is turned

0:27:40.560 --> 0:27:44.840
<v Speaker 1>up so hot on on the dinner plates and the

0:27:44.880 --> 0:27:49.240
<v Speaker 1>sound of silverware on those plates as a passive aggressive sound.

0:27:49.359 --> 0:27:52.240
<v Speaker 1>And I know p t A is a big SNL fan.

0:27:52.440 --> 0:27:56.359
<v Speaker 1>I wonder if that inspired the intensity of these scenes

0:27:56.560 --> 0:28:01.880
<v Speaker 1>because it's it's so fun and funny to me. Well,

0:28:01.960 --> 0:28:05.480
<v Speaker 1>and though it's you know, it's kind of funny and all,

0:28:05.520 --> 0:28:09.439
<v Speaker 1>but it really serves a purpose in this film, because

0:28:09.480 --> 0:28:13.080
<v Speaker 1>not only is she disrupting his breakfast, but then there's

0:28:13.680 --> 0:28:17.320
<v Speaker 1>the when she learns how to quietly butter her toast,

0:28:18.000 --> 0:28:21.280
<v Speaker 1>like that all comes back around and you know she's

0:28:21.320 --> 0:28:24.080
<v Speaker 1>she's now being a good little girl around this guy

0:28:24.160 --> 0:28:29.840
<v Speaker 1>who can't have her making any noise, which is really obnoxious. Yeah,

0:28:30.160 --> 0:28:34.800
<v Speaker 1>it's it. Do you ever feel like she's broken? Because

0:28:34.840 --> 0:28:39.000
<v Speaker 1>I don't. I feel like this film very specifically chooses

0:28:39.880 --> 0:28:45.440
<v Speaker 1>two onboard her power early so that we aren't feeling

0:28:45.520 --> 0:28:51.240
<v Speaker 1>sorry for almost character like we do initially like too soon,

0:28:51.360 --> 0:28:53.480
<v Speaker 1>like you're like, oh, man, like don't tell her to

0:28:53.640 --> 0:28:57.680
<v Speaker 1>wipe off her lipstick like that, like that shitty, But

0:28:57.680 --> 0:29:02.200
<v Speaker 1>but almost immediately, like way four halfway through the film,

0:29:02.280 --> 0:29:04.480
<v Speaker 1>she calls him out on his bullshit like the only

0:29:04.520 --> 0:29:07.160
<v Speaker 1>thing I only think you're acting strong line is like

0:29:07.240 --> 0:29:11.840
<v Speaker 1>her her like throwing down the gauntlet like like fuck you,

0:29:11.960 --> 0:29:15.200
<v Speaker 1>I know who you really are, And I think that's

0:29:15.240 --> 0:29:19.280
<v Speaker 1>so important, Like where in time in the film that

0:29:19.280 --> 0:29:22.440
<v Speaker 1>that happens, So you're not feeling sorry for Almo or

0:29:22.480 --> 0:29:27.120
<v Speaker 1>thinking that she's a victim of of woodcocks deal and

0:29:27.160 --> 0:29:29.120
<v Speaker 1>like one of the things my wife asked, was like,

0:29:29.200 --> 0:29:34.040
<v Speaker 1>where Almah's parents and and to me, I was like,

0:29:35.280 --> 0:29:39.800
<v Speaker 1>almost parents would be fucking thrilled in in nineteen fifties.

0:29:41.360 --> 0:29:43.600
<v Speaker 1>What what country is this in? Is this in? Uh?

0:29:43.800 --> 0:29:46.400
<v Speaker 1>This is in England? Yeah, like in nine fifties England,

0:29:46.440 --> 0:29:50.600
<v Speaker 1>post war England for for a waitress to hook up

0:29:50.640 --> 0:29:57.440
<v Speaker 1>with with rich, renowned fashion Yeah, yeah, no, I totally agree.

0:29:57.720 --> 0:29:59.880
<v Speaker 1>There is that tension though. I think, like you want

0:30:00.040 --> 0:30:04.720
<v Speaker 1>who make sure she's okay? But she really is. She's

0:30:04.720 --> 0:30:07.760
<v Speaker 1>a strong character and she displays that in a few ways.

0:30:07.800 --> 0:30:09.160
<v Speaker 1>You know. She has that one line that you were

0:30:09.160 --> 0:30:12.080
<v Speaker 1>talking about with him. She and it's a little bit later,

0:30:12.120 --> 0:30:14.200
<v Speaker 1>but she stands up to Cyril when she wants to

0:30:14.200 --> 0:30:18.360
<v Speaker 1>give him the surprise party. And Cyril is more frightening

0:30:18.400 --> 0:30:21.480
<v Speaker 1>than anyone in this movie, maybe more frightening than anyone

0:30:21.520 --> 0:30:27.440
<v Speaker 1>in any movie ever. She's Manville. Oh man, She's incredible

0:30:27.480 --> 0:30:30.680
<v Speaker 1>but so intimidating. And that guy that one where she

0:30:30.760 --> 0:30:36.120
<v Speaker 1>just sucking evisceerates her brother with that one. That one scene, man,

0:30:36.720 --> 0:30:39.800
<v Speaker 1>it shows who really has the power. I love it

0:30:39.880 --> 0:30:42.640
<v Speaker 1>so much. It's I love that scene and I love

0:30:42.680 --> 0:30:48.800
<v Speaker 1>her in it. It's great how she never raises her

0:30:48.840 --> 0:30:55.040
<v Speaker 1>voice like ever, Yeah, her power comes from her choice

0:30:55.040 --> 0:31:00.920
<v Speaker 1>of words, and like the economy of those words. It's great,

0:31:01.160 --> 0:31:03.640
<v Speaker 1>it's great. But so she stands up to Cyril. She

0:31:04.720 --> 0:31:06.800
<v Speaker 1>I mean, all throughout the movie, she's taking control. She

0:31:06.880 --> 0:31:08.880
<v Speaker 1>goes to the dance by herself on the Year's Eve,

0:31:09.000 --> 0:31:13.520
<v Speaker 1>she um, she she goes with him, She makes the

0:31:13.600 --> 0:31:17.720
<v Speaker 1>choice to sort of be his hero and getting that

0:31:17.840 --> 0:31:23.520
<v Speaker 1>dress off of off. The lady's constantly making empowering decisions

0:31:23.760 --> 0:31:26.760
<v Speaker 1>until straight through to the end when she's you know,

0:31:27.000 --> 0:31:30.680
<v Speaker 1>ultimately empower all along. I love that scene where they

0:31:30.720 --> 0:31:34.520
<v Speaker 1>take the ladies dress off together because that I feel

0:31:34.520 --> 0:31:36.600
<v Speaker 1>like that's the first time you get the sense that

0:31:36.640 --> 0:31:40.160
<v Speaker 1>they're a team, especially in the wedding, even before that

0:31:40.240 --> 0:31:44.040
<v Speaker 1>even happens, like Alma is almost more angry about the

0:31:44.080 --> 0:31:48.160
<v Speaker 1>situation than than Woodcock. They're like at that wedding table

0:31:48.240 --> 0:31:51.520
<v Speaker 1>together watching this dress get fucked up, and she's like

0:31:51.920 --> 0:31:56.040
<v Speaker 1>almost shaking with anger about it. It's one of the

0:31:56.120 --> 0:32:00.160
<v Speaker 1>aspects of the film and her character that that makes

0:32:00.240 --> 0:32:02.600
<v Speaker 1>you believe she's going to be okay, and she has

0:32:02.680 --> 0:32:07.280
<v Speaker 1>agency and she's like she's in it for herself. Like

0:32:07.320 --> 0:32:10.080
<v Speaker 1>I stopped worrying about her at that moment in a

0:32:10.360 --> 0:32:15.840
<v Speaker 1>in a good way. Yeah, and she this movie, I

0:32:15.880 --> 0:32:19.360
<v Speaker 1>could see the same story being so different and different

0:32:19.400 --> 0:32:25.400
<v Speaker 1>filmmaker's hands, and she really like has so much respect

0:32:25.480 --> 0:32:28.080
<v Speaker 1>for him. It's never like, oh, you're just an abusive

0:32:28.080 --> 0:32:32.840
<v Speaker 1>monster and I'm I'm under your thumb. Like she takes control,

0:32:32.880 --> 0:32:35.400
<v Speaker 1>like I said, and she she at the very beginning

0:32:35.440 --> 0:32:38.680
<v Speaker 1>those book ended sort of confessional scenes where you later

0:32:38.760 --> 0:32:42.320
<v Speaker 1>learned that she's speaking to the young doctor, but she

0:32:42.400 --> 0:32:46.720
<v Speaker 1>calls him the most amazing man. And this is all

0:32:47.080 --> 0:32:50.440
<v Speaker 1>in the future, you know. I think you need that

0:32:50.520 --> 0:32:55.440
<v Speaker 1>too to begin the film, to be grounded in the

0:32:55.480 --> 0:32:58.280
<v Speaker 1>idea that she's going to be okay, She's always going

0:32:58.320 --> 0:33:02.520
<v Speaker 1>to be okay. Yeah, I think that's really important. I

0:33:02.560 --> 0:33:06.120
<v Speaker 1>think without those bookends it feels a little more sketchy

0:33:07.120 --> 0:33:13.880
<v Speaker 1>in a way you don't want. Yeah, this film like

0:33:13.880 --> 0:33:18.960
<v Speaker 1>like totally it's weird. What does the work right? Like

0:33:19.040 --> 0:33:23.400
<v Speaker 1>the dialogue is so efficient and cutting that that it's

0:33:23.440 --> 0:33:25.360
<v Speaker 1>doing a lot of the work. But also the sound

0:33:25.440 --> 0:33:27.760
<v Speaker 1>design of this film is something that I love. And

0:33:27.760 --> 0:33:32.040
<v Speaker 1>the house is a character. Those footsteps on the wood

0:33:32.080 --> 0:33:39.240
<v Speaker 1>floor really emphasize the emotional stakes of the characters inside

0:33:39.280 --> 0:33:43.000
<v Speaker 1>that house, and I love how turned up they are.

0:33:44.040 --> 0:33:47.320
<v Speaker 1>I love how you can hear people stopping around. Oh yeah.

0:33:47.400 --> 0:33:51.480
<v Speaker 1>And then that first beautiful shot up the stairwell into

0:33:51.520 --> 0:33:53.120
<v Speaker 1>the light. That's one of my I mean, it's a

0:33:53.480 --> 0:33:55.240
<v Speaker 1>it's a movie shot. We've seen a bunch of times,

0:33:55.240 --> 0:33:57.080
<v Speaker 1>but this is one of the best uses of it

0:33:57.520 --> 0:34:00.360
<v Speaker 1>is looking up through not a spiral staircase, but just

0:34:00.480 --> 0:34:03.160
<v Speaker 1>you know, multiple floors of stairs kind of winding around

0:34:03.160 --> 0:34:06.320
<v Speaker 1>one another. Yeah, and he is there's I don't know, man,

0:34:06.360 --> 0:34:10.080
<v Speaker 1>he makes just the most beautiful movies. There's such a

0:34:10.120 --> 0:34:14.600
<v Speaker 1>sumptuous quality to his period work. Yeah, they're authentic and

0:34:14.719 --> 0:34:18.960
<v Speaker 1>gorgeous and like there's never a frame that doesn't look like, well,

0:34:19.000 --> 0:34:22.920
<v Speaker 1>that's exactly how it probably looked back then. He I

0:34:22.960 --> 0:34:25.279
<v Speaker 1>read that he very and by he, I mean Paul

0:34:25.320 --> 0:34:31.920
<v Speaker 1>Thomas Anderson really specifically did not want super clean film,

0:34:32.160 --> 0:34:35.960
<v Speaker 1>Like he didn't want this to look digital at all.

