1 00:00:15,240 --> 00:00:18,000 Speaker 1: For Old lane Zi, my dear for Old lane Zone. 2 00:00:18,120 --> 00:00:22,239 Speaker 1: Welcome to another special bonus holiday episode of hollywood Land, 3 00:00:22,320 --> 00:00:25,360 Speaker 1: the third of three special weekly episodes. I am your host, 4 00:00:25,480 --> 00:00:28,360 Speaker 1: Zeth Lundy, here with you as always, we are nearing 5 00:00:28,400 --> 00:00:30,280 Speaker 1: the end of twenty twenty five, about to do the 6 00:00:30,320 --> 00:00:33,320 Speaker 1: whole turnover a new leaf thing, step into the future, 7 00:00:33,640 --> 00:00:36,120 Speaker 1: into the year twenty twenty six, and so with that 8 00:00:36,159 --> 00:00:38,200 Speaker 1: in mind, I wanted to have a conversation today about 9 00:00:38,240 --> 00:00:41,440 Speaker 1: New Year's Eve movies, the kinds of movies that tickle 10 00:00:41,520 --> 00:00:44,720 Speaker 1: our fancy here at Hollywoodland and disgrace Land, movies that 11 00:00:44,760 --> 00:00:47,040 Speaker 1: have at least one foot in the world of crime 12 00:00:47,120 --> 00:00:50,360 Speaker 1: or misbehavior in general, transgressions of all kinds, and maybe 13 00:00:50,440 --> 00:00:52,879 Speaker 1: offer all of you some ideas of some New Year's 14 00:00:52,960 --> 00:00:54,960 Speaker 1: themed stuff to watch in the next week or so. 15 00:00:55,280 --> 00:00:57,160 Speaker 1: And to do that with me once again, I have 16 00:00:57,280 --> 00:01:00,279 Speaker 1: with me the always down to party Jake brand In. 17 00:01:00,520 --> 00:01:01,800 Speaker 1: What is happening, my man? 18 00:01:02,080 --> 00:01:04,040 Speaker 2: I'm a little dirty. I had I had to kick 19 00:01:04,120 --> 00:01:06,240 Speaker 2: Matt out of the out of the recording booth here 20 00:01:06,280 --> 00:01:09,520 Speaker 2: to work my way back in. Put a microphone in 21 00:01:09,520 --> 00:01:13,520 Speaker 2: front of that guy and never fucking goes away. I'm 22 00:01:13,600 --> 00:01:16,680 Speaker 2: kidding I'm actually I love the addition of Matt on Mike. Yeah, 23 00:01:17,319 --> 00:01:19,280 Speaker 2: I'm doing well. I'm stoked to be talking about this 24 00:01:19,319 --> 00:01:22,480 Speaker 2: because it's a it's an interesting topic. Like people think 25 00:01:22,480 --> 00:01:24,800 Speaker 2: holiday movies, they think Christmas. They don't really think New 26 00:01:24,880 --> 00:01:27,840 Speaker 2: Year's for sure, and I'm one of them actually, So 27 00:01:28,000 --> 00:01:29,319 Speaker 2: I've got a lot to say about this. 28 00:01:29,560 --> 00:01:31,280 Speaker 1: And it's it's odd when you start to think about 29 00:01:31,400 --> 00:01:33,600 Speaker 1: dig into it. How many movies have like a New 30 00:01:33,640 --> 00:01:34,960 Speaker 1: Year's Eve set piece in them? 31 00:01:35,520 --> 00:01:37,880 Speaker 2: Yeah? I have a set piece for sure, But you know, 32 00:01:38,000 --> 00:01:41,560 Speaker 2: I'm like Christmas. I feel like, if you're gonna be 33 00:01:41,600 --> 00:01:43,839 Speaker 2: a New Year's movie, you gotta work harder at being 34 00:01:43,840 --> 00:01:45,600 Speaker 2: a New Year's movie than a Christmas. There's not a 35 00:01:45,640 --> 00:01:48,720 Speaker 2: lot of accidentally New Year's whereas we're gonna see, there's 36 00:01:48,720 --> 00:01:51,320 Speaker 2: not a lot of accidentally New Year's New Year's movies, 37 00:01:51,360 --> 00:01:53,200 Speaker 2: if that makes sense, Like there are Christmas movies. 38 00:01:53,320 --> 00:01:55,560 Speaker 1: Yeah, that's a great Bob Dylan outtake. By the way, 39 00:01:55,800 --> 00:01:56,600 Speaker 1: accidentally New. 40 00:01:56,520 --> 00:01:59,920 Speaker 2: Year's You go your way and I'll go your way to. 41 00:02:01,600 --> 00:02:04,559 Speaker 1: Hey, first of all, New Year's Eve. What's your history 42 00:02:04,560 --> 00:02:06,680 Speaker 1: with this quote unquote holiday? Are you a fan of 43 00:02:06,680 --> 00:02:09,000 Speaker 1: New Year's Eve? Did you like, used to go out 44 00:02:09,040 --> 00:02:10,960 Speaker 1: a lot. Did you used to play New Year's Eve 45 00:02:10,960 --> 00:02:12,400 Speaker 1: a lot when you were playing music? 46 00:02:12,919 --> 00:02:13,160 Speaker 2: Yes? 47 00:02:13,560 --> 00:02:14,000 Speaker 3: I did. 48 00:02:14,160 --> 00:02:18,079 Speaker 2: And the great thing about being a young struggling musician 49 00:02:18,520 --> 00:02:22,320 Speaker 2: is that you get paid on New Year's and we 50 00:02:22,360 --> 00:02:24,960 Speaker 2: would you get paid, Like, I don't really, I still 51 00:02:25,000 --> 00:02:27,120 Speaker 2: don't really understand the economics of it, but you I 52 00:02:27,120 --> 00:02:30,360 Speaker 2: think it's just because it becomes so competitive and clubs 53 00:02:30,400 --> 00:02:34,280 Speaker 2: and bars need to have something going on. So I 54 00:02:34,280 --> 00:02:38,320 Speaker 2: would always play, which means eventually I would always hate 55 00:02:38,400 --> 00:02:43,400 Speaker 2: playing because it was really amateur hour and you know, 56 00:02:43,440 --> 00:02:44,920 Speaker 2: everyone's out, everyone's getting. 57 00:02:44,639 --> 00:02:46,600 Speaker 1: Hammered, everyone's yelling for requests. 58 00:02:46,600 --> 00:02:50,440 Speaker 2: Probably too, everybody's yelling yelling for requests, and that that 59 00:02:50,480 --> 00:02:51,679 Speaker 2: nenver really bothered me that much. 60 00:02:52,080 --> 00:02:53,720 Speaker 3: But you know, there was I do have this. 61 00:02:53,840 --> 00:02:55,680 Speaker 2: One of the last times I did it was probably 62 00:02:55,720 --> 00:02:57,880 Speaker 2: the last time I did it was with a band 63 00:02:57,880 --> 00:02:59,640 Speaker 2: I was in called Bodega Girls. It might have been 64 00:02:59,639 --> 00:03:03,760 Speaker 2: around two thousand and eight, two thousand and nine, something 65 00:03:03,880 --> 00:03:05,840 Speaker 2: like that. This is a band that was never supposed 66 00:03:05,840 --> 00:03:07,800 Speaker 2: to play live, and we find ourselves playing a New 67 00:03:07,880 --> 00:03:10,760 Speaker 2: Year's Eve a real party band, right, Yeah, it's a 68 00:03:10,800 --> 00:03:13,840 Speaker 2: party band. We played parties like lofts and Bushwick and. 69 00:03:13,760 --> 00:03:16,680 Speaker 1: Like oh like literal parties, okay, yeah, yeah. 70 00:03:16,320 --> 00:03:18,040 Speaker 2: And the whole thing was like we're just gonna record 71 00:03:18,560 --> 00:03:20,760 Speaker 2: and then we'll play like parties. We won't play clubs, 72 00:03:20,800 --> 00:03:22,600 Speaker 2: but now we're playing this club. And it was like 73 00:03:22,639 --> 00:03:26,320 Speaker 2: one of these clubs. It was the club right across 74 00:03:26,320 --> 00:03:28,960 Speaker 2: the three from Folies and down like downtown Boston, like 75 00:03:29,040 --> 00:03:32,520 Speaker 2: way downtown, and there was somebody famous DJing I can't 76 00:03:32,560 --> 00:03:35,640 Speaker 2: remember who, and we were playing like it was like 77 00:03:35,920 --> 00:03:38,240 Speaker 2: you know, three two one, and then we're gonna like 78 00:03:38,280 --> 00:03:40,720 Speaker 2: start playing and it's like it's like pat you cannot 79 00:03:40,760 --> 00:03:43,280 Speaker 2: move type of thing. No stage, We're in this like 80 00:03:43,440 --> 00:03:49,320 Speaker 2: dance dance cave and this like college towny kid was 81 00:03:49,360 --> 00:03:51,000 Speaker 2: I have my pedal board at the edge of the 82 00:03:51,000 --> 00:03:53,480 Speaker 2: stage quote unquote stage and he comes up with his 83 00:03:53,560 --> 00:03:56,760 Speaker 2: beer and he's like it's a full pint glass and 84 00:03:56,800 --> 00:04:00,080 Speaker 2: he's like he's like pantomiming, like pouring it all for 85 00:04:00,200 --> 00:04:04,400 Speaker 2: my pedals. This is before we even start, and you. 86 00:04:04,320 --> 00:04:06,680 Speaker 1: Throttle them right then and there I'm like setting. 87 00:04:06,360 --> 00:04:08,120 Speaker 2: My shit up and I got up and I got 88 00:04:08,160 --> 00:04:11,000 Speaker 2: in his face, and this is like pure I'm not 89 00:04:11,040 --> 00:04:13,320 Speaker 2: a tough guy. I don't prevent pretend to be a 90 00:04:13,320 --> 00:04:16,120 Speaker 2: tough guy, but I have had moments of just like 91 00:04:16,400 --> 00:04:20,960 Speaker 2: pure aggression where the testosterone takes over and I just 92 00:04:21,040 --> 00:04:22,359 Speaker 2: I got up and I got in his face and 93 00:04:22,360 --> 00:04:25,640 Speaker 2: I very seriously said, if you do that, I'm going 94 00:04:25,720 --> 00:04:28,240 Speaker 2: to hit you in the head with my guitar. And 95 00:04:28,279 --> 00:04:32,640 Speaker 2: I had a solid body Mexican Paisley telecaster, which is 96 00:04:32,680 --> 00:04:34,320 Speaker 2: a beast of a weapon if you. 97 00:04:34,360 --> 00:04:37,039 Speaker 1: Have no fucking holibody. Baby, yes, solid. 98 00:04:36,920 --> 00:04:40,200 Speaker 2: Despite the Paisleys. So he just kind of laughs and 99 00:04:40,240 --> 00:04:42,919 Speaker 2: walks away, and I'm furious. I'm mad at myself for 100 00:04:42,960 --> 00:04:46,400 Speaker 2: playing the gig first of all. And sure enough we start. 