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Speaker 1: Hey, everybody, welcome to another episode. I saw what you did.

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Speaker 1: My name is Millie to.

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Speaker 2: Jericho, I'm Danielle Henderson, and.

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Speaker 1: What's up people. We're here to talk about movies and

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Speaker 1: all that jazz.

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Speaker 2: I do want to update you though, on my haunted bathroom.

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Speaker 2: Let's do it real quick, real quick, because we do

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Speaker 2: have a very very exciting guest, and I am apologizing

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Speaker 2: that we even have to spend a minute on this,

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Speaker 2: but it's been a while since I've given a house update.

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Speaker 2: And just to recap, so, my house is forty five

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Speaker 2: hundred square feet. It's six bedrooms, four bathrooms. I have

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Speaker 2: decided that half of my house is haunted, and I

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Speaker 2: just have shut it off and I have not gone

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Speaker 2: in there since I bought this place. It's just haunted.

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Speaker 1: Anyway, let me ask you real quick. Is it like

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Speaker 1: is it per room? Is it like a directly like

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Speaker 1: is it a straight line like this.

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Speaker 2: Seen line line? And here's why the two bathrooms upstairs

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Speaker 2: I think it's haunted by how do I say this?

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Speaker 2: It's entirely possible that the previous owners use this house

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Speaker 2: for orgies. So the one bathroom has it's the most

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Speaker 2: disgusting bathroom in America I've ever seen. I cannot wait

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Speaker 2: to rip it to shreds. It has a black corner

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Speaker 2: jacuzzi and a black toilet and a counter that is

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Speaker 2: knee height. Now I'm six foot tall, but it is

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Speaker 2: knee high to me, which is only good for leaning

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Speaker 2: on when you're boning.

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Speaker 1: Okay, because you said this, and my mind immediately went to,

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Speaker 1: like beyond the Valley of the Dolls or something, people

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Speaker 1: just like fucking in a tub.

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Speaker 2: That is well, that is because the other bathroom that's

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Speaker 2: off the main bedroom that I don't sleep in, because

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Speaker 2: as you know, I have put myself as someone who

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Speaker 2: is recently released from captivity, I've put myself in the

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Speaker 2: smallest room in the house. The bathroom that's off the

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Speaker 2: main bathroom has a shower I can barely stand in,

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Speaker 2: but the tub could fit William Taft and it does

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Speaker 2: not have jets. There is no chacuzzi situation. It is

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Speaker 2: just like a fuck tub. So the haunted aspect of

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Speaker 2: that side of the house I think I will start

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Speaker 2: to address, but I just wanted to give people that

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Speaker 2: house update that it's haunted and people used to have

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Speaker 2: orgies here for sure, and I'm disgusted by my purchase

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Speaker 2: every day.

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Speaker 1: I what are your thoughts on a black toilet?

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Speaker 2: It's the worst thing I've ever seen in my life, Millie.

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Speaker 1: Yes, there's this very popular restaurant in La called Little

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Speaker 1: Doms that has a black toilet, and I was always like.

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Speaker 2: I hate that fucking toilet.

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Speaker 1: No one can tell if it's clean, what if it's

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Speaker 1: completely disgusting.

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Speaker 2: That's why in a restaurant especially, I'm like, come on, y'all,

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Speaker 2: you know nobody's cleaning this. So yeah, I'm grossed out. Yeah,

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Speaker 2: in my own home, it's haunted, it's shut off. It

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Speaker 2: will be addressed next year, but in the meantime, I'm

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Speaker 2: living with orgy ghosts. So well, that's the latest house update.

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Speaker 1: God speed. I You know, listen, our listeners are very

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Speaker 1: very invested in your house. So we're glad to have

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Speaker 1: gotten any kind of update, even if it's kind of bad,

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Speaker 1: Like it was kind of a bad update.

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Speaker 2: It's always going to be bad. It's always going to

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Speaker 2: be bad. Well, like the whole year I've had this house,

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Speaker 2: it's bad.

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Speaker 1: Well, like I keep telling you, I'm like your fucking

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Speaker 1: positive friend. I'm like, it's gonna get better. Everything's going

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Speaker 1: to be great. Just hanging there. I mean, now I'm

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Speaker 1: kind of thinking maybe I'm wrong. I don't want to be,

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Speaker 1: but it's like, you know, I don't know. It's been

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Speaker 1: been a couple of years, so.

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Speaker 2: I appreciate your positivity.

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Speaker 1: But you had an orgy ghost. So no, no, like now.

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Speaker 2: The cool thing about this day, besides realizing that my

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Speaker 2: house is haunted in the worst part way, is that

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Speaker 2: we have a very exciting guest for the show.

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Speaker 1: We do so. Our guest is a comedian and actor

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Speaker 1: who has recurred on shows like Better Call Saul, Twin Peaks,

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Speaker 1: and Reservation Dogs. And our guest is a huge fan

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Speaker 1: of film noir. It's Josh Fatom.

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Speaker 3: Everybody, thank you, Joe, thank you, thank you for having me.

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Speaker 3: There's a hotel. I'm from Oklahoma, and I'm in Oklahoma.

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Speaker 3: There's a hotel. I'm from Tulsa, but there's a hotel

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Speaker 3: in Oklahoma City, a famous one called the Scurvin and

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Speaker 3: it's an old one. It's been restored and it's reportedly haunted,

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Speaker 3: and they'll even tell you about it when you stay there.

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Speaker 3: But also, like the basketball teams all go through there

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Speaker 3: and stay at the Scurvin on the thirteenth floor, and

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Speaker 3: apparently there is a very groping, molesty ghost and no

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Speaker 3: and many football, i mean basketball players attest to someone

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Speaker 3: was doing something to me last night, and they're like, oh,

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Speaker 3: that's you know, that's surely the ghost or whatever her

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Speaker 3: name is, and you know, and then there's a whole

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Speaker 3: they'll tell you the whole story about it. You can

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Speaker 3: look it up scurving.

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Speaker 4: So anyway, oh, I'm not looking it up.

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Speaker 2: I'm going there.

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Speaker 4: When I go to the I'm so lonely. I need.

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Speaker 5: Please.

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Speaker 1: My question is why did you just basketball teams are

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Speaker 1: they're just this is just like the place that they booked.

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Speaker 3: I mean, we're talking about a lady, probably a real active,

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Speaker 3: anxious lady.

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Speaker 4: She died, she threw herself out off the building.

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Speaker 3: I think we're probably nineteen forty one or something, nineteen

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Speaker 3: thirty something. Basketball players have changed in physical cliche punchline form.

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Speaker 3: So maybe she's making some grand discoveries, you know what

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Speaker 3: I'm saying.

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Speaker 2: She's reliving, she's having a renaissance of sexual liberation that

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Speaker 2: was not available to her in her time.

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Speaker 3: During her life, she is condemned to a great time.

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Speaker 2: I look surely job bless. I hope to do the

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Speaker 2: very same. I really shake this mortal coil.

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Speaker 3: It at the sturbing with the basketball players instead of

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Speaker 3: at this orgy house you're stuck at.

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Speaker 2: Oh my god, I will be buried in the yard here.

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Speaker 2: But I hope that I can fly into a different

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Speaker 2: dimension once I go.

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Speaker 3: Wherever you had a great experience. I think that's probably

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Speaker 3: what happens.

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Speaker 2: It's lovely. Oh my god, you guys are so positive.

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Speaker 4: Yeah, you gotta.

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Speaker 3: Stay positive when you're on a podcast, because then people

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Speaker 3: are driving in their car, they're working in their garden,

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Speaker 3: and then they listen to something dark and they're like.

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Speaker 4: Why do I even bother? Finished?

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Speaker 2: Yeah, have I got news for you? My calling card

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Speaker 2: is making men cry.

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Speaker 4: Yes. Well, I'm an emotional guy, so.

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Speaker 3: If I cry, that's not going to be too unusual

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Speaker 3: for either of us, I suppose.

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Speaker 1: Yeah, we've already put it out there that were accepting

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Speaker 1: polaroids of men crying to put on, you know, staple

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Speaker 1: to the eaves of our bar. So you would get

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Speaker 1: like a free shot if you're like a man who

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Speaker 1: cries for our podcast. So we have a whole We

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Speaker 1: have a whole system down.