0:34:36.120 --> 0:34:41.759
<v Speaker 1>Like he really wanted this to look, uh like promised

0:34:41.760 --> 0:34:44.480
<v Speaker 1>it a little bit like a little foggy, a little dusty,

0:34:45.320 --> 0:34:49.480
<v Speaker 1>a little imperfect in a way that really adds character

0:34:49.680 --> 0:34:54.040
<v Speaker 1>to the locations here. Like for as wealthy as Woodcock

0:34:54.120 --> 0:34:56.840
<v Speaker 1>has to be for as large as he lives in

0:34:57.000 --> 0:34:59.840
<v Speaker 1>his home. Like, I never really got the sense of

0:34:59.880 --> 0:35:04.000
<v Speaker 1>the he had a nice home. It was just big

0:35:04.160 --> 0:35:06.319
<v Speaker 1>and it and it served him as a place to

0:35:06.360 --> 0:35:10.440
<v Speaker 1>do his work, right, Yeah, I mean, And I think

0:35:10.600 --> 0:35:14.320
<v Speaker 1>like our idea of nice these days is so different,

0:35:14.400 --> 0:35:16.680
<v Speaker 1>Like and you don't even have to be into modern homes,

0:35:16.719 --> 0:35:20.960
<v Speaker 1>but I think everything has to be so pristine and

0:35:21.000 --> 0:35:24.799
<v Speaker 1>the white you know, court site countertops, and that's just

0:35:24.840 --> 0:35:28.000
<v Speaker 1>sort of the look these days. It's very crisp and clean,

0:35:28.040 --> 0:35:30.080
<v Speaker 1>whether it's a craftsman or a modern And back then,

0:35:31.160 --> 0:35:34.520
<v Speaker 1>these are ancient houses that were lived in with old furniture,

0:35:34.560 --> 0:35:37.239
<v Speaker 1>and it was post war in England. That was in

0:35:37.280 --> 0:35:41.080
<v Speaker 1>England was just fucking mess after the war. They don't

0:35:41.120 --> 0:35:42.919
<v Speaker 1>really talk much about it, but it's sort of there.

0:35:43.440 --> 0:35:47.440
<v Speaker 1>Do you think that Reynolds was a veteran? No, wouldn't.

0:35:48.440 --> 0:35:52.720
<v Speaker 1>Why not? I don't know, man, it just it doesn't.

0:35:54.160 --> 0:35:56.399
<v Speaker 1>I agree with you too, but I can't like it,

0:35:58.120 --> 0:36:00.640
<v Speaker 1>wouldn't he have been or because he was part of

0:36:00.640 --> 0:36:05.080
<v Speaker 1>the aristocracy, you think that that wasn't that wasn't what

0:36:05.239 --> 0:36:08.480
<v Speaker 1>he would have No, I'm saying like because he was

0:36:08.560 --> 0:36:12.200
<v Speaker 1>of a certain social status, like he wouldn't have been

0:36:12.920 --> 0:36:16.200
<v Speaker 1>I don't know, or he was too old maybe yeah,

0:36:16.400 --> 0:36:18.960
<v Speaker 1>I mean, if he's playing his age, he's what like

0:36:19.719 --> 0:36:24.719
<v Speaker 1>mid fifties, I guess so, and that would have been.

0:36:25.400 --> 0:36:26.880
<v Speaker 1>But this is in the fifties, so it could have

0:36:26.920 --> 0:36:30.160
<v Speaker 1>potentially been ten years earlier. But maybe in his forties

0:36:30.239 --> 0:36:34.279
<v Speaker 1>during the war and howl does she? I mean things

0:36:34.280 --> 0:36:38.000
<v Speaker 1>were pretty desperate for a time in Europe and in England.

0:36:38.000 --> 0:36:41.480
<v Speaker 1>I wonder, like I wonder what happened to men of

0:36:41.600 --> 0:36:45.400
<v Speaker 1>his age at that time, rally around the old calls

0:36:45.400 --> 0:36:52.520
<v Speaker 1>the boy Yeah what what? Yeah? I love all those

0:36:52.600 --> 0:36:56.120
<v Speaker 1>driving shots too, when you attach a camera to a car,

0:36:56.880 --> 0:36:58.400
<v Speaker 1>like either the hood of the car or the trunk

0:36:58.440 --> 0:37:01.360
<v Speaker 1>of the car, it's just a cool shot. I love it.

0:37:01.360 --> 0:37:05.520
<v Speaker 1>It looks it always feels dangerous. It's very uh Lawrence

0:37:05.520 --> 0:37:09.359
<v Speaker 1>of Arabia, right like that, Like in the way that

0:37:09.360 --> 0:37:13.879
<v Speaker 1>that film depicted fast motorcycle driving in a way that

0:37:13.880 --> 0:37:16.920
<v Speaker 1>that felt like Checkov's motorcycle. Like I it made me

0:37:16.960 --> 0:37:22.400
<v Speaker 1>feel nervous for him, but but it seemed like so

0:37:22.480 --> 0:37:25.200
<v Speaker 1>much fun. You get in a low slung sports car

0:37:25.640 --> 0:37:29.560
<v Speaker 1>and drive like that, Like I was envious of all

0:37:29.560 --> 0:37:31.319
<v Speaker 1>of those scenes that had to be great fun and

0:37:31.320 --> 0:37:34.320
<v Speaker 1>if you're if you're Daniel day Lewis, like you're actually

0:37:34.400 --> 0:37:38.000
<v Speaker 1>driving the car totally. Yeah. What's funny is too later

0:37:38.080 --> 0:37:42.080
<v Speaker 1>on when she and this is is on the nose

0:37:42.120 --> 0:37:46.719
<v Speaker 1>as Paul Thomas Anderson gets metaphorically, but um, when she's

0:37:46.719 --> 0:37:49.200
<v Speaker 1>sort of taking control, she literally gets in the driver's

0:37:49.239 --> 0:37:52.960
<v Speaker 1>seat and and drives him that one night, and and

0:37:53.040 --> 0:37:54.600
<v Speaker 1>it didn't occur to me the person time I saw it,

0:37:54.600 --> 0:37:56.560
<v Speaker 1>but I was like, that's kind of funny, Like he

0:37:56.680 --> 0:37:58.120
<v Speaker 1>was like, all right, she's in the driver's seat of

0:37:58.160 --> 0:38:00.400
<v Speaker 1>this relationship. Now, let's let's literally put her in the

0:38:00.480 --> 0:38:03.440
<v Speaker 1>driver's seat. That kind of I feel like that was

0:38:03.600 --> 0:38:08.640
<v Speaker 1>the moment she tested the boundaries of what she would

0:38:08.719 --> 0:38:12.040
<v Speaker 1>be permitted to do as a as a caretaker figure

0:38:12.080 --> 0:38:14.920
<v Speaker 1>for him, right, Like that's the first time she she

0:38:15.040 --> 0:38:18.640
<v Speaker 1>slides over and and she's like, I've got it, and

0:38:18.680 --> 0:38:22.400
<v Speaker 1>it's what and when he allows it, that feels like

0:38:22.400 --> 0:38:26.680
<v Speaker 1>a really big moment. It's not the same as being

0:38:26.760 --> 0:38:29.759
<v Speaker 1>weakened by illness and being cared for by her later,

0:38:29.880 --> 0:38:34.879
<v Speaker 1>but I think it's related. I think so too, and

0:38:34.920 --> 0:38:38.760
<v Speaker 1>she she I think I think the power switch comes early,

0:38:38.840 --> 0:38:43.719
<v Speaker 1>like you said, because she realizes that he needs her, yeah,

0:38:44.480 --> 0:38:47.440
<v Speaker 1>probably more than she needs him in a way, because

0:38:47.440 --> 0:38:52.240
<v Speaker 1>she could go off and pretty young woman and and

0:38:52.440 --> 0:38:55.520
<v Speaker 1>marry the doctor or whoever she wants, you know, and

0:38:55.560 --> 0:38:58.960
<v Speaker 1>he's he's much more limited. Like I mean, you get

0:38:58.960 --> 0:39:00.560
<v Speaker 1>the feeling there have been a bunch of women before

0:39:00.600 --> 0:39:03.439
<v Speaker 1>her because of the way they introduced the one lady

0:39:03.520 --> 0:39:07.120
<v Speaker 1>there at first, yeah, and then falling out of fashion

0:39:07.160 --> 0:39:11.680
<v Speaker 1>a bit. And he's older. And that scene on New

0:39:11.760 --> 0:39:16.880
<v Speaker 1>Year's was so carefully done because I think that's the

0:39:16.960 --> 0:39:21.360
<v Speaker 1>scene that supports your argument, because if we because we

0:39:21.360 --> 0:39:28.480
<v Speaker 1>we see her as youthful and energetic and capable of

0:39:28.480 --> 0:39:33.359
<v Speaker 1>of meeting new people and socializing. She's not desperate for him,

0:39:34.680 --> 0:39:42.600
<v Speaker 1>and we don't see her making out with someone or like.

0:39:43.080 --> 0:39:47.120
<v Speaker 1>That wasn't a scene of her stepping out on him,

0:39:46.320 --> 0:39:51.319
<v Speaker 1>but it was a message sent that she could And

0:39:51.520 --> 0:39:55.880
<v Speaker 1>it's how great did that scene look so great? What

0:39:55.960 --> 0:39:58.160
<v Speaker 1>a fun party? That looks like? Like so often you

0:39:58.200 --> 0:39:59.880
<v Speaker 1>see a party scene in a film and you're like,

0:40:00.440 --> 0:40:04.759
<v Speaker 1>that's a film party scene. Yes, that doesn't look like

0:40:05.440 --> 0:40:07.800
<v Speaker 1>that would be that much fun, But this party looks

0:40:07.840 --> 0:40:11.080
<v Speaker 1>like so much fun. Yeah, it was amazing. I mean

0:40:11.120 --> 0:40:13.799
<v Speaker 1>he dropped some serious cash on that, you know, five

0:40:13.840 --> 0:40:17.880
<v Speaker 1>minutes scene. Anytime you drop balloons in a scene, you

0:40:17.960 --> 0:40:20.759
<v Speaker 1>better get it. You can't go back to one after

0:40:20.800 --> 0:40:32.480
<v Speaker 1>the balloons drop. Very hard to reset that I have

0:40:32.560 --> 0:40:33.960
<v Speaker 1>here in my notes too, ad him. I think you'll

0:40:34.000 --> 0:40:36.560
<v Speaker 1>appreciate this is going back to the beginning with her

0:40:36.600 --> 0:40:40.560
<v Speaker 1>first date. Is there ever more of a time to

0:40:40.560 --> 0:40:43.120
<v Speaker 1>get up and run out of a restaurant when your

0:40:43.200 --> 0:40:44.960
<v Speaker 1>date tells you he has a lock of his mother's

0:40:44.960 --> 0:40:48.759
<v Speaker 1>hairson into his coat jacket. Yeah, that should have been

0:40:48.760 --> 0:40:50.680
<v Speaker 1>it for her. She should have been like, all right,

0:40:51.040 --> 0:40:54.719
<v Speaker 1>I'm out, thank you. Maybe that played differently in the fifties.