101 00:04:46,440 --> 00:04:48,600 Speaker 2: It's chaos, and he comes right up with his pint 102 00:04:48,640 --> 00:04:51,000 Speaker 2: glass and it's like now it's like spilling all over 103 00:04:51,040 --> 00:04:52,120 Speaker 2: because people are dancing. 104 00:04:52,720 --> 00:04:55,440 Speaker 3: And I did it. I took my guitar and I 105 00:04:56,080 --> 00:04:58,679 Speaker 3: Pete townsend him. And then I got scared. 106 00:04:58,800 --> 00:05:01,880 Speaker 2: I'm like, I'm gonna die, Like they're gonna come back, right, 107 00:05:01,920 --> 00:05:06,400 Speaker 2: And I remember Evan Kennedy, my good friend who's in 108 00:05:06,440 --> 00:05:08,440 Speaker 2: the band, the singer he like went at the guy 109 00:05:08,520 --> 00:05:11,080 Speaker 2: for extra measure, and it was like three seconds into 110 00:05:11,120 --> 00:05:11,560 Speaker 2: the first song. 111 00:05:11,600 --> 00:05:13,400 Speaker 3: We're in a full fledged fight. 112 00:05:15,120 --> 00:05:17,440 Speaker 2: But we finished the set and everything was fine. No 113 00:05:17,480 --> 00:05:19,719 Speaker 2: one got arrested, no one got hurt, except that guy. 114 00:05:19,720 --> 00:05:21,720 Speaker 2: He never came back. I never didn't see him. I 115 00:05:21,800 --> 00:05:23,520 Speaker 2: was waiting for him after I figured something bad was 116 00:05:23,520 --> 00:05:25,720 Speaker 2: gonna happen. Never did, so I'm pretty sure this is 117 00:05:25,720 --> 00:05:27,640 Speaker 2: the last time I played in New Year's I don't 118 00:05:27,680 --> 00:05:30,120 Speaker 2: like making any plans whatsoever. 119 00:05:30,560 --> 00:05:31,800 Speaker 3: It's like it's become like. 120 00:05:31,760 --> 00:05:35,240 Speaker 2: A nesting holiday, yes for me and my family. 121 00:05:35,040 --> 00:05:38,159 Speaker 1: You know, yeah, same for us. I remember back when, 122 00:05:38,240 --> 00:05:40,200 Speaker 1: before kids, it was definitely like the night of the 123 00:05:40,279 --> 00:05:43,520 Speaker 1: year where stupid shit happened. And I remember one night 124 00:05:43,560 --> 00:05:45,520 Speaker 1: in particular, I think it was the night of the Millennium. 125 00:05:46,040 --> 00:05:49,280 Speaker 1: I went to a bar the blockdown from the Middle 126 00:05:49,320 --> 00:05:51,400 Speaker 1: East and Cambridge. I forget what the bar was even called, 127 00:05:52,120 --> 00:05:53,719 Speaker 1: and I don't even know why the hell we went there, 128 00:05:53,760 --> 00:05:55,920 Speaker 1: but it was like, you pay the cover to go in, Yeah, 129 00:05:55,920 --> 00:05:57,560 Speaker 1: the cover gets you like a tiny little thing of 130 00:05:57,640 --> 00:06:00,320 Speaker 1: champagne at midnight. And the people I was with, one 131 00:06:00,320 --> 00:06:02,960 Speaker 1: of them flipped off the bartender because he didn't think 132 00:06:02,960 --> 00:06:05,360 Speaker 1: he was getting served fast enough, and the bartender kicked 133 00:06:05,440 --> 00:06:07,920 Speaker 1: him out, and then so we had to leave and 134 00:06:07,960 --> 00:06:10,240 Speaker 1: like the other person's puking in the alley in the 135 00:06:10,240 --> 00:06:14,000 Speaker 1: bat That's my memory of pre kids in New Year's 136 00:06:14,400 --> 00:06:16,080 Speaker 1: Just sloppy nights, you know what I mean. 137 00:06:16,160 --> 00:06:18,080 Speaker 3: Yeah, sloppy New Year's nights. Yeah. 138 00:06:18,080 --> 00:06:20,800 Speaker 1: But we totally nest nowadays. Like we used to have 139 00:06:20,839 --> 00:06:23,279 Speaker 1: this tradition when the kids were younger, which was a 140 00:06:23,440 --> 00:06:25,679 Speaker 1: tradition I carried over when I was a kid because 141 00:06:25,680 --> 00:06:27,760 Speaker 1: TV thirty eight out of Boston, which we got up 142 00:06:27,800 --> 00:06:31,320 Speaker 1: in Maine, used to run up Three Stooges Marathon on 143 00:06:31,360 --> 00:06:33,120 Speaker 1: New Year's Eve and we would watch out with my family. 144 00:06:33,160 --> 00:06:35,160 Speaker 1: So I did that tradition with my kids for as 145 00:06:35,200 --> 00:06:37,960 Speaker 1: long as it lasted. Love Nope, none of them really 146 00:06:38,000 --> 00:06:39,080 Speaker 1: give shit anymore. 147 00:06:39,279 --> 00:06:39,599 Speaker 3: Really. 148 00:06:40,720 --> 00:06:42,520 Speaker 1: My son actually was like, Hey, we should watch some 149 00:06:42,520 --> 00:06:44,719 Speaker 1: Three Stooges again this year, So he's down for whatever. 150 00:06:44,760 --> 00:06:46,880 Speaker 1: The girls, though, do The girls do not care, especially 151 00:06:46,920 --> 00:06:50,320 Speaker 1: my sixteen year old. She does not care wink about 152 00:06:50,320 --> 00:06:51,080 Speaker 1: the Three Stooges. 153 00:06:51,440 --> 00:06:53,240 Speaker 2: I got to get the boys under the Three Stooges. 154 00:06:53,240 --> 00:06:54,560 Speaker 3: Something tells me they're gonna love it. 155 00:06:54,760 --> 00:06:55,680 Speaker 1: Oh man, it's so good. 156 00:06:55,760 --> 00:06:58,000 Speaker 3: But then I'm worried about notes coming home from school. 157 00:07:00,000 --> 00:07:00,360 Speaker 3: That's the thing. 158 00:07:00,360 --> 00:07:01,919 Speaker 1: You just have to say to them like, Okay, you 159 00:07:01,920 --> 00:07:03,440 Speaker 1: can say that word, just don't stay it on your 160 00:07:03,440 --> 00:07:04,560 Speaker 1: grandparents and don't stay it at. 161 00:07:04,520 --> 00:07:06,440 Speaker 2: School, right, oh geez, don't say it on your I 162 00:07:06,440 --> 00:07:09,640 Speaker 2: have the opposite problem. My grandparents are dropping firs, dropping 163 00:07:09,840 --> 00:07:11,360 Speaker 2: bombs all the problem. 164 00:07:11,520 --> 00:07:15,600 Speaker 3: They're the problem. We don't have the Three Stooges tradition. 165 00:07:15,680 --> 00:07:17,880 Speaker 2: Now we have the Twilight Zone tradition, which was my 166 00:07:18,000 --> 00:07:22,720 Speaker 2: wife's childhood tradition, where every day on New Year's is 167 00:07:22,760 --> 00:07:25,840 Speaker 2: a Twilight Zone marathon that goes that happens. I think 168 00:07:25,880 --> 00:07:28,800 Speaker 2: it's TBS or something like that. So now it's like 169 00:07:29,360 --> 00:07:31,840 Speaker 2: I mean now with streaming, I mean we just I 170 00:07:31,880 --> 00:07:35,160 Speaker 2: think Hulu has all of them. We just we just 171 00:07:35,240 --> 00:07:38,320 Speaker 2: fired up on like New Year's Eve, and we buy 172 00:07:38,480 --> 00:07:40,480 Speaker 2: some cheap caviarts the one time of the year we 173 00:07:40,600 --> 00:07:43,520 Speaker 2: buy like that cheap for caviars, cheap from Whole Foods. 174 00:07:43,520 --> 00:07:45,360 Speaker 2: It's like sixty bucks, you know what I mean. We 175 00:07:45,440 --> 00:07:46,600 Speaker 2: put it on potato chips. 176 00:07:48,480 --> 00:07:49,640 Speaker 1: Yeah, and we watch. 177 00:07:49,920 --> 00:07:53,840 Speaker 2: We get the apple cider, the Martinelli's apple cider stuff, 178 00:07:53,880 --> 00:07:55,760 Speaker 2: so the kids can toast and we have a little 179 00:07:55,840 --> 00:07:59,120 Speaker 2: champagne and and we watch Twilight Zone. It's more than 180 00:07:59,120 --> 00:08:00,920 Speaker 2: twenty four hours now, it's like kind of that whole like, 181 00:08:01,160 --> 00:08:03,120 Speaker 2: you know, New Year's Eve, New Year's Day, No shit, 182 00:08:03,400 --> 00:08:06,480 Speaker 2: I love that. Yeah, it's fun. I seldom I don't 183 00:08:06,480 --> 00:08:08,360 Speaker 2: even know if I make it. I think I think 184 00:08:08,400 --> 00:08:11,800 Speaker 2: I've made it to actually midnight the last two My now, 185 00:08:11,880 --> 00:08:13,680 Speaker 2: my kid, my oldest Harlem just he just wants to 186 00:08:13,680 --> 00:08:15,679 Speaker 2: stay up late all the time anyway, So any excuse, 187 00:08:15,720 --> 00:08:16,280 Speaker 2: so we'll be up. 188 00:08:16,400 --> 00:08:16,600 Speaker 3: Yeah. 189 00:08:16,680 --> 00:08:19,960 Speaker 2: But down here in Florida, you know, it's it's insane, 190 00:08:20,040 --> 00:08:23,120 Speaker 2: and there's just fireworks everywhere in the neighborhood, like just 191 00:08:23,560 --> 00:08:26,560 Speaker 2: constant all night where and they're just they're just right 192 00:08:26,600 --> 00:08:28,960 Speaker 2: in your backyard. Like I literally have like fireworks debris 193 00:08:28,960 --> 00:08:30,560 Speaker 2: in my pool the next day, you know what I mean. 194 00:08:30,720 --> 00:08:32,800 Speaker 2: So it's kind of you get this little side show, 195 00:08:32,840 --> 00:08:34,520 Speaker 2: which is which is fun. Wow. 196 00:08:34,920 --> 00:08:37,439 Speaker 1: Great, cool. All right, that's a good start here to 197 00:08:37,720 --> 00:08:39,920 Speaker 1: our little New Year's Eve conversation. Actually, you know what, 198 00:08:40,240 --> 00:08:41,559 Speaker 1: I want to talk to you about a couple of 199 00:08:41,600 --> 00:08:44,160 Speaker 1: films in particular that are right up our lane. But 200 00:08:44,240 --> 00:08:45,679 Speaker 1: before we do that, why don't we take a quick 201 00:08:45,720 --> 00:09:07,920 Speaker 1: break and we'll come right back. Okay, So a couple 202 00:09:07,960 --> 00:09:11,520 Speaker 1: of movies here that I think are connected by the 203 