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Speaker 4: On or just cries and then you happen to listen

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Speaker 4: to it.

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Speaker 2: This cries while listening.

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Speaker 4: Ye, and my me and my girlfriend. I have a girlfriend.

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Speaker 3: We are both very emotional. People will go to a

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Speaker 3: bar and just chat and then we'll just well, it

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Speaker 3: won't even be about a heavy discussion.

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Speaker 4: We'll just be sitting there. Oh man, I know you

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Speaker 4: and that is not you and I feel that way.

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Speaker 3: Too, and well, and we'll both kind of think no

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Speaker 3: one sees this, no one's watching this, but then the

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Speaker 3: reality is probably people see the couple in the corner

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Speaker 3: like yeah, and then moments later, oh.

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Speaker 6: My god, yeah, thank you for saying thank you for

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Speaker 6: doing that.

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Speaker 2: They think you're having the weirdest breakup of all time. Yeah,

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Speaker 2: go out a couple.

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Speaker 4: Wow, they really feel things.

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Speaker 7: Wow.

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Speaker 1: Well we we just had an episode where we talked

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Speaker 1: about wild bar stories, and it's nice to know like

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Speaker 1: that you're the crier in the bar. Danielle is the opposite.

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Speaker 1: She's the person that would come around and like get

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Speaker 1: you guys to like make out. I think we figured

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Speaker 1: out in that episode she's she's a legend, a bar legend.

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Speaker 1: So I think I'm a little in the middle. I'm

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Speaker 1: not quite a crier, but I'm not a legend, so

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Speaker 1: I'm just kind of I'm monitoring the vibe. I think

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Speaker 1: I don't know that.

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Speaker 3: Actually I'm ready to define myself. I could be anything.

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Speaker 3: You know, Why why narrow it down?

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Speaker 4: Why just the crier? Yeah, well you could have it all.

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Speaker 1: Yeah.

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Speaker 2: Well listen, you are a dream. You're so funny. I'm

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Speaker 2: so glad you're with us today, and so I'm.

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Speaker 3: Going to be I'm like, oh my god, I just

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Speaker 3: really they said, oh it'll be thirty minutes. I'm like,

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Speaker 3: we ain't gonna get to any good topics. We're just

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Speaker 3: keep We're just keep talking. We're not gonna get to shit.

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Speaker 3: It's already over and'll be.

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Speaker 4: Oh man, we're done.

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Speaker 2: This is also the weird thing about this podcast. We

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Speaker 2: can make our own rules.

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Speaker 4: Man.

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Speaker 2: Oh yeah, well oh yeah, well we make us rules. Yeah,

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Speaker 2: let's make our own rules. Whatever, man, chop it out.

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Speaker 2: I mean, I don't want to keep you from crying

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Speaker 2: in a bar with your girlfriend, but if you got

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Speaker 2: the time.

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Speaker 3: Well I'm in Tulsa, she's in Oklahoma City, so I

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Speaker 3: won't make it.

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Speaker 4: So we got cry cry cry with y'all.

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Speaker 1: I'm ready.

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Speaker 2: Let's see. Let's see if this question makes us cry,

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Speaker 2: because I'm excited to hear your answers for sure.

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Speaker 4: So are I not to stressed about it? By the way,

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Speaker 4: and just so, no, it's easy. You can ease stress.

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Speaker 2: It's just when it comes naturally. Mellie did enough research

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Speaker 2: for seventeen people. Yes, so don't even she will set

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Speaker 2: us off on a path that we will not even

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Speaker 2: realize until she starts talking. Will be like, oh my god. Yeah,

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Speaker 2: total totally low stakes. So our question is from Elliot,

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Speaker 2: who uses she her pronouns, and Elliot says, I have

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Speaker 2: loved all the themes so far, and after hearing your

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Speaker 2: discussion about frailty, I started thinking about movies with characters

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Speaker 2: who are bad or flawed, but you root for them anyway.

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Speaker 2: I'm talking Walton Goggins, Boyd Crowder and Justified, Mad Michelson's Hannibal,

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Speaker 2: brad Pitt's Tyler Durden, and Fight Club, which brings me

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Speaker 2: to my theme suggestion, who are the best of the worst,

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Speaker 2: the best out of all the bad guys that you

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Speaker 2: can't help but liking. I would be so curious to

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Speaker 2: hear your respective answers and why you picked them, Elliott,

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Speaker 2: You've said us on a path.

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Speaker 1: This is a good one.

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Speaker 3: It's a rich question, with rich with answers and discussion possibilities.

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Speaker 2: It is ripe with possibility. But I'm going to ride

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Speaker 2: away call foul on rooting for Tyler Durden.

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Speaker 4: Right, he's not even in a real character spoiler.

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Speaker 5: Yeah.

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Speaker 2: But also like I didn't, I never rooted for anyone

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Speaker 2: in that movie.

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Speaker 1: Yeah. Can you really root for somebody with that many

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Speaker 1: abs or something? I don't know. It just feels kind

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Speaker 1: of like, I don't know, you.

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Speaker 2: Know, you know, I don't like muscles. I can't root

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Speaker 2: for anyone with that many muscles.

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Speaker 1: Were really dull at our number was justified because as

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Speaker 1: you know, this is a pro justified podcast. We've talked

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Speaker 1: about this many times before. Oh yeah, but here's a

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Speaker 1: want to ask Josh. I'm gonna throw this to Josh

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Speaker 1: first because as I've as I mentioned, big fan in

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Speaker 1: a war, Right, So you know a couple things about

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Speaker 1: some bad guys, right, what is your what's your take

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Speaker 1: on this question? I know it's complicated.

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Speaker 3: I I well, first of all, I want to that

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Speaker 3: makes gets me thinking about Tyler Durton and that's a

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Speaker 3: movie that people I feel like unanimously think hasn't aged.

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Speaker 4: Well.

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Speaker 3: I need to look at it again. But of course

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Speaker 3: I loved it in nineteen ninety nine. But maybe it's

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Speaker 3: just such a time capsule of that year that Tyler

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Speaker 3: Durton if we can't even possibly fathom rooting for him now,

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Speaker 3: but in nineteen ninety nine, two thousand, pre nine to eleven,

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Speaker 3: we're like, oh my god, this jerk, we love him

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Speaker 3: or something.

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Speaker 2: Who knows.

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Speaker 3: But I went and did a once over on some

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Speaker 3: of the tv D shells out for the question. And

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Speaker 3: the first one I pulled, the number one is taxi driver.

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Speaker 3: That's the most obvious one to me.

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Speaker 4: He's that guy.

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Speaker 3: He's not a good guy, but I like him. Another

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Speaker 3: one I pulled Charlie Verick, you want to do south

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Speaker 3: By South?

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Speaker 4: North By? North? Wished again?

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Speaker 3: He says that after a sex scene, I think, is

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Speaker 3: that supposed to be a sex position?

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Speaker 4: I'm not sure? And then, uh, Sorcerer, I think everyone's

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Speaker 4: bad in that movie bad guy.

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Speaker 1: Yeah, talking about some tangerine dream in this episode. So

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Speaker 1: there you go.

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Speaker 7: Yeah, no, no, no, no, no, no, do we can

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Speaker 7: do a vocalized since score this is a strange one.

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Speaker 7: I was like, you know what, I'm pulling that one?

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Speaker 7: What do you think of this City Lights?

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Speaker 3: Charlie interesting trap is actually kind of generally a bad guy.

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Speaker 3: He's kind of a scoundrel, and then he finds someone

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Speaker 3: and often in most Charlie Chaplin Tramp movies, where he

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Speaker 3: thinks they're less fortunate than him, and then he'll do

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Speaker 3: anything to help them.

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Speaker 4: And then that makes us cry.

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Speaker 6: You're at the barn, right, he's the bottom of the

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Speaker 6: barrel and he finds so many he thinks is below

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Speaker 6: the bottom of the barrel, so he's gonna get out

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Speaker 6: of the barrel and let them get in the barrel

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Speaker 6: and he has no barrel now.

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Speaker 3: And then this one here, I pulled out kiss Me Dadle,

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Speaker 3: So that was the one that doesn't. Also, while we're

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Speaker 3: at it, I think a TV show is mentioned Better

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Speaker 3: Call Saul. Yes, I mean everyone on a Better Call

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Speaker 3: Saul is good and bad and everything you know, and

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Speaker 3: you sometimes you're I mean, that's I.