0:40:55.520 --> 0:41:02.919
<v Speaker 1>Maybe love that trivia though, right, like the idea of

0:41:02.920 --> 0:41:07.680
<v Speaker 1>of the great sewing something into the lining. I think that, yeah,

0:41:07.719 --> 0:41:12.160
<v Speaker 1>that's what he mentions, like like and then that's like

0:41:12.239 --> 0:41:16.439
<v Speaker 1>the little note that got sewn into the she wasn't

0:41:16.440 --> 0:41:20.160
<v Speaker 1>a queen. She was, yeah, some sort of princess or something. Yeah,

0:41:20.200 --> 0:41:24.839
<v Speaker 1>like like that note that I can't remember now, I

0:41:24.880 --> 0:41:29.439
<v Speaker 1>wish I remembered. Yeah, but yeah sure, and she takes

0:41:29.440 --> 0:41:33.240
<v Speaker 1>it out power yeah, yeah, big power move. She's always

0:41:33.400 --> 0:41:40.560
<v Speaker 1>usurping his power. Ah yeah, I mean this movie, if

0:41:40.640 --> 0:41:43.839
<v Speaker 1>you don't even watch closely, that you might think this

0:41:43.920 --> 0:41:46.400
<v Speaker 1>is a movie about a young woman who's being controlled

0:41:46.400 --> 0:41:48.759
<v Speaker 1>by this older man, And it's really not what's going

0:41:48.760 --> 0:41:53.319
<v Speaker 1>on at all, right, It's it's that soft power, which

0:41:53.360 --> 0:41:56.400
<v Speaker 1>is often the biggest power behind the scenes. Well, in

0:41:56.440 --> 0:42:00.800
<v Speaker 1>the power of the muse. Um it's a very valuable

0:42:02.080 --> 0:42:05.000
<v Speaker 1>like you know, you're an asset if you're the muse

0:42:05.120 --> 0:42:10.520
<v Speaker 1>of someone who needs it. Never cursed is what's sewn

0:42:10.520 --> 0:42:12.920
<v Speaker 1>into the stitching. And that was a call back to

0:42:13.000 --> 0:42:16.319
<v Speaker 1>the conversation they had earlier where you know, there's so

0:42:16.400 --> 0:42:20.000
<v Speaker 1>much superstition around wedding dresses in this time, like you

0:42:20.000 --> 0:42:23.920
<v Speaker 1>don't want to touch one if you're unmarried, and on

0:42:24.000 --> 0:42:28.080
<v Speaker 1>and on. That was that was pretty fun trivia too

0:42:28.160 --> 0:42:31.000
<v Speaker 1>that I wasn't aware of. I thought it was interesting

0:42:31.040 --> 0:42:34.719
<v Speaker 1>that these siblings, like I keep wanting to call him

0:42:34.760 --> 0:42:38.920
<v Speaker 1>plain view Um Woodcock has his ritual when he meets her,

0:42:39.040 --> 0:42:44.319
<v Speaker 1>which was view Woodcock is is my poor name, is

0:42:44.360 --> 0:42:48.040
<v Speaker 1>to take away her her writing pad, kind of quiz

0:42:48.080 --> 0:42:50.480
<v Speaker 1>her in away on whether or not she remembers, but

0:42:50.600 --> 0:42:53.560
<v Speaker 1>also have this keepsake to take home, so that was

0:42:53.640 --> 0:42:56.160
<v Speaker 1>his power move and cereals, do you remember the first

0:42:56.200 --> 0:43:02.480
<v Speaker 1>thing she does, she fucking smells her that's right, like

0:43:02.520 --> 0:43:07.560
<v Speaker 1>an and calls out everything she'd eaten and everything she's wearing.

0:43:07.600 --> 0:43:10.439
<v Speaker 1>What kind of soap she used? I mean, talk about

0:43:10.440 --> 0:43:14.480
<v Speaker 1>a power move, man. There is a real element to

0:43:14.640 --> 0:43:19.480
<v Speaker 1>like her being cattle in that in that scene, like

0:43:19.600 --> 0:43:23.040
<v Speaker 1>all measured up, and uh, that's the only time I

0:43:23.120 --> 0:43:26.680
<v Speaker 1>really felt bad for her because the dynamics shifted so

0:43:26.760 --> 0:43:29.960
<v Speaker 1>quickly when Cyril came in there. She gets smelled down

0:43:30.520 --> 0:43:33.239
<v Speaker 1>and when he's measuring her, embarking out her measurements so

0:43:33.320 --> 0:43:37.560
<v Speaker 1>coldly like she's a mannequin. That's the That's the only

0:43:37.600 --> 0:43:41.840
<v Speaker 1>time where I see her really like, I mean, not suffering, suffering,

0:43:41.840 --> 0:43:44.080
<v Speaker 1>but you know what I mean. There's a neutrality to

0:43:44.200 --> 0:43:47.319
<v Speaker 1>Vicky Creeps's performance there though, that I think kind of

0:43:47.400 --> 0:43:50.920
<v Speaker 1>saves it from that creep factor. And I don't know

0:43:51.000 --> 0:43:54.719
<v Speaker 1>if this is just me projecting or not, but I mean,

0:43:54.800 --> 0:43:57.520
<v Speaker 1>so much of that scene is thrilling for her. She's

0:43:57.560 --> 0:44:00.359
<v Speaker 1>a it's it's a little bit pretty woman right like

0:44:00.480 --> 0:44:04.919
<v Speaker 1>she's she was a waitress days ago, and now she's

0:44:04.920 --> 0:44:08.000
<v Speaker 1>getting measured for a dress that in a thousand years

0:44:08.040 --> 0:44:11.200
<v Speaker 1>she'd never be able to afford by the best dressmaker

0:44:12.040 --> 0:44:16.280
<v Speaker 1>in her country. Like, like, there's there's elements of that too,

0:44:16.760 --> 0:44:22.520
<v Speaker 1>and it's a great Like what a first impression between

0:44:22.560 --> 0:44:25.840
<v Speaker 1>her and Cyril. Yeah, I mean that whole scene was

0:44:25.920 --> 0:44:28.440
<v Speaker 1>meant to put her, to let her know her place

0:44:28.600 --> 0:44:32.359
<v Speaker 1>in that situation. Nothing to humanize is like measurements though,

0:44:32.440 --> 0:44:35.240
<v Speaker 1>right well, and remember what he says to He says,

0:44:35.880 --> 0:44:39.520
<v Speaker 1>you have no breasts, and but then he says, you're perfect.

0:44:39.600 --> 0:44:41.960
<v Speaker 1>It's my job to give you some if I choose to,

0:44:43.360 --> 0:44:46.560
<v Speaker 1>if I choose to. Yeah, that those the words there

0:44:46.560 --> 0:44:49.120
<v Speaker 1>at the end, Man, is the line, I guess, Yeah,

0:44:49.160 --> 0:44:54.160
<v Speaker 1>that's the line. Yeah. Great, And it's right there sort

0:44:54.200 --> 0:44:57.600
<v Speaker 1>of at the end of that first act that things

0:44:57.719 --> 0:45:00.400
<v Speaker 1>start to turn a little bit. I mean, she's basically

0:45:00.400 --> 0:45:03.400
<v Speaker 1>told that her taste is incorrect, she's not allowed to

0:45:03.400 --> 0:45:06.719
<v Speaker 1>have an opinion, and you really think this movie is

0:45:06.760 --> 0:45:10.480
<v Speaker 1>going in that direction hard, and she she's just she

0:45:10.640 --> 0:45:13.160
<v Speaker 1>she's not having it though. I like how you never

0:45:13.280 --> 0:45:18.080
<v Speaker 1>see her dressed poorly, like she's dressed for work when

0:45:18.080 --> 0:45:20.640
<v Speaker 1>you first meet her, but you never see her like

0:45:20.760 --> 0:45:23.640
<v Speaker 1>wearing rags. This isn't like the literal rags to reach

0:45:23.760 --> 0:45:26.560
<v Speaker 1>his story, and I like that about this film, Like

0:45:26.600 --> 0:45:30.440
<v Speaker 1>her transformation goes from you see her at work and

0:45:30.520 --> 0:45:33.480
<v Speaker 1>she's dressed nice and neat for her shift, and then

0:45:33.480 --> 0:45:35.480
<v Speaker 1>you see her later and she's dressed up for her

0:45:35.560 --> 0:45:38.600
<v Speaker 1>date and she looks great for the date, and then

0:45:38.960 --> 0:45:42.600
<v Speaker 1>from then on you never see her not looking amazing

0:45:43.160 --> 0:45:45.640
<v Speaker 1>in something that that was made for her. I love

0:45:45.719 --> 0:45:48.200
<v Speaker 1>the casting of her because I you know, she was

0:45:48.800 --> 0:45:52.600
<v Speaker 1>basically an unknown in the United States, very pretty and

0:45:52.719 --> 0:45:56.719
<v Speaker 1>just has that great European look to her face, and

0:45:57.040 --> 0:45:59.520
<v Speaker 1>it would have just ruined it. I think if he

0:45:59.520 --> 0:46:03.600
<v Speaker 1>would have I to cast some American actor. She's really beautiful,

0:46:04.440 --> 0:46:08.560
<v Speaker 1>but she's also really uh Like she's got that Sarah

0:46:08.560 --> 0:46:13.200
<v Speaker 1>Paulson vibe where she could be anyone in any movie,

0:46:13.880 --> 0:46:16.680
<v Speaker 1>Like I I feel like you could she could be

0:46:16.760 --> 0:46:18.719
<v Speaker 1>anything in a in a way that's got to be

0:46:18.760 --> 0:46:22.920
<v Speaker 1>exciting for any actor. Like I hope she's getting called

0:46:22.960 --> 0:46:24.680
<v Speaker 1>for all of it and just turning a bunch of

0:46:24.680 --> 0:46:27.239
<v Speaker 1>ship down that she doesn't want to do, because I

0:46:27.560 --> 0:46:30.080
<v Speaker 1>feel like she would fit right in to whatever you're making.