00:09:11,600 --> 00:09:14,280 Speaker 1: fact that they both have very pivotal scenes that play 204 00:09:14,360 --> 00:09:18,599 Speaker 1: out during New Year's Eve parties. Are Boogie Knights and 205 00:09:18,679 --> 00:09:22,720 Speaker 1: The Godfather Part two. Boogie Knights has this New Year's 206 00:09:22,720 --> 00:09:25,400 Speaker 1: Eve party that takes us from the decade of the 207 00:09:25,440 --> 00:09:28,599 Speaker 1: seventies into the eighties, from film to video. It's the 208 00:09:28,679 --> 00:09:31,040 Speaker 1: beginning of the end. There's a good Fellow's camp for this, 209 00:09:31,200 --> 00:09:33,319 Speaker 1: you know, the moment where there's no turning back with 210 00:09:33,480 --> 00:09:36,720 Speaker 1: the story. You've been seduced by the lifestyle, and then 211 00:09:36,720 --> 00:09:39,000 Speaker 1: all of a sudden, you know, William H. Macy puts 212 00:09:39,040 --> 00:09:40,719 Speaker 1: a gun to his head and blows his brains out, 213 00:09:40,760 --> 00:09:44,800 Speaker 1: and now you're paying for that lifestyle, right. And then 214 00:09:44,800 --> 00:09:47,520 Speaker 1: The Godfather too, of course, has this iconic New Year's 215 00:09:47,559 --> 00:09:50,120 Speaker 1: Eve party scene in Cuba, which is the moment where 216 00:09:50,160 --> 00:09:52,320 Speaker 1: Michael tells Fredo he knows that he was the one 217 00:09:52,360 --> 00:09:54,120 Speaker 1: that betrayed him. What do you want to talk about first, 218 00:09:54,120 --> 00:09:54,800 Speaker 1: Booge Knights. 219 00:09:55,080 --> 00:09:56,360 Speaker 3: Well, I want to talk about both of them. 220 00:09:56,360 --> 00:09:57,720 Speaker 2: I want to make this point that one of them 221 00:09:57,760 --> 00:09:59,360 Speaker 2: seems like a New Year's movie and the other one 222 00:09:59,400 --> 00:10:01,920 Speaker 2: does not, And I feel like it goes to what 223 00:10:02,000 --> 00:10:04,360 Speaker 2: I was saying earlier where Boogie Knights it does. 224 00:10:05,240 --> 00:10:05,559 Speaker 3: I don't know. 225 00:10:05,960 --> 00:10:08,360 Speaker 2: It just feels like they make they reinforce the New 226 00:10:08,440 --> 00:10:09,880 Speaker 2: Year's piece. 227 00:10:09,720 --> 00:10:12,080 Speaker 3: Of it more than in Godfather. Godfather. 228 00:10:12,120 --> 00:10:14,679 Speaker 2: It's just part of this massive uh you use the 229 00:10:14,720 --> 00:10:18,240 Speaker 2: word set piece earlier, and certainly the party for Batista. 230 00:10:17,920 --> 00:10:19,160 Speaker 3: That's that's all you know. 231 00:10:19,320 --> 00:10:22,000 Speaker 2: It's yeah, it's New Year's and it feels it's just 232 00:10:22,040 --> 00:10:26,280 Speaker 2: everything kind of seems the drama is paying off so 233 00:10:26,640 --> 00:10:30,880 Speaker 2: fully in that scene, everything between Michael and Fredo and 234 00:10:31,040 --> 00:10:34,800 Speaker 2: Michael's plan is coming to fruition or starting to the 235 00:10:34,880 --> 00:10:39,240 Speaker 2: mechanics anyways of it, and the drama almost seems like 236 00:10:39,600 --> 00:10:44,160 Speaker 2: it's too big for the New Year's scenery piece of it. 237 00:10:44,280 --> 00:10:46,319 Speaker 2: So maybe that's why I never really think of that 238 00:10:46,400 --> 00:10:50,120 Speaker 2: movie as a New Year's movie. Great movie obviously, Whereas 239 00:10:50,760 --> 00:10:53,839 Speaker 2: with Boogie Nights, they're set in this New Year's Eve 240 00:10:54,200 --> 00:10:58,599 Speaker 2: party and the drama that unfolds there is more of 241 00:10:58,679 --> 00:11:01,719 Speaker 2: a surprise. Perhaps it's more of a shocking turn that 242 00:11:01,800 --> 00:11:04,560 Speaker 2: you're not expecting. You can kind of and Godfather too, 243 00:11:04,559 --> 00:11:08,280 Speaker 2: you can kind of see what Michael's were working up to. 244 00:11:08,480 --> 00:11:10,600 Speaker 2: He kind of knows this is gonna happen. He doesn't 245 00:11:10,640 --> 00:11:12,719 Speaker 2: set Fredo up, but he's kind of fishing to get 246 00:11:12,760 --> 00:11:16,240 Speaker 2: the information from Fredo because he already suspects him somewhat 247 00:11:16,640 --> 00:11:18,560 Speaker 2: as the audience a kind of being brought along, even 248 00:11:18,559 --> 00:11:20,679 Speaker 2: if you don't realize it. The Little Bill thing in 249 00:11:20,720 --> 00:11:22,400 Speaker 2: Boogie Nights, the first time I watched it was a 250 00:11:22,480 --> 00:11:23,080 Speaker 2: total shock. 251 00:11:23,520 --> 00:11:26,800 Speaker 1: Absolutely, it was up until that point, like you were laughing, 252 00:11:27,600 --> 00:11:29,520 Speaker 1: and you've been laughing at Little Bill every time he 253 00:11:29,559 --> 00:11:32,480 Speaker 1: turns around. His wife's like going to town with some guy, 254 00:11:32,520 --> 00:11:35,120 Speaker 1: and there's a whole group of people watching, and it's 255 00:11:35,800 --> 00:11:38,080 Speaker 1: and he's sort of like the butt of the joke. 256 00:11:38,440 --> 00:11:42,240 Speaker 2: Yeah, and rewatching it before having this conversation, I just 257 00:11:42,320 --> 00:11:45,000 Speaker 2: watched the clip on YouTube, the like six to seven 258 00:11:45,040 --> 00:11:45,640 Speaker 2: minute clip of. 259 00:11:45,720 --> 00:11:47,640 Speaker 3: That whole one camera shot. 260 00:11:48,040 --> 00:11:50,040 Speaker 2: It's one shot, right, Yeah, where they're following a little 261 00:11:50,080 --> 00:11:53,480 Speaker 2: Bill around and you know, his wife, like you said, 262 00:11:53,600 --> 00:11:56,360 Speaker 2: is hooking up with another guy. By this point, you 263 00:11:56,600 --> 00:11:59,559 Speaker 2: just kind of accepted as a viewer that this was 264 00:12:00,240 --> 00:12:02,640 Speaker 2: this is the porn industry. So of course there's going 265 00:12:02,679 --> 00:12:04,920 Speaker 2: to be a guy like Little Bill who's stupid enough 266 00:12:05,160 --> 00:12:10,679 Speaker 2: to marry an actress, and this is gonna happen. And 267 00:12:10,760 --> 00:12:12,599 Speaker 2: this is just part of the craziness of it. And 268 00:12:12,679 --> 00:12:14,640 Speaker 2: up until this point, we're just having We're just having fun. Man, 269 00:12:14,640 --> 00:12:16,719 Speaker 2: We're doing cocaine and we're on roller skates and do 270 00:12:16,840 --> 00:12:18,160 Speaker 2: you know what I mean, which is like whatever, it's 271 00:12:18,200 --> 00:12:19,800 Speaker 2: the seventies and you. 272 00:12:19,960 --> 00:12:22,160 Speaker 3: Don't see this coming. And as I was rewatching it, 273 00:12:22,240 --> 00:12:26,400 Speaker 3: I was like, you know, did did P. T. 274 00:12:26,600 --> 00:12:31,840 Speaker 2: Anderson even plant the seed that Bill? That little Bill 275 00:12:32,600 --> 00:12:37,640 Speaker 2: was actually upset and emotionally hurt and emotionally kind of 276 00:12:37,760 --> 00:12:42,679 Speaker 2: like on on why like unspooling, you know, from his 277 00:12:42,840 --> 00:12:46,959 Speaker 2: wife's infidelity. And I don't think he does. I think 278 00:12:47,040 --> 00:12:50,360 Speaker 2: it's all just kind of like, well, he's a sucker 279 00:12:50,440 --> 00:12:52,480 Speaker 2: and this is this is what happens to suckers. 280 00:12:52,520 --> 00:12:53,959 Speaker 3: And we never really get a glimpse. 281 00:12:54,800 --> 00:12:56,720 Speaker 1: And I think that's what's so powerful about the fact 282 00:12:56,760 --> 00:12:59,800 Speaker 1: that he chooses that extremely long tracking shot where he 283 00:12:59,800 --> 00:13:02,400 Speaker 1: could have just cut Little Bill walks out the door 284 00:13:02,600 --> 00:13:04,679 Speaker 1: and goes to his car. Then we don't see where 285 00:13:04,679 --> 00:13:06,280 Speaker 1: he's going, and he comes whatever, he could have cut 286 00:13:06,320 --> 00:13:09,000 Speaker 1: that up, but you you follow him from here to there. 287 00:13:09,080 --> 00:13:10,720 Speaker 1: He goes to right, he goes outside to his car 288 00:13:10,840 --> 00:13:11,480 Speaker 1: to grab his gun. 289 00:13:11,600 --> 00:13:13,800 Speaker 2: Is that what Yeah, and he goes You even see 290 00:13:13,920 --> 00:13:16,920 Speaker 2: the gun, but you're still kind of just lulled into 291 00:13:17,040 --> 00:13:19,040 Speaker 2: this what is this guy doing? 292 00:13:19,160 --> 00:13:21,280 Speaker 3: What's he gonna do? You don't feel like he's gonna 293 00:13:21,679 --> 00:13:22,360 Speaker 3: do what he does? 294 00:13:22,640 --> 00:13:24,559 Speaker 1: You just don't, right, I know, but you're almost in 295 00:13:24,640 --> 00:13:26,960 Speaker 1: like this detached headspace of his where he's just sort 296 00:13:27,000 --> 00:13:30,280 Speaker 1: of like suddenly something is snapped and he's just going 297 00:13:30,320 --> 00:13:33,360 Speaker 1: through the motions and carrying this act out. 298 00:13:33,720 --> 00:13:36,600 Speaker 2: Yeah, and it uses New Year's and it really I mean, 299 00:13:36,760 --> 00:13:38,800 Speaker 2: he carries the act out the gun, the gun goes 300 00:13:38,840 --> 00:13:40,800 Speaker 2: off and it cuts super quick and it just goes 301 00:13:40,920 --> 00:13:41,400 Speaker 2: the eighties. 