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Speaker 4: Can't think what modern prestige TV seems to be.

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Speaker 3: They give you a good guy, oh he's bad, and

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Speaker 3: they give you a bad guy.

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Speaker 2: Oh my god, that bad guys So bad, but he

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Speaker 2: just did a good thing, you know. Yeah, Betters Saul

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Speaker 2: is particularly skilled that that though, especially in the relationship

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Speaker 2: between you know, the brothers and the relationship, like they're

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Speaker 2: all the romantic relationships and like, I mean there's so

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Speaker 2: many ways that you're like, you're great here, but wow,

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Speaker 2: you suck here?

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Speaker 4: Yeah?

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Speaker 3: And Howard yeah yeah, chuck.

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Speaker 4: You know, yeah, everyone uck.

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Speaker 3: I think everyone my character Camera Guy, I think everyone

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Speaker 3: really roots for him.

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Speaker 2: Oh yeah, it's not people really bad in that dude's body.

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Speaker 3: Well, I think people think his guy acts like he's bad,

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Speaker 3: but I'm rooting for him to really, you know, make

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Speaker 3: a great film.

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Speaker 1: Well, like, like, okay, I was like thinking about this

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Speaker 1: question philosophically, maybe what what what makes you guys root

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Speaker 1: for a bad character? Is there something like is it

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Speaker 1: is it like a is it fashion?

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Speaker 2: Is it charm?

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Speaker 1: Is it like certain something enough information about a backstory?

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Speaker 1: Like what something some a bad character like likable or something?

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Speaker 4: Do you know that's a good question.

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Speaker 2: I don't even know that they have to be likable, right, Like,

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Speaker 2: I think it's more that like maybe the bad guy

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Speaker 2: gives you a more interesting story.

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Speaker 3: Okay, maybe it's you know, I think it's just a

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Speaker 3: matter of setting up stakes and a want. So you

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Speaker 3: set up some sort of a want, whether the person's like,

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Speaker 3: you know, or someone's trying something.

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Speaker 4: I'm just making this up, by the way, I don't know.

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Speaker 4: I don't know how to speak authority. But you know,

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Speaker 4: it's like you see the.

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Speaker 3: Guy he wants the or the gall and then they

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Speaker 3: want the thing. They want the things so bad. I'm like, God,

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Speaker 3: they're doing everything under the sun. And they tried that,

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Speaker 3: it didn't worry. They tried that, didn't work. They try that,

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Speaker 3: it almost worked, didn't work. And then you're just like, damn, oh,

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Speaker 3: now they're even doing bad shit to get the want.

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Speaker 3: I'm not even sure I feel comfortable with that, but

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Speaker 3: I was on board with them getting the want. Or

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Speaker 3: maybe there's a reverse where they're like, this person's trying

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Speaker 3: to get the thing.

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Speaker 4: I don't even care. This person's trying to and then

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Speaker 4: before you know it, you start.

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Speaker 3: To care, you know, or this person starts out on

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Speaker 3: ethic right, person's a scumbag, and then I kind of

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Speaker 3: identify I'm a scumbag too.

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Speaker 4: I kind of identify with the scumbag.

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Speaker 2: Yeah, now let me see if this applies to that

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Speaker 2: method of thinking, because the first two bad guys that

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Speaker 2: I wanted to let Elliott know that I root for

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Speaker 2: is Jaws from Jaws and the Wolves in the Gray.

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Speaker 1: I think I would root all if there are any

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Speaker 1: bad animals, they're good to me. I guess like Grisly Piranha,

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Speaker 1: I don't care.

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Speaker 2: I'm rooting for the Piranhas. I'm rooting for the Piranhas.

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Speaker 2: I'm rooting for the for the fucking shark, and I'm

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Speaker 2: rooting for the Wolves. I don't know why those guys

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Speaker 2: didn't do anything.

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Speaker 4: The Final Destination movies, are you rooting for Fate.

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Speaker 2: Always He's gonna get you? We need to philosophically well,

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Speaker 2: because as.

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Speaker 1: Part of like what those you know, animals attack movies

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Speaker 1: are about, are largely about like humans entering this natural

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Speaker 1: world and we're fucking it up for them. So yes,

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Speaker 1: of course Jaws must eat everyone in this fucking beach

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Speaker 1: town because we came there, like we're you know, So

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Speaker 1: I'm just sort of like in those movies. That's why

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Speaker 1: it's so easy to root for those characters.

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Speaker 3: But yeah, because like you know, man's hubris when you

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Speaker 3: when you bring up you know, things that aren't like

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Speaker 3: that are like uh devices or animals or even uh

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Speaker 3: a uh.

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Speaker 4: An existential concept as a character to root for.

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Speaker 3: One of the ones I wrote down just wroted off

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Speaker 3: of what were some noir films I liked, uh, the

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Speaker 3: the Mickey Rooney movie quicksand which you said, that's one

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Speaker 3: where it's just, oh, this guy is just getting screwed

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Speaker 3: left and right, and everything he tries to do to

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Speaker 3: clean up the mess, it just makes it a bigger mess.

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Speaker 4: Does that mean the bad guy's God?

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Speaker 2: Oh, bab this movie, So give me a little bit more.

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Speaker 4: It's it's.

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Speaker 3: It's Mickey Rooney, and I think he's gonna get a

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Speaker 3: date with a hot gal and he it's too one

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Speaker 3: of two noir things I think where he maybe works

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Speaker 3: at a mechanics place it's like drive a crooked road.

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Speaker 3: But then also quicksand I think he works also at

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Speaker 3: a car place. And I can't remember exactly what happened.

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Speaker 3: I just remember he does a thing, and then now

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Speaker 3: he's in debt. He tries to get more money, and

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Speaker 3: then that and then now he loses his uh you know,

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Speaker 3: his mom's whatever fancy thing or is it now he

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Speaker 3: does anything now he's got no car.

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Speaker 4: Now he's trying to just clean up. He's got no suit,

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Speaker 4: you know. Now he's just trying. He's trying to get

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Speaker 4: the thing on the date.

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Speaker 3: Maybe the date is like you're a loser, and ah, shoot,

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Speaker 3: now if I could just win once, then then shall

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Speaker 3: show her I'm not a loser. And you know it's

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Speaker 3: not bad, but it's basically that, and then it just

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Speaker 3: keeps getting.

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Speaker 2: Worse quicksand he's in quick sand quicks. That's the definition,

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Speaker 2: the very definition that feels very.

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Speaker 1: Related to one of the movies we're going to talk

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Speaker 1: about this episode.

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Speaker 2: I just have to say, okay, yeah, but uh yeah.

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Speaker 1: That so in that way, you're like, well, it's not

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Speaker 1: really him, he's not bad. It's just his circumstance and

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Speaker 1: you know he can't help but like continue to fuck

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Speaker 1: up in a way, you know what I mean, that's easy,

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Speaker 1: that's easy.

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Speaker 2: To root for. Yeah, yeah, I think that's easier to

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Speaker 2: root for. And then in a real like if we're

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Speaker 2: going again with that kind of philosophical sense of what

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Speaker 2: is the villain, what's the bad guy? I kind of

400
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Speaker 2: I don't know. I guess I just feel like, very

401
00:19:21,920 --> 00:19:29,160
Speaker 2: often the bad guy has been scorned by the good guy.

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Speaker 2: And if you flip the script, let's say, for example, Batman, Millie,

403
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Speaker 2: you're not gonna love this any Batman movie. You're like,

404
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Speaker 2: you look at the Joker's life and he's the Mickey

405
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Speaker 2: Rooney and quicksand character. Yeah, then here comes Batman with

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Speaker 2: all his money and his fucking toys and shit, and

407
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Speaker 2: he's like the best I'm gonna save everyone, And the

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00:19:49,560 --> 00:19:52,119
Speaker 2: Joker's like, can I just get a fucking check? Like,

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Speaker 2: what the shit, dude, why do you have to like

410
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Speaker 2: you can? Why are you fucking up all my shit?

411
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Speaker 2: Like he's got needs. He's a little bit greedy, little

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Speaker 2: bit bad, but you know what I mean.