0:46:30.280 --> 0:46:33.440
<v Speaker 1>I feel like I saw her not in something but

0:46:33.520 --> 0:46:36.839
<v Speaker 1>that she was going to be in something soon, just

0:46:36.920 --> 0:46:39.480
<v Speaker 1>like a couple of days ago, or maybe she was

0:46:39.520 --> 0:46:42.799
<v Speaker 1>in a trailer or something, but she didn't like just

0:46:42.840 --> 0:46:46.319
<v Speaker 1>blow up all this is what like four years ago. Yeah,

0:46:46.320 --> 0:46:49.320
<v Speaker 1>I mean there was no there was no rocket career

0:46:49.360 --> 0:46:53.000
<v Speaker 1>trajectory after this. But I don't feel like that's how

0:46:53.000 --> 0:46:57.680
<v Speaker 1>it works with ensemble Paul Thomas Anderson films. Really like

0:46:57.760 --> 0:47:03.200
<v Speaker 1>he's not a starmaker like that. Yeah, I think you're right,

0:47:03.200 --> 0:47:08.839
<v Speaker 1>because these movies, I mean that they're not there's an

0:47:08.840 --> 0:47:12.359
<v Speaker 1>audience for them. But the audience for Phantom Thread wasn't huge.

0:47:12.520 --> 0:47:14.480
<v Speaker 1>Like I don't know what this did at the box office,

0:47:14.520 --> 0:47:18.000
<v Speaker 1>but serious film lovers is who goes in zzs. I

0:47:18.080 --> 0:47:21.080
<v Speaker 1>wonder to use a film analogy if, like you know

0:47:21.160 --> 0:47:25.200
<v Speaker 1>how some athletes are painted as like a system quarterback,

0:47:25.480 --> 0:47:28.680
<v Speaker 1>Like that quarterback played great for that team because the

0:47:28.760 --> 0:47:34.000
<v Speaker 1>system made them great. I wonder if you get painted

0:47:34.000 --> 0:47:37.960
<v Speaker 1>with that brush if you're in a Paul Thomas Anderson

0:47:38.040 --> 0:47:43.480
<v Speaker 1>film or similar where where you get that great director

0:47:43.560 --> 0:47:46.560
<v Speaker 1>brush on you and and the reputation is, well, yeah,

0:47:46.600 --> 0:47:49.439
<v Speaker 1>she's great, but she was in a Paul Thomas Anderson film,

0:47:49.480 --> 0:47:51.400
<v Speaker 1>and that's why and I wonder if if that like

0:47:51.600 --> 0:47:55.640
<v Speaker 1>hurts you as an actor in a weird way. I

0:47:55.640 --> 0:47:59.080
<v Speaker 1>don't know, I mean a bit. She's been busy in Europe. Yeah,

0:47:59.200 --> 0:48:01.120
<v Speaker 1>I mean that that's her jam. She's just, you know,

0:48:01.239 --> 0:48:04.560
<v Speaker 1>not everyone wants to like. I feel like the woman

0:48:04.640 --> 0:48:10.200
<v Speaker 1>in Inglorious Bastards kind of did a couple of bigger

0:48:10.239 --> 0:48:13.840
<v Speaker 1>mainstream movies here and then I think was content to

0:48:13.880 --> 0:48:18.799
<v Speaker 1>stay in Europe for the most part. Yeah, yeah, you

0:48:18.800 --> 0:48:20.759
<v Speaker 1>want to stay in Europe. You don't want to come

0:48:20.760 --> 0:48:24.040
<v Speaker 1>out here. So let's talk about the powership a little bit.

0:48:24.080 --> 0:48:26.200
<v Speaker 1>I think. I mean this, like I said, you know

0:48:26.239 --> 0:48:28.319
<v Speaker 1>a few times, this movie is all about power and

0:48:28.360 --> 0:48:30.759
<v Speaker 1>then it going from one to the other. And I

0:48:30.800 --> 0:48:34.400
<v Speaker 1>think when it really happens for the first time, like

0:48:34.440 --> 0:48:36.319
<v Speaker 1>they spend a little bit of that beginning sort of

0:48:37.000 --> 0:48:42.160
<v Speaker 1>dehumanizing her somewhat, is when he is broken from work

0:48:43.239 --> 0:48:48.120
<v Speaker 1>for the first time and she cares for him and

0:48:48.160 --> 0:48:52.360
<v Speaker 1>realizes that she loves that feeling of this powerful man

0:48:52.480 --> 0:48:55.600
<v Speaker 1>being brought to his knees and her being the key

0:48:55.680 --> 0:48:59.080
<v Speaker 1>to nursing this great person back to doing their great work.

0:49:00.239 --> 0:49:02.960
<v Speaker 1>Big foreshadowing of what's to come, obviously, but I think

0:49:03.000 --> 0:49:08.040
<v Speaker 1>that's really when that that turn happens. Yeah, And her

0:49:08.080 --> 0:49:14.480
<v Speaker 1>performance is so subtle that when she recognizes that, it's

0:49:14.520 --> 0:49:17.919
<v Speaker 1>fun like like, it's not too much later that she's

0:49:17.960 --> 0:49:22.160
<v Speaker 1>back out in the forest getting mushrooms, you know. Yeah,

0:49:22.239 --> 0:49:24.560
<v Speaker 1>which you don't know exactly what's going on at first,

0:49:26.239 --> 0:49:29.279
<v Speaker 1>and then they make it pretty obvious, you know, it's

0:49:29.280 --> 0:49:31.440
<v Speaker 1>not like they make that they hold that to the

0:49:31.520 --> 0:49:33.839
<v Speaker 1>very end to reveal like it shows her reading about

0:49:33.840 --> 0:49:37.520
<v Speaker 1>the poison stuff. Yeah, I mean the reveal of the

0:49:37.560 --> 0:49:40.920
<v Speaker 1>film is that he's into it when that moment comes.

0:49:41.040 --> 0:49:47.160
<v Speaker 1>But but but the road there is so delicious. Well

0:49:47.239 --> 0:49:49.000
<v Speaker 1>we'll get to that. I want to talk about it now,

0:49:49.000 --> 0:49:52.400
<v Speaker 1>but we'll get to that. Um. I love the barber

0:49:52.520 --> 0:49:54.480
<v Speaker 1>Rows stuff, you know, the lady they take the dress

0:49:54.520 --> 0:49:59.960
<v Speaker 1>off of because she functions. Is this again it's it's

0:50:00.000 --> 0:50:02.480
<v Speaker 1>all about This movie is all about power, Like he

0:50:02.600 --> 0:50:07.760
<v Speaker 1>detests that she has the power over his life somewhere

0:50:08.560 --> 0:50:11.080
<v Speaker 1>that he needs he has to do this work for

0:50:11.120 --> 0:50:14.200
<v Speaker 1>her because she pays him a lot of money to

0:50:14.280 --> 0:50:19.160
<v Speaker 1>do it. It's interesting, like you hear about her before

0:50:19.239 --> 0:50:21.360
<v Speaker 1>she shows up and you're like, oh, what is she

0:50:21.440 --> 0:50:24.000
<v Speaker 1>going to be? Like, she's going to be awful. She

0:50:24.080 --> 0:50:26.840
<v Speaker 1>wasn't that bad, and that's that's what my point was

0:50:26.880 --> 0:50:33.080
<v Speaker 1>going to be, is like she's a rich debutante, like

0:50:33.080 --> 0:50:35.600
<v Speaker 1>like she's just sort of unhappy. I think she's just

0:50:35.640 --> 0:50:39.720
<v Speaker 1>an unhappy, rich drunk who's not mean to him or

0:50:39.840 --> 0:50:44.360
<v Speaker 1>like you're I'm sure you've been in professional relationships where

0:50:44.719 --> 0:50:47.839
<v Speaker 1>that feel parasitic, where you're like, I gotta do this

0:50:47.920 --> 0:50:51.279
<v Speaker 1>thing and this person is being shitty to me, But

0:50:52.120 --> 0:50:55.360
<v Speaker 1>that isn't what's going on here, Like he just seeks

0:50:55.360 --> 0:50:59.759
<v Speaker 1>a purity in how his work is treated and be

0:51:00.000 --> 0:51:04.839
<v Speaker 1>because she isn't capable of that. That's the hang up, right,

0:51:05.560 --> 0:51:08.440
<v Speaker 1>And and he hates like I think Cyril even says

0:51:09.440 --> 0:51:12.960
<v Speaker 1>that she pays for this house, yeah, which is what

0:51:13.120 --> 0:51:15.239
<v Speaker 1>makes the risk of taking the dress off of her

0:51:15.320 --> 0:51:21.200
<v Speaker 1>feel so filled with tension, Like is he sacrificing something

0:51:21.280 --> 0:51:24.399
<v Speaker 1>greater than we think in that moment? I mean, clearly not,

0:51:24.480 --> 0:51:27.960
<v Speaker 1>because he gets to keep his house. But something tells

0:51:27.960 --> 0:51:30.440
<v Speaker 1>me that Barbara Rose is one who would sober up

0:51:31.200 --> 0:51:35.879
<v Speaker 1>and and and still wanted him to do work for her. Yeah. Yeah,

0:51:36.520 --> 0:51:39.840
<v Speaker 1>because she's embarrassed and she knows she's a loathsome drunk

0:51:41.160 --> 0:51:44.560
<v Speaker 1>I love that scene, like when they first access her

0:51:45.320 --> 0:51:49.560
<v Speaker 1>her penthouse or whatever at the wedding, Barbara Roses Handler

0:51:50.000 --> 0:51:53.279
<v Speaker 1>is on the scene and it's just like incapable of

0:51:53.520 --> 0:51:59.560
<v Speaker 1>and she's so outclassed. Yeah, she brought a knife to

0:51:59.640 --> 0:52:01.640
<v Speaker 1>a gun fight there for sure, you want the dress

0:52:01.760 --> 0:52:07.120
<v Speaker 1>she's in bed and then and then uh, Vicky is

0:52:07.120 --> 0:52:10.080
<v Speaker 1>the one who like he doesn't even shove her through

0:52:10.080 --> 0:52:12.840
<v Speaker 1>the door, like like you said earlier, She's she's all

0:52:12.880 --> 0:52:16.759
<v Speaker 1>about going to get that thing, yeah, which I love.

0:52:18.960 --> 0:52:22.040
<v Speaker 1>It was a big moment when she did that. It

0:52:22.160 --> 0:52:24.879
<v Speaker 1>changed the tone of her whole character. Well, and it's

0:52:24.960 --> 0:52:28.240
<v Speaker 1>right after that that she she stands up to Cyril

0:52:28.360 --> 0:52:33.040
<v Speaker 1>about the birthday party, and boy, that scene was to

0:52:33.160 --> 0:52:38.680
<v Speaker 1>see how discombobulated he was for his routine to be

0:52:38.719 --> 0:52:41.400
<v Speaker 1>disrupted in the house to be empty, and like how

0:52:41.480 --> 0:52:45.080
<v Speaker 1>many times did he asked where Cyril was in that

0:52:45.200 --> 0:52:48.440
<v Speaker 1>first like a minute? Yeah, when did she leave? Where Cyril?