302 00:13:41,760 --> 00:13:44,600 Speaker 3: Yeah, and you're just like wow, like that's a great 303 00:13:44,679 --> 00:13:45,760 Speaker 3: use of New Year's Eve. 304 00:13:45,880 --> 00:13:48,920 Speaker 2: Like that's huge. But as New Year's E as it is, 305 00:13:49,320 --> 00:13:50,920 Speaker 2: that's not a movie I'm thinking to watch on New 306 00:13:51,000 --> 00:13:53,280 Speaker 2: Year's you know what I mean. I'm not sitting there 307 00:13:53,320 --> 00:13:55,319 Speaker 2: going like I actually think about watching some of the 308 00:13:55,360 --> 00:13:57,000 Speaker 2: other movies that we mentioned, KUD that are that are 309 00:13:57,080 --> 00:14:00,520 Speaker 2: more definitively New Year's I know we're gonnaalk about stuff. 310 00:14:00,520 --> 00:14:01,360 Speaker 3: I want to burn it here, but. 311 00:14:01,840 --> 00:14:03,959 Speaker 2: It is interesting, I will say, just to put a 312 00:14:04,000 --> 00:14:06,920 Speaker 2: pin a button on it. It is interesting to watch 313 00:14:07,240 --> 00:14:10,240 Speaker 2: Boogie Knights from the perspective of the punctuating end of 314 00:14:10,360 --> 00:14:12,920 Speaker 2: year moment. It's just fantastic. It's done expertly. 315 00:14:13,720 --> 00:14:15,640 Speaker 1: Is this your favorite PTA movie? 316 00:14:16,120 --> 00:14:18,839 Speaker 2: Oh yeah, yeah, yeah, I know it's like fifth on 317 00:14:18,960 --> 00:14:20,680 Speaker 2: your list, right, It's not fifth on my list? 318 00:14:21,120 --> 00:14:21,600 Speaker 3: What's first? 319 00:14:22,400 --> 00:14:23,600 Speaker 1: My list is always changing. 320 00:14:23,760 --> 00:14:26,200 Speaker 2: This is a tinker tailor, and I know that's not 321 00:14:26,320 --> 00:14:30,160 Speaker 2: heav it's the threadbare, what's the one I haven't seen 322 00:14:30,280 --> 00:14:31,280 Speaker 2: the day Danom. 323 00:14:31,040 --> 00:14:33,240 Speaker 1: Thread, Dude, Phantom Thread is so good. I know, I 324 00:14:33,320 --> 00:14:36,400 Speaker 1: know it's so good. I'd I don't know, I really, 325 00:14:36,520 --> 00:14:38,600 Speaker 1: I know that it was on so many people's best 326 00:14:38,640 --> 00:14:41,280 Speaker 1: of lists for the first twenty five years of this century. 327 00:14:41,320 --> 00:14:43,200 Speaker 1: But I think There'll be blood is just incredible. 328 00:14:43,360 --> 00:14:44,920 Speaker 3: Yeah, it's great. It's great. 329 00:14:45,320 --> 00:14:47,240 Speaker 1: But you know, I just like different days. Like you know, 330 00:14:47,640 --> 00:14:49,320 Speaker 1: booge Nights was my number one of his for a 331 00:14:49,400 --> 00:14:49,760 Speaker 1: long time. 332 00:14:49,840 --> 00:14:52,800 Speaker 3: So it's so fun. It is so fun. It's so 333 00:14:53,320 --> 00:14:54,480 Speaker 3: incredibly fun. 334 00:14:54,760 --> 00:14:56,640 Speaker 1: It's like a great mixtape too, is it? The music 335 00:14:56,760 --> 00:15:02,000 Speaker 1: is always going. It's like the good Fellas scene, the 336 00:15:02,080 --> 00:15:04,840 Speaker 1: helicopter scene played out over an entire movie. 337 00:15:05,000 --> 00:15:07,200 Speaker 2: Yeah, I was just go screen Rant has a list 338 00:15:07,240 --> 00:15:08,840 Speaker 2: of all the songs and the scenes that they're in. 339 00:15:08,880 --> 00:15:10,360 Speaker 2: I was just going through them before we get on it, 340 00:15:10,400 --> 00:15:14,000 Speaker 2: and it's relentless. It's they're just pummeling. He's pummeling you 341 00:15:14,360 --> 00:15:18,480 Speaker 2: with this soundtrack and it never stops. Even in the 342 00:15:18,560 --> 00:15:22,120 Speaker 2: seventies when it's bad, it's still fun. Yeah, you're still like, 343 00:15:22,200 --> 00:15:24,720 Speaker 2: oh shit, I like, Sister Christian, how did that happen? 344 00:15:25,360 --> 00:15:26,480 Speaker 2: How did that work out? 345 00:15:27,200 --> 00:15:27,840 Speaker 3: You know what I mean? 346 00:15:27,920 --> 00:15:30,720 Speaker 2: So, yeah, it's my favorite. It's one of my favorite 347 00:15:31,120 --> 00:15:34,680 Speaker 2: nineties movies. Actually agreed, it's agreed so good, which that's 348 00:15:34,720 --> 00:15:35,960 Speaker 2: hard to say, you. 349 00:15:36,000 --> 00:15:38,680 Speaker 1: Know, thinking about our video pod, this film should be 350 00:15:38,720 --> 00:15:42,000 Speaker 1: played loud that that speaking and speaking of Sister Christian, 351 00:15:42,480 --> 00:15:45,000 Speaker 1: that scene with Alfa Molina near the end of the movie, 352 00:15:45,520 --> 00:15:47,120 Speaker 1: that was the first time for me I was like, oh, 353 00:15:48,240 --> 00:15:50,480 Speaker 1: this song is the thing. I never really thought about 354 00:15:50,520 --> 00:15:52,440 Speaker 1: that song at all, probably heard it on classic rock 355 00:15:52,560 --> 00:15:55,200 Speaker 1: radio somewhere, but it kind of made that song for me. 356 00:15:55,320 --> 00:15:57,160 Speaker 1: And that's the kind of thing that anytime I hear 357 00:15:57,240 --> 00:15:59,600 Speaker 1: that song now, all I can vision is just out 358 00:15:59,600 --> 00:16:02,800 Speaker 1: from and being like hold on a second and due, don't, don't, don't, don't, 359 00:16:03,200 --> 00:16:04,760 Speaker 1: like waiting for the drums to come up or whatever. 360 00:16:04,840 --> 00:16:07,160 Speaker 1: It's so so great. Yeah, and that kids running around 361 00:16:07,200 --> 00:16:09,960 Speaker 1: like throwing the little firecrackers ground. 362 00:16:10,000 --> 00:16:14,240 Speaker 2: It's a little twink in the robe. And this is unbelievable. Man. 363 00:16:14,920 --> 00:16:16,840 Speaker 2: That should be the second move. That's got my vote. 364 00:16:16,880 --> 00:16:18,480 Speaker 2: We'll see what the people say, yeah, about what they 365 00:16:18,520 --> 00:16:20,720 Speaker 2: want us to cover next. Yeah, but that's got my 366 00:16:20,840 --> 00:16:21,440 Speaker 2: vote for sure. 367 00:16:21,760 --> 00:16:21,960 Speaker 3: Yeah. 368 00:16:22,000 --> 00:16:24,920 Speaker 1: I would totally do that for sure as well. Godfather too. 369 00:16:25,320 --> 00:16:26,800 Speaker 1: Have I ever done my Freido impression for you? 370 00:16:27,040 --> 00:16:27,680 Speaker 2: No? Please do? 371 00:16:27,800 --> 00:16:33,640 Speaker 1: Though, I'm smart, I know things. 372 00:16:35,000 --> 00:16:35,760 Speaker 3: It's pretty good. 373 00:16:36,160 --> 00:16:38,720 Speaker 1: His Massachusetts accident really comes out when he gets angry. 374 00:16:38,760 --> 00:16:41,280 Speaker 1: He's I'm smat does. 375 00:16:42,640 --> 00:16:43,240 Speaker 2: Oh man? 376 00:16:43,360 --> 00:16:46,240 Speaker 1: I always quote that whenever I do something stupid and yeah, 377 00:16:46,360 --> 00:16:48,080 Speaker 1: just to meet my wife laugh, I always say I'm smad. 378 00:16:48,160 --> 00:16:48,640 Speaker 2: I love that. 379 00:16:49,520 --> 00:16:51,680 Speaker 3: We're gonna go to his grave. He's buried in Medford. 380 00:16:52,200 --> 00:16:54,640 Speaker 1: Yeah, yeah, yeah, God, what a career. 381 00:16:54,760 --> 00:16:55,080 Speaker 2: You know that? 382 00:16:55,200 --> 00:16:56,320 Speaker 1: You know that trivia about him? 383 00:16:56,400 --> 00:16:58,440 Speaker 2: Right? Oh yeah? Tell the people though. Five movies. 384 00:16:58,880 --> 00:17:03,560 Speaker 1: He was in five movies, Godfather, Godfather Too, The Deer Hunter, 385 00:17:03,960 --> 00:17:10,240 Speaker 1: The Conversation, and Dog Day Afternoon, all of them Academy 386 00:17:10,240 --> 00:17:13,359 Speaker 1: Award nominees or Academy Award winners for Best Picture. Now, 387 00:17:13,359 --> 00:17:15,720 Speaker 1: I forget if it's winners or nominees. So he's the 388 00:17:15,760 --> 00:17:17,399 Speaker 1: only he's the I think he's the only actor in 389 00:17:17,480 --> 00:17:21,040 Speaker 1: history where every single movie he was in was a 390 00:17:21,160 --> 00:17:23,200 Speaker 1: Best Picture nominee. I mean he was only in five, 391 00:17:23,320 --> 00:17:25,320 Speaker 1: but damn, the guy could pick a movie to be 392 00:17:25,359 --> 00:17:28,479 Speaker 1: at H Where do you fall with Godfather Too? As 393 00:17:28,560 --> 00:17:32,520 Speaker 1: far as are you this divide between what's better Godfather 394 00:17:32,640 --> 00:17:35,840 Speaker 1: One and Godfather Too? Ah, it's a basic bitch question, 395 00:17:35,960 --> 00:17:36,920 Speaker 1: but it's. 396 00:17:37,200 --> 00:17:41,760 Speaker 2: I mean, they're equally good. The Italy stuff in two 397 00:17:42,880 --> 00:17:45,480 Speaker 2: kind wait is that two or one? They both go 398 00:17:45,600 --> 00:17:48,720 Speaker 2: back to Italy. But the Michael and Apollonia stuff. 399 00:17:49,200 --> 00:17:52,359 Speaker 1: That's in one, that's in one and two is when. 400 00:17:52,720 --> 00:17:54,919 Speaker 2: DeNiro goes back and avenges the death. 401 00:17:54,840 --> 00:17:56,719 Speaker 1: Right, invenges the death of us. Yes, that's exactly. 402 00:17:56,880 --> 00:18:00,320 Speaker 3: Yeah, I don't like it as much in one. You know, 403 00:18:00,400 --> 00:18:02,160 Speaker 3: it's weird. I think I like two better. 