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Speaker 3: Yeah, that scene in the Jim Burton Tim Burton Batman

414
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Speaker 3: where when I was a kid and Jack Nixon puts

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Speaker 3: the glasses on, he goes, you want to hit a

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Speaker 3: guy with glasses?

417
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Speaker 4: Would you? That was always the funniest joke to me.

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Speaker 3: I was like, oh my god. I was ten or

419
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Speaker 3: nine when it came out. I was like, that joke

420
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Speaker 3: is so funny because I knew that, like, you never

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Speaker 3: hit a man with glasses, and you know, Batman hit

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Speaker 3: the guy.

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Speaker 2: With glasses Batman doesn't care. He up a guy with glasses.

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Speaker 3: If there's one thing I've learned by age nine.

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Speaker 2: Now, having said that, I will also say that Hannibal

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Speaker 2: Lecter is on my lips. I don't know what that

427
00:20:41,080 --> 00:20:42,399
Speaker 2: says about it because he's.

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Speaker 1: Got thatt that air of refinement that you fucking love

429
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Speaker 1: you because he's a show on brit Box.

430
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Speaker 2: You would be like, I'd be all over that show.

431
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Speaker 2: But it's because he's crafty when he made that fucking age.

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Speaker 3: Now is every every Handibal Elector you feel this way about,

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Speaker 3: or like a TV animal Elector Or or you know

434
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Speaker 3: Red Dragon, you know Brett Ratner, Hannibal Lecter or Brian Contan,

435
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Speaker 3: you know what what.

436
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Speaker 2: Kind of every Hannible? Every hand every handible, but especially

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00:21:08,280 --> 00:21:12,359
Speaker 2: Anthony Hopkins, especially Brian Cox, especially Matt Micholson.

438
00:21:13,280 --> 00:21:14,760
Speaker 3: So that's all three of them real? Or is there

439
00:21:14,760 --> 00:21:16,360
Speaker 3: another one I don't know about. I think there's one

440
00:21:16,400 --> 00:21:18,639
Speaker 3: more that guy don't count.

441
00:21:18,680 --> 00:21:24,159
Speaker 5: Sorry, guy don't primarily of Anthony Hopkins, because let me

442
00:21:24,200 --> 00:21:26,320
Speaker 5: tell you how much it imprinted on me to see

443
00:21:26,359 --> 00:21:29,920
Speaker 5: that when he took that police officer and like made

444
00:21:30,080 --> 00:21:32,640
Speaker 5: angel wings out of his back skin and hung him up.

445
00:21:33,400 --> 00:21:34,080
Speaker 4: He's an artist.

446
00:21:34,240 --> 00:21:37,199
Speaker 2: I'm a crafter at heart. I knit, I crochet, I

447
00:21:37,280 --> 00:21:40,360
Speaker 2: appreciate the craft of how much he's like, I will

448
00:21:40,359 --> 00:21:41,880
Speaker 2: fuck you up if you get in my way.

449
00:21:42,119 --> 00:21:44,440
Speaker 4: That's true. It's like the whole movie of Silence of

450
00:21:44,480 --> 00:21:45,000
Speaker 4: the Lambs.

451
00:21:45,359 --> 00:21:48,680
Speaker 3: They're telling us, Okay, he's gonna help you, but don't

452
00:21:48,680 --> 00:21:50,640
Speaker 3: get close. Don't let him kiss you, don't let him

453
00:21:50,640 --> 00:21:52,639
Speaker 3: touch this down to approach the glass, don't let him

454
00:21:52,680 --> 00:21:54,840
Speaker 3: out of the glass. Whatever happens, don't do it, and

455
00:21:54,880 --> 00:21:56,000
Speaker 3: don't buy anto his tricks.

456
00:21:56,000 --> 00:21:57,000
Speaker 4: He's gonna get out of cloth.

457
00:21:57,240 --> 00:21:59,800
Speaker 3: So just so you know, if yours Jodi Foster is

458
00:21:59,800 --> 00:22:02,879
Speaker 3: gonna solve this crime and this guy's gonna stay inside

459
00:22:02,920 --> 00:22:05,840
Speaker 3: the whole movie and then what happens third act, Oh

460
00:22:05,880 --> 00:22:09,080
Speaker 3: my god, they let the guy out, and then you're

461
00:22:09,119 --> 00:22:12,280
Speaker 3: kind of like, yes, what's he gonna do?

462
00:22:14,680 --> 00:22:14,800
Speaker 6: Ut?

463
00:22:15,280 --> 00:22:16,320
Speaker 4: Yeah?

464
00:22:16,359 --> 00:22:19,360
Speaker 3: Wow, we've been seeing Buffalo Bill do all this ft

465
00:22:19,400 --> 00:22:19,960
Speaker 3: up stuff home.

466
00:22:20,359 --> 00:22:25,399
Speaker 4: He's got nothing on anaster is out. Yeah, the artist

467
00:22:25,800 --> 00:22:27,119
Speaker 4: and Millie.

468
00:22:27,119 --> 00:22:29,399
Speaker 2: You might be able to connect me in this one, Josh,

469
00:22:29,440 --> 00:22:32,240
Speaker 2: I hope you can. But are we not rooting for

470
00:22:32,280 --> 00:22:34,040
Speaker 2: the T one thousand and Terminator two?

471
00:22:35,040 --> 00:22:36,080
Speaker 1: Yeah?

472
00:22:36,160 --> 00:22:38,320
Speaker 2: Yeah, oh, we don't know that.

473
00:22:39,040 --> 00:22:41,439
Speaker 3: That's complicated and there and you know what, maybe that

474
00:22:41,560 --> 00:22:44,800
Speaker 3: speaks to the brilliance of Terminator too, because when I

475
00:22:44,920 --> 00:22:47,720
Speaker 3: was a kid, I went to see Terminator two expecting

476
00:22:47,920 --> 00:22:50,000
Speaker 3: I think I didn't know the plot, so I thought,

477
00:22:50,359 --> 00:22:52,959
Speaker 3: we all know the Terminator in part one's bad, so

478
00:22:53,119 --> 00:22:55,720
Speaker 3: I'm ready to Oh, but I love Arnold, he's the

479
00:22:55,720 --> 00:22:57,919
Speaker 3: big star. And then here we go, wait a second,

480
00:22:58,240 --> 00:23:01,800
Speaker 3: that guy good, you know? And uh, and then you know,

481
00:23:01,840 --> 00:23:04,080
Speaker 3: the show him break a couple of bones, steal the

482
00:23:04,119 --> 00:23:09,000
Speaker 3: biker's clothes, and then that's a complicated one because if

483
00:23:09,040 --> 00:23:11,760
Speaker 3: it's playing on our desire because probably in part one

484
00:23:12,119 --> 00:23:14,160
Speaker 3: we want to see I'll be back to kill everyone,

485
00:23:14,640 --> 00:23:17,000
Speaker 3: you know. And then he comes to part two and

486
00:23:17,200 --> 00:23:19,159
Speaker 3: like we guess what, that guy who was bad that

487
00:23:19,240 --> 00:23:20,119
Speaker 3: we were rooting for.

488
00:23:20,160 --> 00:23:21,080
Speaker 4: We made him a good guy.

489
00:23:21,600 --> 00:23:24,280
Speaker 3: He's the bow that makes you say, well, I don't

490
00:23:24,280 --> 00:23:26,480
Speaker 3: like him anymore. I don't want him to protect that kid.

491
00:23:26,520 --> 00:23:27,760
Speaker 3: I want him to kill that kid.

492
00:23:28,160 --> 00:23:31,840
Speaker 2: I mean, let's let's not be let's not Min's words.

493
00:23:32,240 --> 00:23:36,000
Speaker 2: T one thousand is a cooler model, so I kind

494
00:23:36,000 --> 00:23:36,840
Speaker 2: of want to root for him.

495
00:23:36,880 --> 00:23:39,159
Speaker 4: Just Patrick, is he is he?

496
00:23:39,240 --> 00:23:39,280
Speaker 1: You?

497
00:23:39,760 --> 00:23:40,280
Speaker 4: Yeah?

498
00:23:40,440 --> 00:23:42,159
Speaker 2: So I just want to see what he can do.

499
00:23:42,200 --> 00:23:43,800
Speaker 2: I want to see those scissor hands. I want to

500
00:23:43,840 --> 00:23:46,400
Speaker 2: see his fucking spikes, like, I want to see him

501
00:23:46,440 --> 00:23:46,880
Speaker 2: keep going.