0:52:48.480 --> 0:52:50.320
<v Speaker 1>Where Cyril? When she coming back, it was like it

0:52:50.480 --> 0:52:56.799
<v Speaker 1>became kind of pathological. Yeah, and and creepy again, he's

0:52:56.840 --> 0:53:03.840
<v Speaker 1>like a man child almost. Well, I mean it is

0:53:03.880 --> 0:53:07.759
<v Speaker 1>that enabler thing right he needs, Like I feel like

0:53:07.840 --> 0:53:10.160
<v Speaker 1>he is self aware enough to know that he his

0:53:10.400 --> 0:53:14.960
<v Speaker 1>behavior is boorish. Sure, but what he has is Cyril

0:53:15.239 --> 0:53:19.839
<v Speaker 1>in his back pocket, Cyril making it okay. And if

0:53:19.880 --> 0:53:21.839
<v Speaker 1>no one was around to make it okay, maybe he'd

0:53:21.880 --> 0:53:24.239
<v Speaker 1>be capable of changing the way he treats people. But

0:53:25.239 --> 0:53:28.640
<v Speaker 1>as long as you don't have that check, Cyril is

0:53:28.680 --> 0:53:31.240
<v Speaker 1>just going to keep kicking the Joanna's of the world

0:53:31.640 --> 0:53:35.440
<v Speaker 1>out of his house for his for all time. And

0:53:35.560 --> 0:53:38.800
<v Speaker 1>Vicky becomes that check. Yeah, And it's at that dinner

0:53:38.840 --> 0:53:41.799
<v Speaker 1>scene where she finally they finally have it out and

0:53:41.880 --> 0:53:45.120
<v Speaker 1>she calls him out, and that scene is actually has

0:53:45.239 --> 0:53:50.000
<v Speaker 1>some pretty funny stuff too, when he's, ah, where's your gun?

0:53:50.360 --> 0:53:53.520
<v Speaker 1>Whom you're gun? You come to kill me? Where's your gun?

0:53:54.719 --> 0:53:57.120
<v Speaker 1>Like that's so funny, and I know he was trying

0:53:57.120 --> 0:53:59.879
<v Speaker 1>to get a laugh out of that. How surprised were

0:53:59.880 --> 0:54:02.760
<v Speaker 1>you when the scene where Cyril says that she likes Alma.

0:54:05.120 --> 0:54:08.839
<v Speaker 1>I'm pretty surprised, actually, me too. That was a big

0:54:08.880 --> 0:54:12.279
<v Speaker 1>as big of a reveal as anything. Almost. I love

0:54:12.360 --> 0:54:16.960
<v Speaker 1>that moment because I like, I like feeling like Alma

0:54:17.080 --> 0:54:22.080
<v Speaker 1>won her over, and it was especially good feeling that

0:54:22.120 --> 0:54:24.560
<v Speaker 1>it that I didn't know that it had happened until

0:54:24.600 --> 0:54:28.200
<v Speaker 1>she said it. It was a nice reveal. Is it

0:54:28.280 --> 0:54:32.280
<v Speaker 1>that thing though, where someone stands up to the asshole

0:54:32.760 --> 0:54:34.759
<v Speaker 1>and then the asshole then respects them. Is that what

0:54:34.840 --> 0:54:38.120
<v Speaker 1>happened there? But I think it's interesting that Almah doesn't

0:54:38.160 --> 0:54:43.160
<v Speaker 1>know that, Like Cyril never tells Alma that she. I

0:54:43.200 --> 0:54:46.640
<v Speaker 1>think she treats her a little better going forward. But

0:54:46.719 --> 0:54:50.560
<v Speaker 1>I if you ask Alma from then on, if if

0:54:50.600 --> 0:54:53.240
<v Speaker 1>she's found herself on Cyril's good side, I think Alma

0:54:53.280 --> 0:54:57.200
<v Speaker 1>would say no, she she hates me as as much

0:54:57.200 --> 0:55:01.000
<v Speaker 1>as ever. Right, But does Cyril get that respect? Because

0:55:01.040 --> 0:55:04.959
<v Speaker 1>Alma did stand up to her, absolutely, but she would

0:55:04.960 --> 0:55:08.080
<v Speaker 1>never give her that. I mean what's interesting is like

0:55:08.239 --> 0:55:11.400
<v Speaker 1>in that early scene where you where you recognize Cyril's

0:55:11.440 --> 0:55:15.040
<v Speaker 1>power when she kicks out Joanna. I feel like Joanna

0:55:15.160 --> 0:55:21.560
<v Speaker 1>is resistant to Cyril like in a way that Why

0:55:21.560 --> 0:55:23.920
<v Speaker 1>didn't Joanna make it work in that same way? I

0:55:23.920 --> 0:55:27.439
<v Speaker 1>don't know. Well, Joanna didn't do it in a clever way.

0:55:27.600 --> 0:55:30.759
<v Speaker 1>She was more sort of stomping her feet about her

0:55:30.760 --> 0:55:36.160
<v Speaker 1>situation and Alma and Vicky was much more clever. That

0:55:36.280 --> 0:55:39.680
<v Speaker 1>had to be it, right, Yeah, you're just calling her

0:55:39.680 --> 0:55:42.960
<v Speaker 1>by your actor name. I know that's weird. You're very

0:55:42.960 --> 0:55:48.520
<v Speaker 1>familiar with Vicky creeps. You're kind of being a Vicky creep, Chuck,

0:55:48.640 --> 0:55:51.719
<v Speaker 1>I'm being a Vicky creep. No, Alma is much more

0:55:51.719 --> 0:55:56.080
<v Speaker 1>clever and and I think, I bet you there's been

0:55:56.080 --> 0:55:58.919
<v Speaker 1>a lot of women to come through in that role

0:55:59.680 --> 0:56:05.680
<v Speaker 1>as as living mannequin um slash toast butterer. And I

0:56:05.760 --> 0:56:11.520
<v Speaker 1>think that Alma is the most capable, the smartest, the

0:56:11.560 --> 0:56:15.560
<v Speaker 1>most clever, the strongest. And I think game represent game

0:56:15.600 --> 0:56:20.719
<v Speaker 1>respect game, and Cyril knows that. I like that. I

0:56:20.880 --> 0:56:23.880
<v Speaker 1>never got the feeling that this was coming from a

0:56:23.920 --> 0:56:27.080
<v Speaker 1>place where almost got nothing to lose, Like I think

0:56:27.120 --> 0:56:31.719
<v Speaker 1>we've seen this movie before where the Alma of the

0:56:31.760 --> 0:56:39.480
<v Speaker 1>film rags two riches herself into a position where like, like,

0:56:39.600 --> 0:56:41.920
<v Speaker 1>what does she care if she fux this up? She's

0:56:41.920 --> 0:56:43.759
<v Speaker 1>going to go back to her waitress job and things

0:56:43.760 --> 0:56:46.759
<v Speaker 1>are going to be fine. There is that is not

0:56:46.920 --> 0:56:52.680
<v Speaker 1>suggested at all. Yeah, she she acts in her interest

0:56:52.800 --> 0:56:56.680
<v Speaker 1>in a way that is completely uncoupled from any sort

0:56:56.719 --> 0:57:00.640
<v Speaker 1>of consequence. And I like not knowing that. I like

0:57:00.800 --> 0:57:04.879
<v Speaker 1>not cutting to her in her room in the home

0:57:05.120 --> 0:57:09.279
<v Speaker 1>after she gets into an altercation with Cyril and her

0:57:09.320 --> 0:57:12.880
<v Speaker 1>like heavily breathing, like holy shit, like should I have

0:57:12.920 --> 0:57:16.240
<v Speaker 1>done that? You never get a sense of Alma's inner

0:57:16.360 --> 0:57:19.439
<v Speaker 1>life in a way that I think you would get

0:57:19.480 --> 0:57:21.400
<v Speaker 1>in a lot of other films. And I think this

0:57:23.240 --> 0:57:26.640
<v Speaker 1>makes Alma a stronger character, Like making her a little

0:57:27.280 --> 0:57:31.400
<v Speaker 1>less known works in her favor and makes her stronger. Yeah,

0:57:31.400 --> 0:57:34.680
<v Speaker 1>And I think that's also a reason why she is

0:57:34.720 --> 0:57:37.479
<v Speaker 1>a person unto herself. There is no best friend, there's

0:57:37.520 --> 0:57:41.400
<v Speaker 1>no sister, there are no parents, like they're there because

0:57:41.440 --> 0:57:44.680
<v Speaker 1>normally in a movie like this, she would call her

0:57:44.680 --> 0:57:47.560
<v Speaker 1>her sister or her friend and talk about what's going

0:57:47.600 --> 0:57:50.360
<v Speaker 1>on in this House of Horrors or whatever, and she's

0:57:50.400 --> 0:57:52.960
<v Speaker 1>totally just I mean, this movie is as a very

0:57:53.000 --> 0:57:55.120
<v Speaker 1>isolating feeling, kind of like there will be blood in

0:57:55.160 --> 0:57:57.560
<v Speaker 1>some ways, you know what, come to think of it,

0:57:57.720 --> 0:58:00.440
<v Speaker 1>Like no one has an inner life in this movie.

0:58:03.040 --> 0:58:06.240
<v Speaker 1>No one gets that moment to step back and think

0:58:06.600 --> 0:58:12.120
<v Speaker 1>and and regret or fear or hope or or anything.

0:58:12.200 --> 0:58:14.920
<v Speaker 1>Everything is played out in front of someone else, isn't it.

0:58:17.480 --> 0:58:19.800
<v Speaker 1>I'm trying to think if there's a single scene with

0:58:20.320 --> 0:58:24.400
<v Speaker 1>by themselves. No, I don't think there is. And I

0:58:24.440 --> 0:58:27.960
<v Speaker 1>think that's part of what makes so many of the

0:58:28.000 --> 0:58:32.920
<v Speaker 1>interactions in this film feel fraught or dangerous or or

0:58:33.200 --> 0:58:38.040
<v Speaker 1>filled with tension. And then you slather the Johnny Greenwood

0:58:38.040 --> 0:58:41.720
<v Speaker 1>on that and like forget its bread and butter on toast.