404 00:18:02,320 --> 00:18:04,840 Speaker 1: I do. I think I do too, even though one 405 00:18:04,960 --> 00:18:07,680 Speaker 1: is just two is so two is almost like the 406 00:18:07,760 --> 00:18:09,680 Speaker 1: Sting like the first, Like three times I saw the 407 00:18:09,720 --> 00:18:11,320 Speaker 1: Sting where I loved it, but I didn't understand it. 408 00:18:11,720 --> 00:18:15,560 Speaker 1: Like there's so much going on that is not broadcast 409 00:18:15,640 --> 00:18:17,000 Speaker 1: to you that you have to kind of figure out, 410 00:18:17,560 --> 00:18:18,639 Speaker 1: you know what I mean. Like you talked about the 411 00:18:18,680 --> 00:18:21,040 Speaker 1: Fredo thing. I don't really think I understood how he 412 00:18:21,160 --> 00:18:23,399 Speaker 1: was fishing for what he's fishing for until I watched 413 00:18:23,400 --> 00:18:26,760 Speaker 1: it numerous times because it's everything is so subtle, and Butchino, 414 00:18:27,160 --> 00:18:30,160 Speaker 1: for as like eruptive as he can be, his subtlety 415 00:18:30,200 --> 00:18:31,800 Speaker 1: in that movie is so incredible. 416 00:18:32,280 --> 00:18:33,679 Speaker 3: Yeah, you're absolutely right. 417 00:18:34,000 --> 00:18:36,280 Speaker 2: Did you hear this thing about but you know, he's 418 00:18:36,320 --> 00:18:40,200 Speaker 2: broke and he's doing like a heart Ease commercial I saw. 419 00:18:40,400 --> 00:18:42,520 Speaker 2: I think it's Hearty's. It might be a different brand sad. 420 00:18:42,960 --> 00:18:45,480 Speaker 2: But his manager like stole all his money or something. 421 00:18:45,680 --> 00:18:48,280 Speaker 2: Oh my god, no, and he's like he's like doing 422 00:18:48,359 --> 00:18:50,760 Speaker 2: a song and dance kind of Sammy Davis Junior thing 423 00:18:50,800 --> 00:18:54,600 Speaker 2: and this thing. Shit, that's which is awful, you know. 424 00:18:54,840 --> 00:18:59,000 Speaker 2: It's it's weird he had in those movies. In both 425 00:18:59,080 --> 00:19:03,119 Speaker 2: of them, he has such a quiet intensity to his 426 00:19:03,600 --> 00:19:06,760 Speaker 2: his drama work, and and then he just becomes this 427 00:19:06,840 --> 00:19:09,679 Speaker 2: whole other thing with center a woman and never kind of. 428 00:19:10,320 --> 00:19:13,159 Speaker 3: Comes back from that. It's bizarre, you know. 429 00:19:13,680 --> 00:19:15,280 Speaker 2: Yeah, even though I love him, I love him, and 430 00:19:15,359 --> 00:19:18,000 Speaker 2: he and he's still kind of doing that, like he's still. 431 00:19:19,800 --> 00:19:21,720 Speaker 3: He's still away over the fucking top. 432 00:19:21,800 --> 00:19:24,800 Speaker 1: But it's great. Yeah. Yeah, something something switched to him 433 00:19:24,960 --> 00:19:27,240 Speaker 1: around yeah, around the sent of a woman, and he 434 00:19:27,359 --> 00:19:28,920 Speaker 1: just kind of became a different kind of actor. 435 00:19:29,119 --> 00:19:31,000 Speaker 3: Yeah, yeah, I love him though, love. 436 00:19:31,000 --> 00:19:32,960 Speaker 1: Yeah yeah, one of the best. Well, I'll be looking 437 00:19:32,960 --> 00:19:35,200 Speaker 1: for that Arty's commercial. Let's uh, let's get into some 438 00:19:35,320 --> 00:19:38,080 Speaker 1: more of these, like truly like New Year's movies. Before 439 00:19:38,119 --> 00:19:39,520 Speaker 1: we do that, Let's say, let's take one more break 440 00:19:39,520 --> 00:19:40,760 Speaker 1: and then we'll come back and we'll talk about this. 441 00:19:40,960 --> 00:19:45,520 Speaker 1: You got like it handle things. I'm smart, Like everybody 442 00:19:45,640 --> 00:19:49,960 Speaker 1: says like dumb, I'm smart, and I want to spec. 443 00:20:04,560 --> 00:20:04,879 Speaker 3: What's up. 444 00:20:04,920 --> 00:20:07,879 Speaker 1: We're back here in Hollywoodland, Zeth Lundy and Jake Brennan 445 00:20:08,000 --> 00:20:11,000 Speaker 1: talking about New Year's Eve movies. Let's talk about some 446 00:20:11,320 --> 00:20:13,959 Speaker 1: some movies that are that really are centered around New 447 00:20:14,040 --> 00:20:16,680 Speaker 1: Year's Eve, the whole movie. You mentioned to me that 448 00:20:16,800 --> 00:20:19,760 Speaker 1: you had just watched Four Rooms the other day. I 449 00:20:19,840 --> 00:20:21,800 Speaker 1: hadn't seen that, I don't think since it came out. 450 00:20:21,880 --> 00:20:25,119 Speaker 1: So I jumped on the Criterion channel and I watched 451 00:20:25,119 --> 00:20:27,399 Speaker 1: I rewatched most of it. I skipped it. I skipped 452 00:20:27,400 --> 00:20:28,639 Speaker 1: around a little bit here and there, but I did 453 00:20:28,680 --> 00:20:29,359 Speaker 1: rewatch most of it. 454 00:20:30,200 --> 00:20:32,639 Speaker 3: It's fantastic. I love it. I loved it when it 455 00:20:32,720 --> 00:20:33,080 Speaker 3: came out. 456 00:20:33,320 --> 00:20:37,080 Speaker 2: I love it now. It's it's a farce. People hate 457 00:20:37,119 --> 00:20:37,600 Speaker 2: this movie. 458 00:20:38,200 --> 00:20:39,879 Speaker 3: Critics critics hate it. 459 00:20:40,040 --> 00:20:41,360 Speaker 1: Wait till I tell you what I think. 460 00:20:42,320 --> 00:20:44,159 Speaker 3: Yeah, okay, so I'm guessing we'll get to that. But 461 00:20:44,280 --> 00:20:44,920 Speaker 3: critics hate it. 462 00:20:45,520 --> 00:20:47,960 Speaker 2: There's for those who don't know, there's four directors. It's 463 00:20:48,040 --> 00:20:55,920 Speaker 2: Quentin Tarantino, Robert Rodriguez, Alison Anders, and Alexander Rockwell. Those 464 00:20:55,960 --> 00:20:59,360 Speaker 2: are the four directors and they and each director does 465 00:20:59,480 --> 00:21:01,879 Speaker 2: four short films and they're all connected, and they all 466 00:21:01,920 --> 00:21:04,240 Speaker 2: take place on New Year's Eve at a fictional hotel, 467 00:21:04,320 --> 00:21:07,680 Speaker 2: which I believe is shot at the Chateau. 468 00:21:07,520 --> 00:21:09,880 Speaker 1: Marmal in La I believe, Is it really? 469 00:21:10,160 --> 00:21:11,240 Speaker 3: I think? I think. 470 00:21:11,359 --> 00:21:15,159 Speaker 2: I can't confirm that, but I think so. Anyhow, all 471 00:21:15,240 --> 00:21:20,359 Speaker 2: these actors are part of the sun Dance group that 472 00:21:20,560 --> 00:21:24,600 Speaker 2: was forming the Class of ninety two. And these are 473 00:21:24,640 --> 00:21:27,119 Speaker 2: some heavy I said actors, I meant directors. These are 474 00:21:27,160 --> 00:21:32,800 Speaker 2: some heavy directors. And they decide during this sort of 475 00:21:33,359 --> 00:21:36,040 Speaker 2: camaraderie that they're having around Sundance and this is you know, 476 00:21:36,520 --> 00:21:38,040 Speaker 2: this is pre pulp fiction. 477 00:21:38,680 --> 00:21:38,960 Speaker 3: Okay. 478 00:21:39,040 --> 00:21:41,640 Speaker 2: When they make this decision, they decide there's not enough 479 00:21:41,680 --> 00:21:46,960 Speaker 2: camaraderie amongst the classes at Sundance. Okay, so they want 480 00:21:46,960 --> 00:21:49,720 Speaker 2: to do this film. Tarantino gets pitched first, and he 481 00:21:49,800 --> 00:21:52,679 Speaker 2: says yes, and they that's all they need. And then 482 00:21:52,680 --> 00:21:54,680 Speaker 2: they go off and I think I think Rockwell was 483 00:21:54,680 --> 00:21:57,320 Speaker 2: the one who spearheaded this. So they go into this 484 00:21:57,440 --> 00:21:59,840 Speaker 2: and by the time they get into actually making them 485 00:21:59,840 --> 00:22:03,320 Speaker 2: move or finishing it, I'm not sure what process in 486 00:22:03,359 --> 00:22:06,760 Speaker 2: the film, but at some point pulp fiction explodes. So 487 00:22:06,920 --> 00:22:10,920 Speaker 2: Tarantino was already a fucking egomaniac because of reservoir Dogs. 488 00:22:11,760 --> 00:22:13,560 Speaker 2: And I actually know somebody. 489 00:22:13,480 --> 00:22:17,600 Speaker 3: Pretty well who was part of this class or the prior. 490 00:22:17,440 --> 00:22:21,200 Speaker 2: Class to Tarantino, and she's super successful, and she told 491 00:22:21,240 --> 00:22:24,400 Speaker 2: me she's told me some stories about Tarantino during this time, 492 00:22:24,960 --> 00:22:27,960 Speaker 2: and none of them are good. He was just he 493 00:22:28,400 --> 00:22:32,320 Speaker 2: was awful by all accounts from anyone. Anything I've read 494 00:22:32,520 --> 00:22:34,360 Speaker 2: from people who are around him at the time who 495 00:22:34,400 --> 00:22:36,359 Speaker 2: weren't like you know, Bruce Willis or whatever. 496 00:22:36,920 --> 00:22:38,480 Speaker 3: To people that I know who. 497 00:22:38,359 --> 00:22:41,560 Speaker 2: Were around him, it all tracks in the same direction 498 00:22:41,680 --> 00:22:44,440 Speaker 2: that he was impossible to be around, ye, to which 499 00:22:44,520 --> 00:22:50,520 Speaker 2: I say, great, like he handled it like an immature 500 00:22:50,640 --> 00:22:53,320 Speaker 2: kid when they become a rock star, and he survived 501 00:22:53,359 --> 00:22:56,840 Speaker 2: it in his art, never suffered. So I don't care 502 00:22:56,840 --> 00:23:01,240 Speaker 2: about any of that noise, but all that ego had 503 00:23:01,280 --> 00:23:05,720 Speaker 2: a huge impact on this film because pulp fiction blows 504 00:23:05,840 --> 00:23:08,560 Speaker 2: up and he's the biggest thing in Hollywood, so he 505 00:23:08,600 --> 00:23:13,200 Speaker 2: could do whatever the fuck he wants. And they turn 506 00:23:13,840 --> 00:23:17,720 Speaker 2: a script in and because Tarantino's part of the script, 507 00:23:18,440 --> 00:23:21,560 Speaker 2: Weinstein Company just green lights it. They're just like no 508 00:23:21,800 --> 00:23:26,520 Speaker 2: rewrites and the rest of the directors who wrote their 509 00:23:26,840 --> 00:23:28,960 Speaker 2: their pieces as well. That's I should say that each 510 00:23:29,000 --> 00:23:30,439 Speaker 2: director wrote their short film too. 511 00:23:30,680 --> 00:23:33,320 Speaker 3: They're all like, wait, what, Nope, none of us have 512 00:23:33,440 --> 00:23:35,960 Speaker 3: to we're not, so they just fucking go along. 