502
00:23:46,920 --> 00:23:49,200
Speaker 1: I want to see him turn into people's step moms

503
00:23:49,320 --> 00:23:51,359
Speaker 1: and yeah have a hook, you know.

504
00:23:51,440 --> 00:23:53,640
Speaker 3: Yeah, you want to see him kill Xander and Berkeley

505
00:23:54,640 --> 00:23:58,000
Speaker 3: with the milk carton and that. Well, so that's complicated too,

506
00:23:58,000 --> 00:24:00,719
Speaker 3: because that plays with the whole I think audiences they

507
00:24:00,720 --> 00:24:04,919
Speaker 3: want to see an underdog, and when you see Terminator Schwarzenegger,

508
00:24:05,560 --> 00:24:07,600
Speaker 3: he's now the underdog against scissor Hands.

509
00:24:07,800 --> 00:24:10,920
Speaker 4: So you know, Robert Patrick scissor Hands.

510
00:24:11,800 --> 00:24:15,760
Speaker 1: The underdog thing is really interesting because so I was

511
00:24:15,840 --> 00:24:19,560
Speaker 1: really thinking about my answer for this question, obviously, and

512
00:24:19,840 --> 00:24:22,160
Speaker 1: what I did was I took these like fucking note

513
00:24:22,200 --> 00:24:25,880
Speaker 1: cards and I wrote, like every movie that I can

514
00:24:25,920 --> 00:24:30,840
Speaker 1: think of where the villain is somebody that I root for, okay,

515
00:24:31,240 --> 00:24:35,520
Speaker 1: and then I decided that they belong to one of

516
00:24:35,600 --> 00:24:39,720
Speaker 1: two categories. That and so now I've read by myself,

517
00:24:41,040 --> 00:24:45,200
Speaker 1: so out of all these villains, they could be categorized

518
00:24:45,200 --> 00:24:51,000
Speaker 1: as such. They're either couples on the run or old ladies.

519
00:24:51,880 --> 00:24:54,080
Speaker 2: Oh well, this is your wheelhouse. That makes sense.

520
00:24:54,119 --> 00:24:57,560
Speaker 1: So Basically, I was like, what are my favorite villains

521
00:24:57,640 --> 00:25:01,800
Speaker 1: quote unquote bad people that I enjoy? Barton Annie from

522
00:25:01,880 --> 00:25:04,879
Speaker 1: Gun Crazy that's a you know one Josh might know

523
00:25:04,920 --> 00:25:07,480
Speaker 1: about it, he might have seen. But also like those

524
00:25:07,560 --> 00:25:10,880
Speaker 1: like bad Lands, like all those movies where you're like.

525
00:25:10,800 --> 00:25:12,520
Speaker 4: Oh was Another Day?

526
00:25:13,359 --> 00:25:16,760
Speaker 3: Yeah, all the other all the other couple ones that uh,

527
00:25:16,920 --> 00:25:21,520
Speaker 3: you know Eddie Muller puts in his book and they.

528
00:25:20,280 --> 00:25:22,160
Speaker 4: Live by yeah, they live by night.

529
00:25:22,880 --> 00:25:25,320
Speaker 3: Yeah, but there's a whole bunch of them.

530
00:25:25,520 --> 00:25:25,760
Speaker 2: Yeah.

531
00:25:25,800 --> 00:25:27,600
Speaker 1: Also all those couples on the Runs. I mean there's like,

532
00:25:27,640 --> 00:25:30,920
Speaker 1: technically they're committing crimes for bad people, but I want

533
00:25:30,920 --> 00:25:32,800
Speaker 1: them to win. Why do I want them to win?

534
00:25:32,840 --> 00:25:34,280
Speaker 1: Because I believe in love.

535
00:25:34,160 --> 00:25:35,800
Speaker 4: Or something love baby.

536
00:25:35,960 --> 00:25:40,399
Speaker 1: But then the other side is old ladies. So yeah, ma,

537
00:25:41,080 --> 00:25:44,560
Speaker 1: I wish, ma, I wish that should have won. She

538
00:25:44,760 --> 00:25:45,320
Speaker 1: should have won.

539
00:25:45,600 --> 00:25:48,000
Speaker 3: I'm gonna circle back to better call Saul in this

540
00:25:48,040 --> 00:25:49,320
Speaker 3: one Old Ladies.

541
00:25:49,359 --> 00:25:51,880
Speaker 4: If you finish the series, no spoilers.

542
00:25:51,920 --> 00:25:55,399
Speaker 3: Spoil, not gonna spoil, but old Ladies play a big

543
00:25:55,920 --> 00:25:57,280
Speaker 3: part of the whole series.

544
00:25:57,320 --> 00:25:58,200
Speaker 4: By the end, you'll.

545
00:25:58,040 --> 00:26:04,000
Speaker 1: See yeah, yeah, it's not even old ladies, it's just

546
00:26:04,040 --> 00:26:06,639
Speaker 1: like middle aged like Jackie Brown, if you want to

547
00:26:06,680 --> 00:26:07,920
Speaker 1: go in that direction, Like.

548
00:26:07,880 --> 00:26:11,880
Speaker 4: I love I mean aging women women.

549
00:26:10,960 --> 00:26:14,040
Speaker 1: What what has seemed to be old, which is pretty

550
00:26:14,080 --> 00:26:15,480
Speaker 1: much anybody above thirty five.

551
00:26:15,520 --> 00:26:17,080
Speaker 3: At this point, when I was younger and I saw

552
00:26:17,200 --> 00:26:20,199
Speaker 3: Jackie Brown, I was like, huh, I mean Pam Greyan

553
00:26:20,280 --> 00:26:22,359
Speaker 3: or she's like older, She's like, you know, she's older

554
00:26:22,440 --> 00:26:22,840
Speaker 3: or whatever.

555
00:26:23,200 --> 00:26:25,399
Speaker 4: Now I'm forty two, I watch Jackie Brown and go

556
00:26:25,680 --> 00:26:28,120
Speaker 4: him still greer, still got it, Still.

557
00:26:27,960 --> 00:26:31,359
Speaker 1: God, I still got it. And now he's just older.

558
00:26:31,560 --> 00:26:33,440
Speaker 1: Maybe we might be older than Jackie Brown.

559
00:26:33,960 --> 00:26:35,720
Speaker 4: I'm Robert Forster, I'm Robert Fister.

560
00:26:35,800 --> 00:26:38,120
Speaker 3: And Jackie Brown where she's like, you know, I put

561
00:26:38,160 --> 00:26:39,520
Speaker 3: on and I'm not as good looking as I used

562
00:26:39,520 --> 00:26:41,359
Speaker 3: to be. Home, I ga sagging a little, butts bigger,

563
00:26:41,359 --> 00:26:42,679
Speaker 3: and he's even better.

564
00:26:45,840 --> 00:26:48,320
Speaker 1: I did something about it. He's talking about his own

565
00:26:48,720 --> 00:26:51,080
Speaker 1: you know, hair loss. I love that movie. But you

566
00:26:51,160 --> 00:26:53,240
Speaker 1: want that's exactly what it is. It's like it's an

567
00:26:53,359 --> 00:26:57,240
Speaker 1: underdog philosophy where you're just like, Okay, you want these

568
00:26:57,240 --> 00:26:59,159
Speaker 1: people to win even though they're doing bad things.

569
00:26:59,359 --> 00:27:02,399
Speaker 4: You know, Yeah, you can relate. That's relatable. That's related.

570
00:27:02,440 --> 00:27:04,800
Speaker 4: Maybe Travis Pickele, he's lonely. Hey, I'm lonely.

571
00:27:05,040 --> 00:27:07,600
Speaker 2: Maybe I'm gonna go, you know, a stock a bank.

572
00:27:07,760 --> 00:27:11,200
Speaker 3: Employee, and then shoot, shoot the bag, shoot the pimps.

573
00:27:11,520 --> 00:27:13,680
Speaker 3: Maybe I'm gonna do that, you know, I'm lonely.

574
00:27:15,720 --> 00:27:18,679
Speaker 2: Going downtown. No, it's true, is it is very I

575
00:27:18,680 --> 00:27:21,640
Speaker 2: think that is to me the key of the way

576
00:27:21,640 --> 00:27:24,320
Speaker 2: I answered the question or thought of this question, which

577
00:27:24,320 --> 00:27:26,320
Speaker 2: is fantastic. Elliott, thank you so much.