0:58:41.920 --> 0:58:45.440
<v Speaker 1>Oh yeah, very loud toast. That's Johnny Greenwood. Yeah, so

0:58:45.480 --> 0:58:47.960
<v Speaker 1>you got Johnny Greenwood and you also have some classical

0:58:48.240 --> 0:58:52.840
<v Speaker 1>pieces here and there really works for the movie. It

0:58:52.880 --> 0:58:55.320
<v Speaker 1>wasn't Johnny Greenwood from There Will Be Blood, Like I

0:58:55.400 --> 0:58:57.880
<v Speaker 1>love his range, because that that would have made it

0:58:57.920 --> 0:59:02.560
<v Speaker 1>feel like a horror movie. I think I love like

0:59:02.640 --> 0:59:05.720
<v Speaker 1>Johnny Greenwood, and There Will Be Blood is like nine

0:59:05.760 --> 0:59:09.960
<v Speaker 1>out of ten strength, and I feel like he dialed

0:59:10.000 --> 0:59:13.280
<v Speaker 1>it down to like a four here and it's perfect

0:59:15.600 --> 0:59:17.800
<v Speaker 1>in the in the way that like the edit that

0:59:17.840 --> 0:59:20.400
<v Speaker 1>you detect is a bad edit. I feel like music

0:59:20.440 --> 0:59:23.840
<v Speaker 1>works that way too, right, Like this is this is

0:59:24.880 --> 0:59:28.120
<v Speaker 1>adding to the feeling instead of making itself the star

0:59:28.200 --> 0:59:32.320
<v Speaker 1>of the moment, right, Yeah, which is really in a

0:59:32.400 --> 0:59:35.560
<v Speaker 1>merchant ivory like this is probably pt a stab at

0:59:35.560 --> 0:59:38.840
<v Speaker 1>a merchant ivory type of thing. Yeah, in his own

0:59:38.960 --> 0:59:43.560
<v Speaker 1>sort of fucked up way. Yeah, And especially because the

0:59:43.560 --> 0:59:49.040
<v Speaker 1>film is so interested in the diagetic sounds of the life,

0:59:49.760 --> 0:59:52.880
<v Speaker 1>like of the life in that house, the stopping and

0:59:52.920 --> 0:59:57.439
<v Speaker 1>the clinking and the toast and and all of that. Yeah,

0:59:57.520 --> 1:00:02.760
<v Speaker 1>I'm trying to find the breakfast scene. Ah see what

1:00:02.880 --> 1:00:06.920
<v Speaker 1>exactly what Cyril says, because, like you said, though, it's

1:00:06.920 --> 1:00:10.280
<v Speaker 1>really the way she says it, more so than the

1:00:10.320 --> 1:00:13.720
<v Speaker 1>actual lines, because in my head, you know, I'm thinking

1:00:13.760 --> 1:00:16.320
<v Speaker 1>she says like, I will fucking end you. She doesn't

1:00:16.360 --> 1:00:21.200
<v Speaker 1>say that, right, It's that don't pick a fight, right all? Right?

1:00:21.200 --> 1:00:23.760
<v Speaker 1>Here we go? Here we go. Do you like me

1:00:23.800 --> 1:00:36.200
<v Speaker 1>to ask im to leave? No? Why for me to

1:00:36.240 --> 1:00:41.720
<v Speaker 1>make a ghost? Go ahead and do it. But please

1:00:41.760 --> 1:00:45.400
<v Speaker 1>don't let her sit around waiting for you. I'm very

1:00:45.400 --> 1:00:49.400
<v Speaker 1>fond of her. You're very fond of her, are you?

1:00:49.800 --> 1:00:57.600
<v Speaker 1>In that case? M you don't turn it on me.

1:00:57.640 --> 1:01:00.360
<v Speaker 1>I don't want your cloud on your setups and shut

1:01:00.520 --> 1:01:02.840
<v Speaker 1>right up to pick a fight with me. You certainly

1:01:02.840 --> 1:01:06.240
<v Speaker 1>would't come out of life right through you and you

1:01:06.240 --> 1:01:13.200
<v Speaker 1>who ends up on the floor understood. Oh man, I've

1:01:13.240 --> 1:01:15.600
<v Speaker 1>never been more scared of a character in a Paul

1:01:15.680 --> 1:01:19.960
<v Speaker 1>Thomas Anderson film than After That Life or any movie like.

1:01:20.000 --> 1:01:22.000
<v Speaker 1>That's one of the scariest scenes in any movie. I

1:01:22.000 --> 1:01:24.360
<v Speaker 1>think that's so great, man, I wonder if I can

1:01:24.400 --> 1:01:29.640
<v Speaker 1>get sued for that. It's so interesting how Leslie Manville's

1:01:29.640 --> 1:01:35.720
<v Speaker 1>physicality isn't there in this movie. Like she never gets

1:01:35.720 --> 1:01:40.360
<v Speaker 1>in anyone's face, she never points a finger, No, she

1:01:40.480 --> 1:01:44.960
<v Speaker 1>never raises her voice. And that scene is so emblematic

1:01:45.040 --> 1:01:47.400
<v Speaker 1>of this It's like I feel like she's holding her

1:01:47.440 --> 1:01:49.960
<v Speaker 1>teacup or something when she says it, like she's drinking.

1:01:50.000 --> 1:01:54.520
<v Speaker 1>And it's so casually delivered in a way that like

1:01:54.640 --> 1:01:57.520
<v Speaker 1>the most powerful people are able to do, Like it's

1:01:57.560 --> 1:02:00.840
<v Speaker 1>it would be nothing for her to destroy him. Yeah,

1:02:00.880 --> 1:02:05.560
<v Speaker 1>and that's thirty seconds. Uh and you too, Humongous things

1:02:05.560 --> 1:02:09.840
<v Speaker 1>happen there, which is you really finally see who truly

1:02:10.160 --> 1:02:13.560
<v Speaker 1>is the beast in this movie and who has control?

1:02:14.080 --> 1:02:16.640
<v Speaker 1>And you also know for sure that she is sticking

1:02:16.680 --> 1:02:19.240
<v Speaker 1>up for Alm in a big way. Yeah, Like you

1:02:19.280 --> 1:02:26.160
<v Speaker 1>can't treat her like who's who's the first one? Joanna? Joanna? Yeah,

1:02:26.480 --> 1:02:30.120
<v Speaker 1>Like I'm not gonna let you do that. I wonder

1:02:30.160 --> 1:02:33.120
<v Speaker 1>how close they came to Like obviously this is a

1:02:33.240 --> 1:02:39.680
<v Speaker 1>Daniel day Lewis joint, but like you could you could

1:02:39.680 --> 1:02:43.120
<v Speaker 1>fill a lot of this movie with with Leslie Manville

1:02:43.200 --> 1:02:46.120
<v Speaker 1>up to up to the level of of Daniel day

1:02:46.200 --> 1:02:48.640
<v Speaker 1>Lewis minutes and I don't. And I think the movie

1:02:48.720 --> 1:02:51.880
<v Speaker 1>becomes better and better when you do give me a prequel,

1:02:52.600 --> 1:02:57.160
<v Speaker 1>That's what I'm saying. Like her, I could use the

1:02:57.160 --> 1:03:03.080
<v Speaker 1>the eight episode HBO Max mini series that's just Cyril

1:03:03.840 --> 1:03:07.560
<v Speaker 1>and Cyril's life. I think she was nominated. Did she

1:03:07.640 --> 1:03:11.760
<v Speaker 1>win an Oscar? Oh boy, I do not know that.

1:03:11.960 --> 1:03:15.560
<v Speaker 1>I'm pretty sure she was nominated. She's deserving of of

1:03:15.680 --> 1:03:19.160
<v Speaker 1>all the things for this. Yeah, I mean there. I

1:03:19.200 --> 1:03:21.440
<v Speaker 1>have so much respect for these roles that are just

1:03:21.520 --> 1:03:29.320
<v Speaker 1>played between the forehead and the chin, you know, yeah, yeah, yeah,

1:03:29.400 --> 1:03:33.120
<v Speaker 1>the control of it. And imagine being in a film

1:03:33.200 --> 1:03:38.560
<v Speaker 1>with with DDL and like toe to toe, yeah, toe

1:03:38.560 --> 1:03:43.000
<v Speaker 1>to fucking toe, Like she is not diminished next to

1:03:43.080 --> 1:03:46.600
<v Speaker 1>him at all. She's incredible. Yeah. I bet when she

1:03:46.680 --> 1:03:52.760
<v Speaker 1>read this script and saw that specific scene and she's like,

1:03:52.840 --> 1:03:55.400
<v Speaker 1>I'm gonna go up against Daniel day Lewis basically and

1:03:55.440 --> 1:03:58.800
<v Speaker 1>tell him I own his ass. Like what an opportunity

1:03:58.800 --> 1:04:04.400
<v Speaker 1>for an actor. It's pretty cool. I love how you know,

1:04:04.600 --> 1:04:07.560
<v Speaker 1>like you do this with wardrobe right, like a character

1:04:07.800 --> 1:04:12.280
<v Speaker 1>is put together and finished and in control when you

1:04:12.320 --> 1:04:15.000
<v Speaker 1>look at them, like if they're costuming is perfect and

1:04:15.080 --> 1:04:16.880
<v Speaker 1>on point. And this is one of those films that

1:04:16.920 --> 1:04:22.000
<v Speaker 1>makes that clear. Like when Reynolds is dressed, he's he's

1:04:22.000 --> 1:04:24.560
<v Speaker 1>a beautiful man and he looks put together. But like

1:04:24.640 --> 1:04:28.400
<v Speaker 1>the way you suggest that he's unwell is with his

1:04:28.480 --> 1:04:32.760
<v Speaker 1>hair and when and like there's that fallen Samurai quality

1:04:32.760 --> 1:04:35.000
<v Speaker 1>to him, like when when his hair kind of falls

1:04:35.040 --> 1:04:38.000
<v Speaker 1>out a little bit when he's sick. That's how you

1:04:38.040 --> 1:04:41.680
<v Speaker 1>can tell when he's fucked up. I love how they

1:04:41.720 --> 1:04:45.640
<v Speaker 1>do that. Yeah, and I'm trying to remember the first

1:04:45.680 --> 1:04:48.880
<v Speaker 1>time I saw this, Like I was really thrown Like

1:04:48.920 --> 1:04:52.240
<v Speaker 1>I didn't have any spoilers going into it. Yeah, me too.

1:04:52.520 --> 1:04:56.919
<v Speaker 1>I thought, you know, I thought she was maybe trying

1:04:56.920 --> 1:05:00.360
<v Speaker 1>to kill him slowly and get away with it at Yeah,

1:05:00.400 --> 1:05:03.680
<v Speaker 1>it's the implication if you if you haven't seen the film,

1:05:03.680 --> 1:05:07.920
<v Speaker 1>because a thousand movies have told that exact story. Yeah,

1:05:08.000 --> 1:05:12.800
<v Speaker 1>and oh boy, like what a stroke of genius idea

1:05:12.960 --> 1:05:17.040
<v Speaker 1>to like turn that on its head and yanked the

1:05:17.120 --> 1:05:20.160
<v Speaker 1>rug out from under the viewer. That don't not only

1:05:20.200 --> 1:05:22.960
<v Speaker 1>have this to be a control thing for her, but

1:05:23.320 --> 1:05:27.400
<v Speaker 1>like you said, the big the beg ending man, I mean,

1:05:27.440 --> 1:05:28.840
<v Speaker 1>what did you think the first time you saw that

1:05:28.880 --> 1:05:31.640
<v Speaker 1>and you realized that he was into it? What a scene?