513 00:23:36,040 --> 00:23:38,720 Speaker 2: They go into it right, and then they turned the 514 00:23:38,760 --> 00:23:40,880 Speaker 2: film in and the first cuts like three hours long 515 00:23:41,000 --> 00:23:44,320 Speaker 2: or something like that. That's huge, and they have to 516 00:23:44,359 --> 00:23:46,480 Speaker 2: cut it back. Well, Tarantino's not gonna cut anything because 517 00:23:46,480 --> 00:23:50,520 Speaker 2: he's Tarantino at this point. And the Robert Rodriguez one 518 00:23:50,760 --> 00:23:53,320 Speaker 2: is pretty much like there's no room for cuts because 519 00:23:53,320 --> 00:23:55,040 Speaker 2: it's all the way it's shot. It's kind of like 520 00:23:55,480 --> 00:23:57,479 Speaker 2: it's kind of like it's not one shot, but it's 521 00:23:57,640 --> 00:24:01,479 Speaker 2: very continuous. So that leads the other two indie folks, 522 00:24:01,880 --> 00:24:06,560 Speaker 2: Alexander Rockwell and Alison Anders. So their create creativity gets 523 00:24:06,920 --> 00:24:09,000 Speaker 2: gets the hatchet and they have to cut their shit. 524 00:24:09,440 --> 00:24:10,680 Speaker 3: By the time this thing comes. 525 00:24:10,520 --> 00:24:14,240 Speaker 2: Out, nobody's happy and Tarantino's onto whatever the next thing 526 00:24:14,280 --> 00:24:17,159 Speaker 2: he does doing. Yeah, so he's you know, working with 527 00:24:17,240 --> 00:24:19,760 Speaker 2: DeNiro and all that because their stuff got cut. The 528 00:24:19,840 --> 00:24:22,280 Speaker 2: other two directors, they don't promote the film. Tarantino, I 529 00:24:22,320 --> 00:24:25,080 Speaker 2: don't know if he promoted it. He gets Bruce Willis 530 00:24:25,119 --> 00:24:27,960 Speaker 2: to act in his part of the movie for free 531 00:24:28,400 --> 00:24:30,200 Speaker 2: because he's Tarantino and Willis. 532 00:24:30,240 --> 00:24:31,440 Speaker 3: This is boy, Well, you can't do that. 533 00:24:31,680 --> 00:24:32,840 Speaker 2: You can't just you can't. 534 00:24:32,920 --> 00:24:34,920 Speaker 3: Just if Bruce Willis, you cannot act in the movie 535 00:24:34,960 --> 00:24:35,359 Speaker 3: for free. 536 00:24:36,119 --> 00:24:39,080 Speaker 2: So SAG doesn't allow the Screen Actors Guild doesn't allow 537 00:24:39,119 --> 00:24:42,000 Speaker 2: them to even credit Bruce Willis. Bruce Willis is the 538 00:24:42,000 --> 00:24:45,159 Speaker 2: biggest movie star in the world at this point, or 539 00:24:45,240 --> 00:24:49,320 Speaker 2: one of five. You know, he's huge, And this movie 540 00:24:49,359 --> 00:24:51,360 Speaker 2: comes out and he's not credited and he's not part 541 00:24:51,400 --> 00:24:53,720 Speaker 2: of the marketing, part of just a complete fuck show, 542 00:24:53,800 --> 00:24:54,400 Speaker 2: the whole thing. 543 00:24:55,720 --> 00:24:57,280 Speaker 1: Yeah, I didn't realize I was gonna get this in 544 00:24:57,440 --> 00:24:59,080 Speaker 1: depth background. This is fascinating. 545 00:24:59,080 --> 00:25:01,520 Speaker 2: I'm please, can I told you I like this movie 546 00:25:01,960 --> 00:25:05,879 Speaker 2: With all of this, I still think the movie's awesome, 547 00:25:06,359 --> 00:25:07,160 Speaker 2: all four of them. 548 00:25:07,320 --> 00:25:08,120 Speaker 3: I love Yeah. 549 00:25:08,240 --> 00:25:11,240 Speaker 2: Look man, like, if you go in expecting pulp fiction, 550 00:25:11,400 --> 00:25:13,520 Speaker 2: you're not going to get that, but just get it 551 00:25:13,800 --> 00:25:16,639 Speaker 2: from the jump. The first film, Alison anders One is 552 00:25:16,720 --> 00:25:19,719 Speaker 2: my favorite, and it's got like you know, Madonna got 553 00:25:19,760 --> 00:25:22,960 Speaker 2: the ras, the raspberry, whatever the hell that thing is 554 00:25:23,040 --> 00:25:26,160 Speaker 2: for worse supporting actress for her role in this thing. 555 00:25:26,760 --> 00:25:30,760 Speaker 2: First of all, she has like no lines, right, she's 556 00:25:30,880 --> 00:25:34,840 Speaker 2: just Marilyn monroeing this and like a leather black one piece. 557 00:25:34,960 --> 00:25:38,480 Speaker 1: She's an all black with her blonde hair and red lipstick. 558 00:25:38,520 --> 00:25:41,280 Speaker 1: It's just like it's inclacible image. 559 00:25:41,520 --> 00:25:46,879 Speaker 2: It's black like latex like this dress. Yeah, I'll just 560 00:25:46,960 --> 00:25:48,720 Speaker 2: say this, I don't want to come off as a 561 00:25:48,800 --> 00:25:49,480 Speaker 2: skivie guy. 562 00:25:49,640 --> 00:25:51,360 Speaker 3: I just I grew up with Madonna. 563 00:25:51,760 --> 00:25:52,280 Speaker 2: I love her. 564 00:25:52,600 --> 00:25:53,080 Speaker 3: I love her. 565 00:25:53,400 --> 00:25:54,640 Speaker 1: You know we talked before. 566 00:25:54,840 --> 00:25:56,600 Speaker 3: I can't, I cannot get enough of her. 567 00:25:57,160 --> 00:26:02,879 Speaker 2: And all I'll say is Ione skuy is in this 568 00:26:03,119 --> 00:26:07,720 Speaker 2: film with her topless almost the entire film, and she's 569 00:26:07,800 --> 00:26:10,200 Speaker 2: still not as hot as Madonna is in this film. 570 00:26:10,560 --> 00:26:14,080 Speaker 2: In this movie, okay, and I love Eoni's guy anyhow, 571 00:26:15,000 --> 00:26:17,240 Speaker 2: I love this film, complete shit show. 572 00:26:17,320 --> 00:26:18,159 Speaker 3: I love all of them. 573 00:26:18,240 --> 00:26:21,600 Speaker 2: The dude Jackie Prio, the guy I can't think his name, 574 00:26:21,920 --> 00:26:23,680 Speaker 2: the guy who plays Jackie A. Prio with the sopranos 575 00:26:23,800 --> 00:26:26,560 Speaker 2: is in. You know, Alexander Rockwall is one of these 576 00:26:26,600 --> 00:26:28,520 Speaker 2: New York directors, so he's in. That's hen and he's 577 00:26:28,560 --> 00:26:32,680 Speaker 2: this complete psychopath, like just fucking great. The little kid 578 00:26:32,760 --> 00:26:35,880 Speaker 2: in the Robert Rodriguez one who was smomoking a cigarette. 579 00:26:36,480 --> 00:26:37,120 Speaker 3: Dude, I think there. 580 00:26:37,040 --> 00:26:38,600 Speaker 2: Should be a rule in Hollywood that if you get 581 00:26:38,600 --> 00:26:41,200 Speaker 2: a kid under the age of eight to smoke a cigarette, 582 00:26:41,200 --> 00:26:43,000 Speaker 2: he should automatically get an Academy one. 583 00:26:44,840 --> 00:26:47,680 Speaker 3: So good. And then the Tarantino one. I'm not, I'm not. 584 00:26:47,680 --> 00:26:50,240 Speaker 2: I've tucked enough about Tarantino and I have in the past. 585 00:26:50,320 --> 00:26:52,800 Speaker 2: But it's him and Paul Calderon from King of New 586 00:26:52,920 --> 00:26:56,320 Speaker 2: York and Pulp Fiction, who's just a great, great actor, 587 00:26:57,040 --> 00:27:01,160 Speaker 2: and Bruce Willis and and we haven't even mentioned Tim Roth, 588 00:27:01,480 --> 00:27:04,119 Speaker 2: who leads the whole thing. And Tim Roth is like 589 00:27:04,400 --> 00:27:07,760 Speaker 2: the whole Each of the four stories revolve around his 590 00:27:07,920 --> 00:27:09,480 Speaker 2: character as the bellboy in this film. 591 00:27:09,960 --> 00:27:12,640 Speaker 3: He is out of his mind good. 592 00:27:12,840 --> 00:27:15,960 Speaker 2: He's just the performance is fantastic. He's he's doing like 593 00:27:16,080 --> 00:27:18,680 Speaker 2: his version of of Jerry Lewis. It's great. 594 00:27:19,320 --> 00:27:20,119 Speaker 3: You know they wanted. 595 00:27:20,200 --> 00:27:22,640 Speaker 2: I guess Steve Busmy was supposed to get this role. 596 00:27:22,840 --> 00:27:25,479 Speaker 2: It was supposed to be his. I don't know how 597 00:27:25,600 --> 00:27:27,960 Speaker 2: Tim Roth ended up with it. I could see Boumy 598 00:27:29,040 --> 00:27:31,240 Speaker 2: being great, but in a different way. I just love 599 00:27:31,320 --> 00:27:33,920 Speaker 2: what Tim Roth does. And you know, Richard Lincoln. It 600 00:27:33,920 --> 00:27:37,080 Speaker 2: was actually sposed to be five directors, Richard Lincoln fifth, 601 00:27:37,200 --> 00:27:39,720 Speaker 2: he agreed and then he bailed, probably because he saw 602 00:27:39,800 --> 00:27:41,960 Speaker 2: the writing on the wall. Was working with Quinton and 603 00:27:42,000 --> 00:27:44,840 Speaker 2: the rest of these dudes. I love this film, and 604 00:27:44,920 --> 00:27:47,160 Speaker 2: it's a complete New Year's Eve film at all. It's 605 00:27:47,200 --> 00:27:50,480 Speaker 2: just totally totally it's great, you know. Oddly enough, Steve 606 00:27:50,520 --> 00:27:54,080 Speaker 2: Bushmi played a bell hop in Barton Fink by the 607 00:27:54,160 --> 00:27:56,399 Speaker 2: Coen Brothers, which was right around the same time, so 608 00:27:56,920 --> 00:27:58,720 Speaker 2: he didn't want to do another bell hopper. He didn't 609 00:27:58,720 --> 00:27:59,679 Speaker 2: want to be a bellhop guy. 610 00:27:59,760 --> 00:27:59,960 Speaker 1: Yeah. 611 00:28:00,040 --> 00:28:03,480 Speaker 2: Yeah, and then he's gonna do that movie bell Hop Lounge. 