578
00:27:26,480 --> 00:27:28,600
Speaker 1: Well, I'm glad. I'm glad that you were here to

579
00:27:28,640 --> 00:27:30,879
Speaker 1: answer this question. And it was really like perfect for

580
00:27:30,960 --> 00:27:33,240
Speaker 1: you because of the fact that you.

581
00:27:33,160 --> 00:27:35,719
Speaker 4: Know, I had known I'm a tragic figure.

582
00:27:35,920 --> 00:27:38,840
Speaker 1: You're a tragic figure. You crying bars, and you're a

583
00:27:38,920 --> 00:27:41,000
Speaker 1: huge Nowar fan, And I feel like that is like

584
00:27:41,040 --> 00:27:45,040
Speaker 1: a perfect like that genre, specifically horror too, which is

585
00:27:45,040 --> 00:27:48,720
Speaker 1: why Jaws has entered the chat. It's this whole like taking,

586
00:27:49,080 --> 00:27:51,719
Speaker 1: you know, these characters that are kind of bad and

587
00:27:51,760 --> 00:27:54,200
Speaker 1: figuring out if they're likable in some kind of way.

588
00:27:54,359 --> 00:27:58,240
Speaker 1: And that's a fascinating question to answer. So I'm glad

589
00:27:58,280 --> 00:28:02,120
Speaker 1: that Elliott sent it, and I'm glad you were here

590
00:28:02,119 --> 00:28:05,600
Speaker 1: for it. Josh was great. Well, Josh, thanks again. We

591
00:28:05,640 --> 00:28:08,600
Speaker 1: can't thank you enough. It's it was so fucking fun.

592
00:28:08,680 --> 00:28:09,639
Speaker 2: You're the rest.

593
00:28:10,400 --> 00:28:11,920
Speaker 4: I'll be back anytime you need me.

594
00:28:18,080 --> 00:28:20,080
Speaker 2: Oh Josh, it's so funny.

595
00:28:20,359 --> 00:28:23,199
Speaker 1: Well, and like, honestly, like the whole conversation and the

596
00:28:23,280 --> 00:28:28,959
Speaker 1: noir thing feels really a propos for our theme this week.

597
00:28:29,440 --> 00:28:30,800
Speaker 2: It kind of does.

598
00:28:31,760 --> 00:28:35,480
Speaker 1: I mean a lot of people probably guessed what this

599
00:28:35,560 --> 00:28:37,800
Speaker 1: would be, but why don't we just tell them what

600
00:28:37,840 --> 00:28:38,600
Speaker 1: the theme is.

601
00:28:38,520 --> 00:28:42,040
Speaker 2: For this week? The theme this week is rest in Peace,

602
00:28:42,160 --> 00:28:43,000
Speaker 2: King James Kahn.

603
00:28:44,400 --> 00:28:47,720
Speaker 1: That is right. We finally we had to do it,

604
00:28:47,920 --> 00:28:52,560
Speaker 1: because all right, let's give them. I feel like maybe

605
00:28:52,560 --> 00:28:56,680
Speaker 1: we can orient some folks that maybe haven't or new

606
00:28:56,680 --> 00:28:57,480
Speaker 1: to the podcast.

607
00:28:57,920 --> 00:28:58,120
Speaker 5: Right.

608
00:28:59,400 --> 00:29:02,080
Speaker 1: This has has been kind of an evolution that has

609
00:29:02,080 --> 00:29:05,120
Speaker 1: been happening through the episodes, Like as the episodes have

610
00:29:05,240 --> 00:29:11,200
Speaker 1: been rolling out. It started with our episode that we

611
00:29:11,280 --> 00:29:17,080
Speaker 1: talked about the film Misery, right, which obviously is a

612
00:29:17,120 --> 00:29:21,920
Speaker 1: movie that stars James Kahn. Now, we talked about this

613
00:29:22,680 --> 00:29:25,720
Speaker 1: in regards to one of the scenes in the movie

614
00:29:25,840 --> 00:29:30,400
Speaker 1: where basically the Annie Wilks character or the Kathy Mats

615
00:29:30,520 --> 00:29:34,800
Speaker 1: character is like throwing James conn down the stairs of

616
00:29:34,840 --> 00:29:36,480
Speaker 1: the basement and kind.

617
00:29:36,320 --> 00:29:40,120
Speaker 2: Of just these around the room. She's picking up out

618
00:29:40,120 --> 00:29:41,520
Speaker 2: of the bed.

619
00:29:41,400 --> 00:29:44,800
Speaker 1: Roughing them up as we know she does in that

620
00:29:44,880 --> 00:29:49,800
Speaker 1: film and personally as we love in that film. So

621
00:29:50,200 --> 00:29:53,400
Speaker 1: we just kind of like riffing on that scene and

622
00:29:53,440 --> 00:29:56,320
Speaker 1: those scenes, and we were like, wouldn't it be fucking

623
00:29:56,400 --> 00:30:03,360
Speaker 1: great to like started a challenge, a physical challenge where

624
00:30:03,400 --> 00:30:10,200
Speaker 1: we attempted to deadlift James Kahn in the in the

625
00:30:10,240 --> 00:30:15,440
Speaker 1: style of Annie Wilkes from Misery, and uh, we kind

626
00:30:15,440 --> 00:30:17,760
Speaker 1: of set that goal for ourselves and then you know,

627
00:30:18,280 --> 00:30:18,880
Speaker 1: and it's just.

628
00:30:18,840 --> 00:30:20,880
Speaker 2: The goal being that now that we were going to

629
00:30:20,920 --> 00:30:23,400
Speaker 2: physically go and find and lift James Khan, but that

630
00:30:23,440 --> 00:30:24,680
Speaker 2: we wanted to be able to.

631
00:30:25,200 --> 00:30:30,400
Speaker 1: Yes, like we approximated his weight and thought that's gonna

632
00:30:30,400 --> 00:30:32,840
Speaker 1: be like the goal. The goal is to at some

633
00:30:32,960 --> 00:30:35,960
Speaker 1: point be able to pick up now whether or not

634
00:30:36,000 --> 00:30:39,560
Speaker 1: it's in the deadlift style like gently lifting somebody a

635
00:30:39,560 --> 00:30:41,960
Speaker 1: couple of inches off the ground, if it was you know,

636
00:30:42,760 --> 00:30:45,320
Speaker 1: a clean and snatch or whatever the fuck they call it,

637
00:30:45,360 --> 00:30:47,440
Speaker 1: like when you just like throw somebody over your head

638
00:30:47,600 --> 00:30:50,240
Speaker 1: or something like, we didn't, we didn't know. We just

639
00:30:50,280 --> 00:30:53,760
Speaker 1: were like, let's deadlift Jimmy Kahn, and that'll be a

640
00:30:53,880 --> 00:30:57,320
Speaker 1: goal we worked towards and that just that simple joke

641
00:30:57,840 --> 00:31:02,080
Speaker 1: I took a little seriously, and you know, I kind

642
00:31:02,080 --> 00:31:06,080
Speaker 1: of joined a weightlifting club. And to be honest with you,

643
00:31:06,120 --> 00:31:07,760
Speaker 1: I had been thinking about doing this forever, but it

644
00:31:07,800 --> 00:31:10,280
Speaker 1: was just that area's nature in me to be like, well,

645
00:31:10,320 --> 00:31:12,360
Speaker 1: I'm going to see if I can actually try to

646
00:31:12,400 --> 00:31:16,480
Speaker 1: do this right. And as of this recording, I have,

647
00:31:17,040 --> 00:31:20,800
Speaker 1: I guess again not knowing how heavy James con actually

648
00:31:21,000 --> 00:31:25,280
Speaker 1: was before he passed away. But anyway, long story short,

649
00:31:25,800 --> 00:31:27,520
Speaker 1: he's kind of been an inside joke on the pod

650
00:31:27,680 --> 00:31:31,120
Speaker 1: for a long time, and then he passed away recently,

651
00:31:31,640 --> 00:31:37,440
Speaker 1: as we all know, and we got hundreds, multiple hundreds

652
00:31:37,480 --> 00:31:44,320
Speaker 1: of tags, emails, dms talking about people saying that he

653
00:31:44,400 --> 00:31:46,600
Speaker 1: and her they had heard that he had passed away

654
00:31:46,800 --> 00:31:48,440
Speaker 1: and they immediately thought of us.