1:05:32.800 --> 1:05:35.440
<v Speaker 1>I mean I think I probably laughed, but I laughed

1:05:36.160 --> 1:05:39.120
<v Speaker 1>not because it was funny. I just laughed at the

1:05:39.200 --> 1:05:45.240
<v Speaker 1>audacity and the and the realization of that being, of

1:05:45.320 --> 1:05:47.520
<v Speaker 1>that being the reveal. I loved it. I loved it

1:05:47.560 --> 1:05:49.280
<v Speaker 1>the first time I saw it, and I loved it

1:05:49.840 --> 1:05:52.800
<v Speaker 1>in the subsequent viewings of the movie. It's it's so

1:05:52.920 --> 1:05:58.520
<v Speaker 1>satisfying to suspect that it's coming from a dark place

1:05:58.600 --> 1:06:04.000
<v Speaker 1>but instead real is that, um that it's sympathetic, Like

1:06:04.120 --> 1:06:09.080
<v Speaker 1>it's both characters taking something from this arrangement and and

1:06:09.160 --> 1:06:15.160
<v Speaker 1>getting what they need. It's it's really brilliant. It's brilliant

1:06:15.160 --> 1:06:18.640
<v Speaker 1>in a way that doesn't make you feel dirty either,

1:06:19.760 --> 1:06:23.040
<v Speaker 1>you know. Like this again, I feel like so much

1:06:23.080 --> 1:06:26.320
<v Speaker 1>of what so many scenes that we talk about when

1:06:26.320 --> 1:06:28.320
<v Speaker 1>we talk about this film are like, Wow, they really

1:06:28.320 --> 1:06:33.240
<v Speaker 1>avoided the big mistake here. The cliche is what they avoided,

1:06:33.280 --> 1:06:36.400
<v Speaker 1>and this is another example of that. Like it could

1:06:36.480 --> 1:06:39.360
<v Speaker 1>have this this film car could have rolled into the

1:06:39.400 --> 1:06:47.040
<v Speaker 1>ditch in this moment, especially, and it didn't. Instead, it's

1:06:47.080 --> 1:06:50.840
<v Speaker 1>like the strength of the actors in this scene make

1:06:50.920 --> 1:06:55.880
<v Speaker 1>it makes sense and make it understandable. I think, actually,

1:06:56.080 --> 1:06:59.520
<v Speaker 1>thinking back, I'm pretty sure I was a little confused

1:06:59.560 --> 1:07:03.400
<v Speaker 1>at the end, and and I'm brave enough to admit

1:07:03.440 --> 1:07:06.200
<v Speaker 1>that I wasn't right away like, oh my god, he

1:07:06.240 --> 1:07:08.080
<v Speaker 1>was into it. I think it was more like Emma

1:07:08.160 --> 1:07:12.640
<v Speaker 1>and I were both like, but what just happened was that? Yeah,

1:07:12.920 --> 1:07:14.600
<v Speaker 1>and this is the kind of movie that you know.

1:07:14.640 --> 1:07:18.280
<v Speaker 1>I dive right into the internet afterward it's quickly confirmed.

1:07:18.320 --> 1:07:20.920
<v Speaker 1>I'm like, yeah, that's exactly what was going on, because

1:07:20.920 --> 1:07:26.760
<v Speaker 1>it's such an unconventional thing to do. I don't feel

1:07:26.760 --> 1:07:29.440
<v Speaker 1>too bad for being a little confused. I really like

1:07:29.520 --> 1:07:32.160
<v Speaker 1>reading scripts. I haven't read this script, but I've got

1:07:32.160 --> 1:07:36.480
<v Speaker 1>to believe that the parenthetical for this performance for Daniel

1:07:36.520 --> 1:07:41.200
<v Speaker 1>day Lewis is like Reynolds Woodcock eats the mushrooms at Alma,

1:07:42.160 --> 1:07:46.680
<v Speaker 1>Like like that's that's the vibe, like like the omelets

1:07:46.680 --> 1:07:49.440
<v Speaker 1>in front of him and he and the tension of

1:07:49.520 --> 1:07:52.480
<v Speaker 1>just sort of chopping it up, yeah, looking right right

1:07:52.480 --> 1:07:55.960
<v Speaker 1>at her, looking right at her and taking it down,

1:07:56.320 --> 1:08:01.160
<v Speaker 1>like he eats the mushrooms at Alma. Yeah, yeah, and

1:08:01.240 --> 1:08:05.680
<v Speaker 1>that look on his face, Um, it's weird he has this.

1:08:07.000 --> 1:08:09.560
<v Speaker 1>It's almost like and I think upon this viewing, and

1:08:09.600 --> 1:08:12.680
<v Speaker 1>this is where I sort of gathered this was that

1:08:13.320 --> 1:08:18.240
<v Speaker 1>he has this primal desire almost to lose control and

1:08:18.320 --> 1:08:22.599
<v Speaker 1>to be submissive and to be taken care of. But

1:08:23.120 --> 1:08:28.200
<v Speaker 1>I don't even think he understands that. Does that make sense?

1:08:29.360 --> 1:08:32.639
<v Speaker 1>It does make sense, and I wonder if it's brought

1:08:32.680 --> 1:08:38.679
<v Speaker 1>it out in him maybe. Yeah, I mean, so much

1:08:38.920 --> 1:08:47.520
<v Speaker 1>of so many disordered thoughts or or or or interests

1:08:50.200 --> 1:08:53.240
<v Speaker 1>in nineteen fifty in the nineteen fifties, I feel like

1:08:53.320 --> 1:09:02.040
<v Speaker 1>we're you know, whispered about. I don't believe that Reynolds,

1:09:02.080 --> 1:09:04.320
<v Speaker 1>like there's probably not a name for what this is,

1:09:05.920 --> 1:09:09.559
<v Speaker 1>but like orders on sado masochism in a way, right,

1:09:09.600 --> 1:09:13.400
<v Speaker 1>But but I don't, you know, if this were happening

1:09:13.680 --> 1:09:15.960
<v Speaker 1>in if this is happening today, I think it would

1:09:16.080 --> 1:09:18.840
<v Speaker 1>very easily have that label. But back then, I think

1:09:19.760 --> 1:09:23.320
<v Speaker 1>Reynolds has got to just be titillated by what he's

1:09:23.360 --> 1:09:27.200
<v Speaker 1>feeling without without a name for it. Yeah, I mean,

1:09:27.240 --> 1:09:29.439
<v Speaker 1>part of me thinks he had this primal desire that

1:09:29.520 --> 1:09:32.439
<v Speaker 1>she tapped into that he didn't know was there. Like

1:09:33.560 --> 1:09:36.559
<v Speaker 1>it happened and he was like, Oh, I like the

1:09:36.560 --> 1:09:39.880
<v Speaker 1>way that felt, because I'm a person that has to

1:09:39.920 --> 1:09:45.280
<v Speaker 1>control my environment down to the tinner of the breakfast sounds,

1:09:46.000 --> 1:09:49.719
<v Speaker 1>and to to lose to give that control up appealed

1:09:49.720 --> 1:09:51.000
<v Speaker 1>to him in a way that I don't think he

1:09:51.080 --> 1:09:56.080
<v Speaker 1>realized it would. Or maybe she just didn't bore him.

1:09:56.160 --> 1:09:58.240
<v Speaker 1>You know what. This is like the tenth time we're

1:09:58.240 --> 1:10:01.120
<v Speaker 1>going to ring the spell here, But this film doesn't

1:10:02.439 --> 1:10:05.799
<v Speaker 1>turn into misery here in a way it's so easily

1:10:05.920 --> 1:10:08.840
<v Speaker 1>could have, Like, and I think it's fixed with dialogue,

1:10:08.880 --> 1:10:14.599
<v Speaker 1>like Alma, And this isn't secret dialogue either. This isn't

1:10:14.600 --> 1:10:18.479
<v Speaker 1>just Almah talking to her doctor friend about him, like

1:10:19.640 --> 1:10:24.120
<v Speaker 1>they allude to this, Alma and Reynolds between each other,

1:10:24.400 --> 1:10:29.400
<v Speaker 1>like they talk around what this relationship dynamic is when

1:10:29.439 --> 1:10:36.280
<v Speaker 1>he's sick in a way that helps, it helps unmisery

1:10:36.439 --> 1:10:42.280
<v Speaker 1>the moment in a way that makes you believe where

1:10:42.360 --> 1:10:45.000
<v Speaker 1>you have to believe it at the end of the film,

1:10:45.120 --> 1:10:49.559
<v Speaker 1>that she's not trying to kill him, and that they're good. Yeah,

1:10:50.240 --> 1:10:52.920
<v Speaker 1>they're good with it, like and not just good with it,

1:10:52.960 --> 1:10:56.400
<v Speaker 1>but they're like good with each other, good with each other.

1:10:56.520 --> 1:11:00.280
<v Speaker 1>And I feel like he's he is finally relieved this

1:11:00.479 --> 1:11:03.719
<v Speaker 1>hold of control that has allowed him to be free

1:11:03.720 --> 1:11:07.040
<v Speaker 1>in a way, and and she has gained this power

1:11:07.160 --> 1:11:09.840
<v Speaker 1>that she probably didn't know she ever had, and the

1:11:09.880 --> 1:11:12.040
<v Speaker 1>way she talks about him. Then those book ended scenes

1:11:12.040 --> 1:11:16.080
<v Speaker 1>with the doctor, it's all right there, man, she's she's smiley.

1:11:18.040 --> 1:11:20.920
<v Speaker 1>I've got a great relationship with my wife, and I'm

1:11:21.000 --> 1:11:25.040
<v Speaker 1>fortunate to say that I love her a lot. But

1:11:25.160 --> 1:11:28.200
<v Speaker 1>if you told me that, like, like four days of

1:11:28.240 --> 1:11:38.759
<v Speaker 1>diarrhea would make our relationship like better? Hell yeah, hell yeah,

1:11:38.920 --> 1:11:41.679
<v Speaker 1>what about you wouldn't wouldn't you take it? I would

1:11:41.680 --> 1:11:46.400
<v Speaker 1>eat that almond so fast? Hell yeah? Yeah, I've already

1:11:46.439 --> 1:11:52.000
<v Speaker 1>got four days of diarrhea per month, Like it's unfair.

1:11:52.720 --> 1:11:58.800
<v Speaker 1>Yeah yeah, that seems like a fair trade, especially for

1:11:58.920 --> 1:12:02.640
<v Speaker 1>the road that Reynolds has been on. It seems like

1:12:03.280 --> 1:12:06.240
<v Speaker 1>like he's found the one. It's a happy ending, right.

1:12:06.800 --> 1:12:08.519
<v Speaker 1>I wonder where this. I wonder what the endgame is.

1:12:08.520 --> 1:12:10.320
<v Speaker 1>So I wonder where these people are in five years.

1:12:11.240 --> 1:12:13.320
<v Speaker 1>You can't keep poisoning yourself like that and not have

1:12:13.360 --> 1:12:16.240
<v Speaker 1>some sort of long term effect, right, I wouldn't think so.

1:12:16.280 --> 1:12:20.040
<v Speaker 1>And I think eventually diarrhea probably you chase that mushroom dragon.

1:12:20.080 --> 1:12:22.439
<v Speaker 1>Long enough, you're just gonna keep eating more and more

1:12:22.479 --> 1:12:25.559
<v Speaker 1>of these things. I think that's probably a bad deal. Yeah.