612 00:28:03,520 --> 00:28:07,280 Speaker 1: And bell Boy is one of my favorite songs by 613 00:28:07,280 --> 00:28:09,399 Speaker 1: the Who, by the way, sung by Keith Moon off 614 00:28:09,440 --> 00:28:14,840 Speaker 1: the Quadrophenia album, incredible song. So you notice, so Tarantino's 615 00:28:14,920 --> 00:28:17,280 Speaker 1: is the last is the last installment here? 616 00:28:17,520 --> 00:28:19,879 Speaker 2: Of course he he was gonna call his film the 617 00:28:19,960 --> 00:28:21,360 Speaker 2: one you've all been waiting for us. 618 00:28:23,359 --> 00:28:26,600 Speaker 1: Man, I mean, hey man, he fucking took his shot. Man, 619 00:28:26,680 --> 00:28:27,919 Speaker 1: he went for it hard, you know what I mean. 620 00:28:28,160 --> 00:28:29,639 Speaker 3: He's still doing it. He's still doing it. 621 00:28:29,760 --> 00:28:33,200 Speaker 1: Yeah, yeah, yeah, there's this. There's this tonal shift though, 622 00:28:33,800 --> 00:28:37,680 Speaker 1: even in Tim Roth's acting, when Tim Roth calls his 623 00:28:37,880 --> 00:28:41,040 Speaker 1: boss right before the Tarantino section starts, and I believe 624 00:28:41,080 --> 00:28:43,600 Speaker 1: this part is written. Did Tarantino write all the connecting 625 00:28:44,240 --> 00:28:47,240 Speaker 1: piece parts as well that connect the stories together? Anyways, 626 00:28:47,400 --> 00:28:49,920 Speaker 1: it feels like Tarantino's part starts here because the dialogue 627 00:28:50,000 --> 00:28:52,960 Speaker 1: right off the bat is like Tarantino dialogue. He's talking 628 00:28:53,040 --> 00:28:57,640 Speaker 1: to uh, Mariss Tome, Thank you, Marissa Tome, and the 629 00:28:57,720 --> 00:29:00,480 Speaker 1: dialogue is so Tarantino and Roth is the delivering it 630 00:29:00,560 --> 00:29:02,720 Speaker 1: in this Tarantino esque way, and it's like, all of 631 00:29:02,760 --> 00:29:04,360 Speaker 1: a sudden, you go, whoa, we just kind of leveled 632 00:29:04,440 --> 00:29:07,240 Speaker 1: up here a little bit, right, But then then he 633 00:29:07,320 --> 00:29:09,920 Speaker 1: gets to the hotel room, and for this is just 634 00:29:10,000 --> 00:29:14,200 Speaker 1: me personally, Tarantino acting for me is just it's licorice 635 00:29:14,240 --> 00:29:18,240 Speaker 1: for me, Like I can take liquorice. It's like black sorry, 636 00:29:18,280 --> 00:29:21,120 Speaker 1: black liquors for me, which is like what. 637 00:29:23,520 --> 00:29:27,240 Speaker 3: It's entire family like, we're sorry. 638 00:29:26,600 --> 00:29:30,200 Speaker 1: Red liquors. We're cool. We're cool, the Canada stuff, We're fine, 639 00:29:30,200 --> 00:29:32,320 Speaker 1: all right. I think it's a mileage main very thing 640 00:29:32,360 --> 00:29:34,320 Speaker 1: for me because I I can take him in pulp fiction, 641 00:29:34,800 --> 00:29:36,960 Speaker 1: I can take him in reservoir Dogs with the whole 642 00:29:37,200 --> 00:29:39,400 Speaker 1: uh you know, like a virgin speech at the beginning. 643 00:29:39,840 --> 00:29:44,840 Speaker 1: But there's something so I think it's playing into who 644 00:29:44,920 --> 00:29:46,400 Speaker 1: he was as a person at the time that you 645 00:29:46,480 --> 00:29:48,560 Speaker 1: were just describing. He just comes off as such a 646 00:29:49,080 --> 00:29:51,160 Speaker 1: and he's and he's doing the thing where he's like, yeah, 647 00:29:51,240 --> 00:29:53,880 Speaker 1: he's bringing in like the the movie references, and it's like, okay, dude, 648 00:29:53,880 --> 00:29:56,440 Speaker 1: I get it, like you know these old movies for me. 649 00:29:56,600 --> 00:29:59,680 Speaker 1: Paul Calderon and Bruce Willis in addition to Tim Roth, 650 00:29:59,760 --> 00:30:02,600 Speaker 1: the things about this movie I love that, I love 651 00:30:02,680 --> 00:30:05,360 Speaker 1: how it ends with the Zippo lighter and the meat 652 00:30:05,400 --> 00:30:07,560 Speaker 1: cleaver and like the I mean it's great, you know. 653 00:30:07,720 --> 00:30:08,680 Speaker 3: Great, it's fantastic. 654 00:30:08,800 --> 00:30:11,160 Speaker 1: But I just overall, I just I don't know. I 655 00:30:11,240 --> 00:30:15,200 Speaker 1: get that this is more metamorphosis and less sticky fingers, 656 00:30:15,200 --> 00:30:15,680 Speaker 1: you know what I mean. 657 00:30:16,080 --> 00:30:20,760 Speaker 2: But like you know what I'm saying that is that's 658 00:30:20,800 --> 00:30:23,360 Speaker 2: either the worst or the best analogy you've ever made, 659 00:30:23,400 --> 00:30:25,440 Speaker 2: because Metamorphosis is a collection. 660 00:30:25,720 --> 00:30:28,680 Speaker 1: I love that record by singles, right, Uh, it's yeah, 661 00:30:28,720 --> 00:30:30,960 Speaker 1: I think it's be I think it's outtakes or look, we. 662 00:30:30,960 --> 00:30:33,040 Speaker 2: Don't have to go on a metamorphosis tangent here. 663 00:30:35,080 --> 00:30:36,920 Speaker 1: What if I want you though, Dan, this is my 664 00:30:37,040 --> 00:30:39,280 Speaker 1: whole like a trojan horse. 665 00:30:39,840 --> 00:30:42,240 Speaker 3: No, I hear you, I hear you. We're comparing two 666 00:30:42,280 --> 00:30:42,720 Speaker 3: different things. 667 00:30:42,760 --> 00:30:44,200 Speaker 2: I think you just have to go into it as like, 668 00:30:44,280 --> 00:30:46,840 Speaker 2: look we get this great little like EP from BAM 669 00:30:47,000 --> 00:30:48,320 Speaker 2: between two great records. 670 00:30:48,520 --> 00:30:50,720 Speaker 1: No, I get that for sure, for sure. I just 671 00:30:50,800 --> 00:30:52,720 Speaker 1: don't know that it's something I want to like put 672 00:30:52,800 --> 00:30:54,400 Speaker 1: on often, is all? You know? 673 00:30:54,720 --> 00:30:57,680 Speaker 3: Oh I put that ship on. Fuck with that. It's 674 00:30:57,840 --> 00:30:59,320 Speaker 3: like I'm gonna put it on after this. 675 00:31:00,000 --> 00:31:03,560 Speaker 2: Love it? I love, I absolutely love it. Have you 676 00:31:03,720 --> 00:31:06,280 Speaker 2: seen this Fiona Apple Quentin Tarantino thing. 677 00:31:06,720 --> 00:31:09,640 Speaker 1: That she spent a night hanging out with Tarantino and 678 00:31:09,720 --> 00:31:11,680 Speaker 1: Pta who are jacked up on cocaine, And that's when 679 00:31:11,720 --> 00:31:12,400 Speaker 1: she quit drugs. 680 00:31:13,080 --> 00:31:16,000 Speaker 3: The way she terms it is I was trapped in it. 681 00:31:16,080 --> 00:31:19,320 Speaker 2: She's She's like, if you I quit cocaine because I 682 00:31:19,480 --> 00:31:22,720 Speaker 2: was trapped in a screening room for a weekend with 683 00:31:22,960 --> 00:31:25,520 Speaker 2: Paul Thomas Anderson and Quentin Tarantino. And if you ever 684 00:31:25,560 --> 00:31:28,440 Speaker 2: want to get somebody off drugs, trap them in a 685 00:31:28,560 --> 00:31:31,400 Speaker 2: room with Quentin Tarantino and Paul Thomas Anderson and a 686 00:31:31,440 --> 00:31:34,760 Speaker 2: bunch of cocaine, and god, just fantastic. And you can 687 00:31:34,880 --> 00:31:39,000 Speaker 2: hear in the great, great Great Brett Easton Ellis podcast 688 00:31:39,200 --> 00:31:42,080 Speaker 2: episodes with Quentin Tarantino, which I know you've talked about Seth. 689 00:31:42,720 --> 00:31:48,440 Speaker 2: They Quentin, I feel like he's about to mention her. 690 00:31:48,800 --> 00:31:50,840 Speaker 2: I didn't know it until after I saw the meme, 691 00:31:51,160 --> 00:31:53,280 Speaker 2: and after I heard the episode. There's a point where 692 00:31:53,320 --> 00:31:56,120 Speaker 2: he talks about He's like, oh, yeah, me and a 693 00:31:56,200 --> 00:31:58,640 Speaker 2: friend of mine. We were we were watching this in 694 00:31:59,080 --> 00:32:02,480 Speaker 2: my screening room. Funny he doesn't, he like stops himself. 695 00:32:03,240 --> 00:32:04,440 Speaker 2: When I heard, I was like, Oh, he just doesn't 696 00:32:04,440 --> 00:32:06,840 Speaker 2: want to name drop. You know, maybe it wasn't her, 697 00:32:06,920 --> 00:32:09,440 Speaker 2: maybe it was some other female friend or whatever. 698 00:32:09,520 --> 00:32:11,840 Speaker 3: But he's very very interesting. 699 00:32:12,080 --> 00:32:16,080 Speaker 2: It makes me wonder how much insanity. We do not 700 00:32:16,280 --> 00:32:18,920 Speaker 2: see we never ever ever get wind of you know 701 00:32:18,960 --> 00:32:19,360 Speaker 2: what I mean? 702 00:32:19,560 --> 00:32:20,800 Speaker 1: Of course you know what I mean. 703 00:32:20,920 --> 00:32:21,280 Speaker 2: I'll tell you. 704 00:32:21,280 --> 00:32:22,480 Speaker 3: I can't tell you a really quick story. 705 00:32:23,120 --> 00:32:27,080 Speaker 2: Who's the guy who directed the crazy director who made 706 00:32:27,880 --> 00:32:29,960 Speaker 2: uh the Bradley Cooper movie with. 707 00:32:32,120 --> 00:32:33,200 Speaker 3: Uh in Philly. 