655
00:31:48,840 --> 00:31:51,520
Speaker 2: Yeah, and I'll say to me, he wasn't a joke.

656
00:31:51,760 --> 00:31:55,360
Speaker 2: I think he's a true inspiration for us to physically

657
00:31:55,400 --> 00:32:00,640
Speaker 2: get our shit together. Yes, And I definitely appreciated him

658
00:32:00,880 --> 00:32:04,040
Speaker 2: as an actor, yes, And I just think it's it's

659
00:32:04,120 --> 00:32:06,440
Speaker 2: it's wild and wonderful that he was able to inspire

660
00:32:06,560 --> 00:32:09,200
Speaker 2: us to like take some action in our own lives.

661
00:32:09,240 --> 00:32:13,800
Speaker 2: The legacy of James Kahn will continue through us, whether

662
00:32:13,800 --> 00:32:14,720
Speaker 2: he likes it or not.

663
00:32:15,320 --> 00:32:18,200
Speaker 1: Yes, exactly, Like he just seems to be this like

664
00:32:18,400 --> 00:32:21,240
Speaker 1: now he'll be forever affiliated with the podcast, which is

665
00:32:21,280 --> 00:32:24,080
Speaker 1: kind of amazing. But I you know, I think as

666
00:32:24,080 --> 00:32:27,280
Speaker 1: an actor, you know, we both have seen many of

667
00:32:27,320 --> 00:32:30,680
Speaker 1: his films, and he's obviously like one of the most famous,

668
00:32:30,880 --> 00:32:34,320
Speaker 1: you know, actors to have ever done it. He was

669
00:32:34,360 --> 00:32:39,000
Speaker 1: in so many you know, amazing classic films. I mean,

670
00:32:39,120 --> 00:32:43,520
Speaker 1: just to give a little background about James Kahn the actor,

671
00:32:44,360 --> 00:32:46,280
Speaker 1: and this is all stuff I actually didn't really know,

672
00:32:46,480 --> 00:32:48,760
Speaker 1: to be honest. I mean, I found out a lot

673
00:32:48,760 --> 00:32:52,760
Speaker 1: about him, which is that he's from the Bronx that

674
00:32:52,880 --> 00:32:55,560
Speaker 1: I did know. I actually did not know that, and

675
00:32:55,600 --> 00:32:57,400
Speaker 1: I'm stupid to have not known that, because then you

676
00:32:57,440 --> 00:32:58,760
Speaker 1: look at him and be like, of course he's from

677
00:32:58,800 --> 00:33:05,080
Speaker 1: the Bronx, Like listen. But he got into acting, you know,

678
00:33:05,120 --> 00:33:07,960
Speaker 1: when he was at Hofstra University, and you know, he

679
00:33:08,080 --> 00:33:10,440
Speaker 1: was when he first started his career, he was doing

680
00:33:10,480 --> 00:33:14,080
Speaker 1: like off Broadway stuff, he was doing some TV. He

681
00:33:14,160 --> 00:33:17,400
Speaker 1: eventually got into you know, some minor film roles in

682
00:33:17,440 --> 00:33:22,160
Speaker 1: the sixties. He's an irma leduce, which I totally forgot,

683
00:33:22,320 --> 00:33:25,200
Speaker 1: which I think is kind of amazing. But like, you know,

684
00:33:25,360 --> 00:33:28,400
Speaker 1: he is most well known for and of course how

685
00:33:28,440 --> 00:33:32,400
Speaker 1: we referenced him in that episode was that he's, you know,

686
00:33:32,760 --> 00:33:36,760
Speaker 1: playing the hot headed Sonny Corleone from the.

687
00:33:36,760 --> 00:33:40,680
Speaker 2: Godfather movies, right absolutely, And it's.

688
00:33:40,560 --> 00:33:43,160
Speaker 1: So funny because I was reading this whole I was

689
00:33:43,200 --> 00:33:46,720
Speaker 1: reading this whole article about how you know, he was

690
00:33:46,800 --> 00:33:49,560
Speaker 1: nominated for an oscar for the first Godfather film and

691
00:33:49,600 --> 00:33:52,560
Speaker 1: then about and then basically after being in the Godfather,

692
00:33:52,680 --> 00:33:56,840
Speaker 1: like he was Jewish, but like all the Italians were like,

693
00:33:56,880 --> 00:34:00,000
Speaker 1: this is our guy, Like he is an honorary Italian,

694
00:34:00,840 --> 00:34:02,760
Speaker 1: which I think is fucking hilarious.

695
00:34:04,600 --> 00:34:07,000
Speaker 2: Good, it makes sense, it makes sense. He played that

696
00:34:07,080 --> 00:34:08,160
Speaker 2: role to a god damn.

697
00:34:08,040 --> 00:34:10,840
Speaker 1: T Yeah, and let me just tell you right now,

698
00:34:11,200 --> 00:34:15,680
Speaker 1: like say what you will about maybe his politics, but

699
00:34:15,800 --> 00:34:18,760
Speaker 1: he is like legitimately he was one of the fucking

700
00:34:19,840 --> 00:34:26,439
Speaker 1: most charismatic, entertaining actors ever. Like there's like this whole

701
00:34:26,480 --> 00:34:28,560
Speaker 1: section of his Wikipedia where they talk about how he

702
00:34:28,680 --> 00:34:32,000
Speaker 1: rejected so many movies that were like that went on

703
00:34:32,040 --> 00:34:35,000
Speaker 1: to be like super fucking famous, like the French Connection.

704
00:34:35,560 --> 00:34:38,000
Speaker 1: He turned down the French Connection and One Flew Over

705
00:34:38,000 --> 00:34:40,960
Speaker 1: the Cooper's Nest. He turned down Blade Runner and it's

706
00:34:41,000 --> 00:34:44,320
Speaker 1: like and they give sort of the the reasons for why,

707
00:34:44,520 --> 00:34:47,120
Speaker 1: and they were all just like, eh, I didn't like

708
00:34:47,239 --> 00:34:51,239
Speaker 1: this guy, and this one seems stupid and this one,

709
00:34:51,280 --> 00:34:53,760
Speaker 1: you know, and I'm just like, gotta love a fucking

710
00:34:53,800 --> 00:34:55,319
Speaker 1: dude that does shit like that, right.

711
00:34:55,560 --> 00:34:58,239
Speaker 2: I also like that is a New Yorker through and

712
00:34:58,320 --> 00:35:01,880
Speaker 2: fucking through. Hollywood did not change him in that way.

713
00:35:03,600 --> 00:35:06,920
Speaker 2: It's like, is enough, like I look fucking dumb. I

714
00:35:06,920 --> 00:35:09,920
Speaker 2: don't want to do it like that is the end

715
00:35:09,920 --> 00:35:11,359
Speaker 2: of a conversation.

716
00:35:10,920 --> 00:35:11,800
Speaker 4: In New York.

717
00:35:12,400 --> 00:35:15,239
Speaker 1: Well, and like, to me, that is kind of remarkable

718
00:35:15,239 --> 00:35:17,640
Speaker 1: in and of itself to have turned down. I mean,

719
00:35:17,680 --> 00:35:19,279
Speaker 1: you gotta go look at it. If you guys are

720
00:35:19,320 --> 00:35:20,960
Speaker 1: online right now, go look it up, because it's like

721
00:35:21,000 --> 00:35:24,160
Speaker 1: he turned down like so many good movies. And then

722
00:35:24,200 --> 00:35:27,000
Speaker 1: he's just like, fuck it, I didn't need it. Who cares?

723
00:35:27,200 --> 00:35:27,920
Speaker 1: And cares?

724
00:35:27,960 --> 00:35:28,239
Speaker 4: You know what.

725
00:35:28,239 --> 00:35:31,560
Speaker 1: I'm like, I just love I love that attitude. That's

726
00:35:31,600 --> 00:35:35,680
Speaker 1: so legendary. But like, listen, the thing about him though, too,

727
00:35:35,800 --> 00:35:38,520
Speaker 1: was that he had this entire like he was like

728
00:35:38,560 --> 00:35:42,120
Speaker 1: a fucking Twitter celebrity towards the end of his life

729
00:35:42,239 --> 00:35:43,120
Speaker 1: to catch all.