1:12:25.720 --> 1:12:31.280
<v Speaker 1>Does it end up in an accidental killing? Yeah, I

1:12:31.280 --> 1:12:37.600
<v Speaker 1>mean in the fifties, absolutely, Yeah, I think Reynolds is

1:12:37.600 --> 1:12:40.559
<v Speaker 1>dead in two years. Like, and I'm betting the under

1:12:41.640 --> 1:12:43.280
<v Speaker 1>This isn't one of those movies that where I kind

1:12:43.280 --> 1:12:45.800
<v Speaker 1>of delight in thinking like where did these characters go

1:12:45.880 --> 1:12:49.639
<v Speaker 1>from here? Like these movies are best sort of left

1:12:49.680 --> 1:12:53.600
<v Speaker 1>as they are. You know what's interesting about the triangle

1:12:53.880 --> 1:12:59.200
<v Speaker 1>of Cyril and Reynolds and Alma is that Cyril never

1:12:59.280 --> 1:13:03.120
<v Speaker 1>knows what Alma's doing to Reynolds, and if she did,

1:13:04.520 --> 1:13:06.960
<v Speaker 1>it would never work, it would never be worth it.

1:13:08.400 --> 1:13:11.639
<v Speaker 1>And so like to to think about a timeline where

1:13:11.680 --> 1:13:14.679
<v Speaker 1>Reynolds is dead and it's the Alma and Cereal show.

1:13:15.280 --> 1:13:21.200
<v Speaker 1>That's big fun. Yeah, the phantom sequel. Yeah, why is

1:13:21.200 --> 1:13:24.840
<v Speaker 1>this called the phantom thread? Is that the name of

1:13:24.880 --> 1:13:28.960
<v Speaker 1>the thing that you stitch into someone's lining? I don't know.

1:13:29.400 --> 1:13:32.280
<v Speaker 1>I don't know why, I don't I don't think that

1:13:32.439 --> 1:13:35.080
<v Speaker 1>I wasn't able to find that. Yeah, I don't know either.

1:13:37.760 --> 1:13:40.919
<v Speaker 1>By the way, thank you for sending me that Instagram.

1:13:42.160 --> 1:13:43.880
<v Speaker 1>I'm meant to shout that out, and I was waiting

1:13:43.880 --> 1:13:48.000
<v Speaker 1>for you the what's it called the color palette cinema?

1:13:48.400 --> 1:13:51.320
<v Speaker 1>Color palette cinema. Yeah, I sent that to you because

1:13:51.360 --> 1:13:55.439
<v Speaker 1>I just recently found out that you yourself had an Instagram.

1:13:55.560 --> 1:13:58.800
<v Speaker 1>I've known you for years. I found out I found

1:13:58.840 --> 1:14:01.160
<v Speaker 1>it a month ago that you had it. I've only

1:14:01.160 --> 1:14:03.000
<v Speaker 1>had it for about six months, so i haven't been

1:14:03.000 --> 1:14:06.160
<v Speaker 1>on for long. It's great. Yeah, I enjoy it. But yeah,

1:14:06.320 --> 1:14:11.759
<v Speaker 1>color palette cinema, you guys on Instagram has film stills

1:14:12.640 --> 1:14:18.280
<v Speaker 1>and then a color chart. Yes, basically yes, watches of

1:14:18.840 --> 1:14:22.760
<v Speaker 1>the color palette of that scene. And you know a

1:14:22.760 --> 1:14:25.080
<v Speaker 1>lot of times that scene is indicative of that movie

1:14:25.080 --> 1:14:28.680
<v Speaker 1>as a whole. Yeah, very cool stuff. And you sent

1:14:28.760 --> 1:14:31.320
<v Speaker 1>me the Master, I think right, or was it there

1:14:31.320 --> 1:14:33.439
<v Speaker 1>will be blood? I think I sent you the Master.

1:14:33.600 --> 1:14:36.400
<v Speaker 1>It's very much like a I feel like you could

1:14:36.439 --> 1:14:40.360
<v Speaker 1>pitch the idea for this Instagram by starting with Wes Anderson,

1:14:40.439 --> 1:14:43.960
<v Speaker 1>like like a very a very in your face color

1:14:44.000 --> 1:14:48.920
<v Speaker 1>palette type of filmmaker. But you realize when you when

1:14:48.920 --> 1:14:52.800
<v Speaker 1>you follow an account like this, just how how many

1:14:52.840 --> 1:14:57.840
<v Speaker 1>filmmakers work work in these tones? Tones that that become

1:14:57.920 --> 1:15:01.559
<v Speaker 1>their own. And I feel like, like speaking of Wes Anderson,

1:15:01.640 --> 1:15:06.400
<v Speaker 1>like Phantom Thread feels like a Wes Anderson film shot

1:15:06.400 --> 1:15:09.600
<v Speaker 1>at forty five degree angles instead of head on. Like

1:15:09.720 --> 1:15:16.080
<v Speaker 1>every I feel like every scene is is fixed in

1:15:16.120 --> 1:15:19.400
<v Speaker 1>a way that that unlike Wes Anderson, is a little

1:15:20.200 --> 1:15:23.240
<v Speaker 1>less fixed. You know, it doesn't make it like composition,

1:15:23.320 --> 1:15:26.760
<v Speaker 1>doesn't make itself the star of the moment. Yeah, I

1:15:26.760 --> 1:15:31.120
<v Speaker 1>mean it's definitely p t A's least showy. Yeah. Camera wise,

1:15:31.160 --> 1:15:34.080
<v Speaker 1>I think they're a few here and there, but it's

1:15:34.120 --> 1:15:37.559
<v Speaker 1>it's pretty locked down. I read that he wanted Bob

1:15:37.560 --> 1:15:40.080
<v Speaker 1>Elswood for it and he wasn't available, and so it

1:15:40.160 --> 1:15:44.840
<v Speaker 1>was cinematography by committee. Like that's the legend of this film,

1:15:45.040 --> 1:15:48.640
<v Speaker 1>is the p t A shot at himself, But he

1:15:48.760 --> 1:15:52.560
<v Speaker 1>has he's denied that and said that it was by committee.

1:15:53.200 --> 1:15:58.400
<v Speaker 1>But whatever the truth is, it's it's a really beautiful film.

1:15:58.439 --> 1:16:01.439
<v Speaker 1>It is as they all are. Yeah, it makes me

1:16:01.520 --> 1:16:06.640
<v Speaker 1>sad that this project is almost over. We we got

1:16:06.680 --> 1:16:08.040
<v Speaker 1>the one we're coming up, but we'll just have to

1:16:08.040 --> 1:16:09.960
<v Speaker 1>think of what what else we want to do. We

1:16:10.080 --> 1:16:12.640
<v Speaker 1>gotta start a new series. Yeah, I mean, we can

1:16:12.640 --> 1:16:14.639
<v Speaker 1>do whatever you want we can do a filmmaker series

1:16:14.720 --> 1:16:19.000
<v Speaker 1>or a genre thing or or just or just just

1:16:19.120 --> 1:16:21.519
<v Speaker 1>films that we like. Yeah, we can do Maybe we'll

1:16:21.560 --> 1:16:25.120
<v Speaker 1>do another round, Like, maybe we'll just do films that

1:16:26.240 --> 1:16:28.760
<v Speaker 1>that we like, films that we like. I'm into that,

1:16:29.640 --> 1:16:31.599
<v Speaker 1>let's do it. I just want to keep doing this

1:16:31.680 --> 1:16:33.760
<v Speaker 1>with with you. This is a lot of fun. Yeah,

1:16:33.840 --> 1:16:36.200
<v Speaker 1>me too, absolutely, And I know we're going to see

1:16:36.240 --> 1:16:39.280
<v Speaker 1>each other in September, which I'm super excited about. Yes,

1:16:40.000 --> 1:16:44.920
<v Speaker 1>me too. Are super secret hang in person hangs with

1:16:45.000 --> 1:16:48.519
<v Speaker 1>you and your lovely wife and Ben Harrison and his wife,

1:16:48.960 --> 1:16:53.920
<v Speaker 1>Yeah and the gang back to Yeah. Yeah, I'm really

1:16:53.920 --> 1:16:57.800
<v Speaker 1>looking forward to that. It's fun to make plans and

1:16:58.720 --> 1:17:02.960
<v Speaker 1>amen and look forward to things again. All right, dude,

1:17:03.080 --> 1:17:04.479
<v Speaker 1>well this is great. That's gonna come out in a

1:17:04.520 --> 1:17:07.479
<v Speaker 1>couple of weeks. Where can people follow you always like

1:17:07.560 --> 1:17:11.839
<v Speaker 1>to plug your ship? Uh well, I am known for

1:17:12.200 --> 1:17:15.840
<v Speaker 1>too great podcasts at the moment. The greatest generation is

1:17:15.840 --> 1:17:18.559
<v Speaker 1>my Star Trek podcast, and the greatest discovery is my

1:17:18.600 --> 1:17:22.439
<v Speaker 1>new Star Trek podcast. That's right, And I like I

1:17:22.520 --> 1:17:26.479
<v Speaker 1>like guesting on shows, so so i I'm a I'm

1:17:26.479 --> 1:17:30.120
<v Speaker 1>a guest on on my Friends shows like yours and

1:17:30.360 --> 1:17:33.080
<v Speaker 1>I can be found. I'm out there. I'm on Twitter

1:17:33.160 --> 1:17:36.720
<v Speaker 1>and cut for time and follow me there that I

1:17:36.720 --> 1:17:39.240
<v Speaker 1>think I think that's uh. I think those are all

1:17:39.240 --> 1:17:42.400
<v Speaker 1>the bases to go. All right, fantastic sir, So thank

1:17:42.439 --> 1:17:46.040
<v Speaker 1>you Adam, And for now, this concludes our PTA series

1:17:46.120 --> 1:17:48.040
<v Speaker 1>until the new one comes out. I hope everyone has

1:17:48.080 --> 1:17:51.640
<v Speaker 1>enjoyed it and checks out these movies. I'm sorry we

1:17:51.640 --> 1:17:53.800
<v Speaker 1>didn't get the punch drunk love. I don't do repeats.

1:17:54.320 --> 1:17:56.080
<v Speaker 1>You can take it up with Tony Hill if you

1:17:56.120 --> 1:17:58.680
<v Speaker 1>ever see him out. Oh yeah, a bunch of that

1:17:58.760 --> 1:18:01.320
<v Speaker 1>nice guy right in the face, only Hale. That'll be

1:18:01.320 --> 1:18:04.120
<v Speaker 1>your first misfight with with the nicest guy in Hollywood.

1:18:05.920 --> 1:18:07.639
<v Speaker 1>I do not want to be that kind of famous.

1:18:09.360 --> 1:18:15.120
<v Speaker 1>All right, Thanks Budd, thank you. Movie Crash is produced

1:18:15.120 --> 1:18:17.840
<v Speaker 1>and written by Charles Bryant and Meel Brown, edited and

1:18:17.920 --> 1:18:21.280
<v Speaker 1>engineered by Seth Nicholas Johnson, and scored by Noel Brown

1:18:21.479 --> 1:18:24.559
<v Speaker 1>here in our home studio at Potsty Market, Atlanta, Georgia.

1:18:24.720 --> 1:18:27.759
<v Speaker 1>For I Heart Radio. For more podcasts for my Heart Radio,

1:18:27.840 --> 1:18:30.559
<v Speaker 1>visit the I Heart Radio app, Apple podcast, or wherever

1:18:30.640 --> 1:18:31.960
<v Speaker 1>you listen to your favorite shows.