708 00:32:33,760 --> 00:32:39,400 Speaker 1: Yeah, the playbook, Silver Lining's Playbook, Silverlinds Playbook. That's David o' russell. 709 00:32:39,640 --> 00:32:42,080 Speaker 1: David o' russell who he has his own reputation. 710 00:32:42,280 --> 00:32:45,240 Speaker 2: And it was my point. Okay, the same friend of 711 00:32:45,280 --> 00:32:47,480 Speaker 2: mine who told me the Quentin stories. This was like, 712 00:32:48,360 --> 00:32:50,080 Speaker 2: so she told me this story. This is like it 713 00:32:50,200 --> 00:32:52,040 Speaker 2: was recently that this had happened. She was at this 714 00:32:52,160 --> 00:32:54,640 Speaker 2: party in Hollywood and her husband. 715 00:32:56,360 --> 00:32:57,960 Speaker 3: And it's like this big, big. 716 00:32:57,920 --> 00:33:00,720 Speaker 2: Fucking to do and David o' russell walked in and 717 00:33:01,440 --> 00:33:03,680 Speaker 2: he starts talking to the owner of the home and 718 00:33:03,800 --> 00:33:06,880 Speaker 2: there's like crazy art on the wall and I forget, 719 00:33:07,000 --> 00:33:09,800 Speaker 2: like who this It was like Bosquiot or something. It 720 00:33:09,920 --> 00:33:12,120 Speaker 2: wasn't Bosquiot, but it was something like that. Yeah, And 721 00:33:12,240 --> 00:33:15,640 Speaker 2: David orrussell was like, I like that painting and the 722 00:33:15,680 --> 00:33:17,360 Speaker 2: guy's like, oh yeah, it was I bought, I got 723 00:33:17,480 --> 00:33:18,760 Speaker 2: an auction or whatever. 724 00:33:19,080 --> 00:33:19,160 Speaker 3: And. 725 00:33:20,840 --> 00:33:23,040 Speaker 2: David Russell just walked up to the painting, took it 726 00:33:23,120 --> 00:33:26,480 Speaker 2: off the wall and walked out of the house. But 727 00:33:26,640 --> 00:33:32,720 Speaker 2: he did not Yes, Yes, the fucking psychotic director entitlement. 728 00:33:32,960 --> 00:33:34,960 Speaker 1: Well, listen. I was going to talk about some other 729 00:33:35,000 --> 00:33:37,479 Speaker 1: stuff here too, but we got a lot of mileage 730 00:33:37,480 --> 00:33:40,560 Speaker 1: out of four rooms, so I can't. It's fine, you know. 731 00:33:40,680 --> 00:33:44,320 Speaker 1: I really wanted to revisit two hundred cigarettes for this episode, 732 00:33:44,840 --> 00:33:47,440 Speaker 1: which takes place I believe in nineteen eighty one on 733 00:33:47,520 --> 00:33:50,280 Speaker 1: New Year's Eve. But you can't find it anywhere, and 734 00:33:50,320 --> 00:33:55,040 Speaker 1: I believe it's because of the music writes copyright, because 735 00:33:55,040 --> 00:33:58,240 Speaker 1: the soundtrack was just loaded with tons of songs. There's 736 00:33:58,240 --> 00:34:00,720 Speaker 1: another movie called Detroit Rock City. My wife loves that. 737 00:34:00,760 --> 00:34:03,240 Speaker 1: You can't stream it anywhere either because of this reason. 738 00:34:03,560 --> 00:34:07,160 Speaker 1: But dude, this cast though, Ben and Casey Affleck, Dave Chappelle, 739 00:34:07,400 --> 00:34:11,560 Speaker 1: Jennie Garoffalo, Kate Hudson, Courtney Love, Jay Moore, Martha Plinton, 740 00:34:11,840 --> 00:34:15,840 Speaker 1: Christina Ricci, Paul Rudd, Gabby Hoffman, and then Nicole Parker 741 00:34:15,920 --> 00:34:18,040 Speaker 1: who is Becky Barnett and Boogie Knights. 742 00:34:18,280 --> 00:34:21,240 Speaker 2: Give me the songs. This is the soundtrack's fucking bananas. 743 00:34:21,360 --> 00:34:23,560 Speaker 1: This is on the official soundtrack. I believe there's more 744 00:34:23,640 --> 00:34:25,719 Speaker 1: songs in the movie. I was trying to. I had 745 00:34:25,719 --> 00:34:27,960 Speaker 1: a hard time finding a complete list, but on the 746 00:34:28,000 --> 00:34:30,840 Speaker 1: official soundtrack, Crud Will Be Kind by Nick low In 747 00:34:30,920 --> 00:34:34,760 Speaker 1: the Flesh by Blondie Just when I needed the cars, 748 00:34:36,200 --> 00:34:39,520 Speaker 1: Our lips are sealed, the go gos. I want Candy 749 00:34:39,880 --> 00:34:44,600 Speaker 1: Bow Wow, Wow. I don't care there Ramones. We've got 750 00:34:44,760 --> 00:34:47,719 Speaker 1: Harvey Danger doing the English beats. Save it for later. 751 00:34:48,200 --> 00:34:51,319 Speaker 3: That shouldn't be a problem to clear. Let's keep going. 752 00:34:52,760 --> 00:34:56,799 Speaker 1: Boogie Wonderland by Girls against Boys. Okay, never really got 753 00:34:56,840 --> 00:34:59,640 Speaker 1: any girls against boys. I tried, but they were. 754 00:34:59,640 --> 00:35:02,520 Speaker 2: Big the hardcore scene. Oh really, it was like the 755 00:35:02,560 --> 00:35:04,840 Speaker 2: cool kids with the with the cool taste, like like 756 00:35:04,960 --> 00:35:06,040 Speaker 2: girls against boys. 757 00:35:06,200 --> 00:35:07,879 Speaker 1: Girls against boys and shudder to Think with the two 758 00:35:07,920 --> 00:35:09,040 Speaker 1: that I had a hard time getting into. 759 00:35:09,400 --> 00:35:12,680 Speaker 2: I've seen shudder to Think numerous times. Cool Craig Wedren, 760 00:35:13,239 --> 00:35:15,080 Speaker 2: big Hollywood music composer. 761 00:35:15,160 --> 00:35:18,160 Speaker 1: Now, oh cool ladies night, Cool the gang, It's different 762 00:35:18,160 --> 00:35:21,839 Speaker 1: for girls. Joe Jackson fucking amazing song, uh Nowhere girl 763 00:35:21,920 --> 00:35:24,960 Speaker 1: by b Movie More than This by Roxy Music, Romeo 764 00:35:24,960 --> 00:35:28,200 Speaker 1: and Juliet dire Straits And then what's so funny about peace, 765 00:35:28,239 --> 00:35:30,960 Speaker 1: love and understanding. Elvis Costell the attractions. 766 00:35:30,640 --> 00:35:34,080 Speaker 2: So we should do a two hundred cigarettes. This film 767 00:35:34,120 --> 00:35:37,160 Speaker 2: should be played loud. I completely agree, and we got 768 00:35:37,280 --> 00:35:39,480 Speaker 2: to get We'll get the movie on DVD. 769 00:35:39,680 --> 00:35:41,880 Speaker 1: Yeah, exactly, And well, and I'll buy a. 770 00:35:41,920 --> 00:35:45,520 Speaker 3: Fucking DVD player. I can't be who I'm saying that, and. 771 00:35:45,640 --> 00:35:48,400 Speaker 2: We'll watch it and it would be great to like 772 00:35:48,520 --> 00:35:50,399 Speaker 2: go through all this and then find out why why 773 00:35:50,480 --> 00:35:52,000 Speaker 2: no one can can watch it? 774 00:35:52,080 --> 00:35:52,560 Speaker 1: You can watch it? 775 00:35:52,680 --> 00:35:56,000 Speaker 2: Yeah, I bet it's because of that song, Uh, Boogie Wonderland? 776 00:35:56,120 --> 00:35:58,520 Speaker 2: Is that the one that Girls against Boys covers from? Who? 777 00:35:59,320 --> 00:36:00,440 Speaker 3: Right? Boogie wan Underland? 778 00:36:00,719 --> 00:36:02,040 Speaker 1: Boogey the Earth, Wind and Fire. 779 00:36:03,320 --> 00:36:07,000 Speaker 2: I bet they just recorded it without permission and didn't 780 00:36:07,239 --> 00:36:07,799 Speaker 2: you know what I mean? 781 00:36:07,840 --> 00:36:10,000 Speaker 1: And that was ocause everything. 782 00:36:09,680 --> 00:36:12,000 Speaker 3: Else sounds like like two Nick Los songs. 783 00:36:12,000 --> 00:36:12,960 Speaker 2: I mean, Harvey Danger. 784 00:36:13,040 --> 00:36:14,880 Speaker 3: Come on. By the way, we should mention combustible. 785 00:36:15,080 --> 00:36:18,759 Speaker 2: Edison from Boston Slash for An Island did the the 786 00:36:18,880 --> 00:36:21,399 Speaker 2: theme for four Rooms, which I thought was very cool. 787 00:36:21,480 --> 00:36:21,960 Speaker 1: Oh no way. 788 00:36:22,120 --> 00:36:24,640 Speaker 3: Yeah. Remember the whole lounge thing in the nineties, dude. 789 00:36:24,719 --> 00:36:26,960 Speaker 1: Oh of course I do. Yeah, I kind of I 790 00:36:27,080 --> 00:36:29,600 Speaker 1: miss that. You missed the lounge. The lounge era. 791 00:36:29,920 --> 00:36:33,040 Speaker 2: You miss the weird niche music thing, you know, like, oh, 792 00:36:33,120 --> 00:36:34,479 Speaker 2: swing music's huge again. 793 00:36:35,080 --> 00:36:38,279 Speaker 3: It's spend fifty years. Let's bring it back. Yeah you 794 00:36:38,360 --> 00:36:39,880 Speaker 3: know what I mean, Like, we don't get that anymore, 795 00:36:39,920 --> 00:36:40,120 Speaker 3: do we. 796 00:36:40,520 --> 00:36:42,799 Speaker 1: Yeah no, we don't like a niche just pops up, 797 00:36:42,960 --> 00:36:44,600 Speaker 1: just pops up and becomes a thing for a minute. 798 00:36:44,760 --> 00:36:47,799 Speaker 1: Yeah yeah, yeah, yeah, we gotta bring that back. 799 00:36:48,000 --> 00:36:50,360 Speaker 3: How I can't do that. 800 00:36:50,440 --> 00:36:54,480 Speaker 1: I'm busy, all right, listen, man, thanks for talking with me. 801 00:36:54,719 --> 00:36:57,160 Speaker 1: Got everyone out there check these out. You can also 802 00:36:57,200 --> 00:36:59,920 Speaker 1: watch the Apartment, Ocean's eleven, the Original with Frank Zina, 803 00:37:00,480 --> 00:37:02,839 Speaker 1: when Harry met Sally Strange Days. These are all movies 804 00:37:02,880 --> 00:37:05,320 Speaker 1: that take place on New Year's Eve. We hope you 805 00:37:05,440 --> 00:37:09,320 Speaker 1: and yours have a safe and chill if that's what 806 00:37:09,400 --> 00:37:11,839 Speaker 1: you're into or exciting New Year's Eve, and very very 807 00:37:11,880 --> 00:37:12,480 Speaker 1: happy New Year. 808 00:37:12,640 --> 00:37:13,600 Speaker 3: Happy New Year.