730
00:35:43,000 --> 00:35:49,920
Speaker 2: That he this is again something that I just kind

731
00:35:49,960 --> 00:35:53,680
Speaker 2: of appreciate about him as an actor and person is

732
00:35:53,719 --> 00:36:00,160
Speaker 2: that he he definitely lived many lives and was very

733
00:36:00,200 --> 00:36:04,080
Speaker 2: active in many different ways for decades, like but he

734
00:36:04,120 --> 00:36:06,960
Speaker 2: never he never lost the kernel of like this is

735
00:36:07,000 --> 00:36:10,919
Speaker 2: who I am. But he also was just like who

736
00:36:10,960 --> 00:36:14,440
Speaker 2: else has had the longevity of that career. Who else

737
00:36:14,960 --> 00:36:18,880
Speaker 2: stayed so present to be able to comment on modern

738
00:36:18,920 --> 00:36:22,120
Speaker 2: films and things, Like he was doing shit. He was

739
00:36:22,160 --> 00:36:25,400
Speaker 2: like active in the world. He wasn't shying away and

740
00:36:25,440 --> 00:36:27,960
Speaker 2: being like, Eh, whatever, I'm famous, I'm old.

741
00:36:28,120 --> 00:36:28,480
Speaker 4: Bye.

742
00:36:28,560 --> 00:36:30,239
Speaker 2: He was just like, no, guess what, I still have

743
00:36:30,280 --> 00:36:31,399
Speaker 2: opinions here right here.

744
00:36:31,440 --> 00:36:37,840
Speaker 1: They are Like he was super sharp, like up until

745
00:36:37,880 --> 00:36:42,239
Speaker 1: like I was watching commentary for my movie, but and

746
00:36:42,239 --> 00:36:44,200
Speaker 1: then just watching like interviews for other things that he

747
00:36:44,239 --> 00:36:48,839
Speaker 1: had done, and he was like fucking hilarious and just

748
00:36:48,880 --> 00:36:53,399
Speaker 1: like super charismatic, and you know, was effectively a guy

749
00:36:53,400 --> 00:36:56,880
Speaker 1: in his like late seventies, you know, early eighties, and

750
00:36:56,880 --> 00:36:59,279
Speaker 1: I'm just like, yo, this guy ain't missing a beat.

751
00:36:59,480 --> 00:37:02,960
Speaker 1: Like he's got this like worldliness to him, you know,

752
00:37:03,000 --> 00:37:05,640
Speaker 1: which is obviously a big part of Like that informed

753
00:37:05,680 --> 00:37:07,560
Speaker 1: a lot of the roles that he played, especially in

754
00:37:07,600 --> 00:37:10,520
Speaker 1: our two movies. I mean he's like he's he's like

755
00:37:10,560 --> 00:37:13,319
Speaker 1: a classic tough guy in that noir kind of way,

756
00:37:13,400 --> 00:37:15,320
Speaker 1: in that way that kin we talked about earlier with

757
00:37:15,400 --> 00:37:17,799
Speaker 1: Josh is just that thing of like he's just got

758
00:37:17,800 --> 00:37:20,560
Speaker 1: this like street wise authenticity to him.

759
00:37:20,880 --> 00:37:23,480
Speaker 2: Absolutely, there's something to be said about the fact that

760
00:37:23,560 --> 00:37:26,600
Speaker 2: he would turn down certain movies but do Mickey Blue

761
00:37:26,640 --> 00:37:30,400
Speaker 2: Eyes because like made him laugh, because he likes it.

762
00:37:30,480 --> 00:37:32,600
Speaker 2: He was poking fun at himself and the roles that

763
00:37:32,640 --> 00:37:33,440
Speaker 2: he's played.

764
00:37:33,800 --> 00:37:35,680
Speaker 1: Yeah, that says something.

765
00:37:35,480 --> 00:37:37,800
Speaker 2: To me about that guy that like that's fucking great

766
00:37:37,920 --> 00:37:39,080
Speaker 2: and fun and funny.

767
00:37:39,560 --> 00:37:43,040
Speaker 1: Yeah, I agree. And you know his like I said,

768
00:37:43,200 --> 00:37:45,480
Speaker 1: I was following a lot. I wasn't following the Twitter,

769
00:37:45,920 --> 00:37:48,600
Speaker 1: but everybody I knew was retweeting it. And he would

770
00:37:48,600 --> 00:37:52,160
Speaker 1: put that end of tweet, Oh my god. After everything,

771
00:37:52,200 --> 00:37:54,799
Speaker 1: and then the saddest one, which was the one where

772
00:37:54,840 --> 00:37:57,120
Speaker 1: they announced that he had passed away and they put

773
00:37:57,280 --> 00:38:00,239
Speaker 1: end of tweet, I was like, oh my god, this

774
00:38:00,280 --> 00:38:02,120
Speaker 1: is so emotional.

775
00:38:01,800 --> 00:38:04,359
Speaker 2: Brutality, absolute fatality.

776
00:38:05,080 --> 00:38:09,120
Speaker 1: Well, I have to say I'm not gonna I'm not

777
00:38:09,160 --> 00:38:14,399
Speaker 1: gonna say where genius is, but these two Jimmy Conn movies.

778
00:38:14,200 --> 00:38:20,279
Speaker 2: Are wah, God's so great. This is a great feature. Yeah,

779
00:38:20,360 --> 00:38:22,280
Speaker 2: this is a really good double feature. I really enjoyed.

780
00:38:22,719 --> 00:38:23,839
Speaker 2: I really enjoyed this one.

781
00:38:24,200 --> 00:38:25,480
Speaker 1: Yeah, you're going first.

782
00:38:26,160 --> 00:38:30,600
Speaker 2: I will go first because my film was released in

783
00:38:30,640 --> 00:38:34,640
Speaker 2: nineteen seventy four. It was the screenplays by James Tobak.

784
00:38:34,880 --> 00:38:39,360
Speaker 2: The movie was directed by Carol Weiss Rice Rice Reese,

785
00:38:39,560 --> 00:38:43,880
Speaker 2: who knows. And my movie's name is The Gambler.

786
00:38:44,280 --> 00:38:45,000
Speaker 4: I can't lose.

787
00:38:45,440 --> 00:38:49,960
Speaker 1: I've got magic powers, I'm squatching, I'm hot as a pistol.

788
00:38:52,080 --> 00:38:54,719
Speaker 2: I love this movie. I will give you a one

789
00:38:54,760 --> 00:38:56,920
Speaker 2: sentence in a moment. But you might know the director

790
00:38:56,960 --> 00:39:00,560
Speaker 2: from the very very famous, very well known director who

791
00:39:00,719 --> 00:39:02,520
Speaker 2: did The French Lieutenants Woman. That was the one that

792
00:39:02,560 --> 00:39:05,799
Speaker 2: instantly stood out to me. And they did do a

793
00:39:05,840 --> 00:39:10,080
Speaker 2: remake of this movie with Mark Wahlberg in twenty fourteen

794
00:39:10,160 --> 00:39:12,719
Speaker 2: that I will not watch. I haven't and I will not,

795
00:39:12,920 --> 00:39:14,960
Speaker 2: and it's probably fine, but I just you know, why

796
00:39:15,040 --> 00:39:20,480
Speaker 2: mess with perfection? Why mess with the best? Absolutely? I

797
00:39:20,520 --> 00:39:22,239
Speaker 2: know that's out there. I know many of you will

798
00:39:22,239 --> 00:39:24,799
Speaker 2: comments on it. I have not seen it and I

799
00:39:24,880 --> 00:39:26,000
Speaker 2: will not see it.

800
00:39:27,280 --> 00:39:30,000
Speaker 1: Also, I have to say something just a side note

801
00:39:30,080 --> 00:39:33,120
Speaker 1: to that point. So the first time I ever heard

802
00:39:33,120 --> 00:39:36,160
Speaker 1: of this movie was when I was programming this theme

803
00:39:36,239 --> 00:39:40,879
Speaker 1: on TCM about addiction and recovery, and obviously this movie

804
00:39:40,960 --> 00:39:44,959
Speaker 1: deals a lot with that kind of thing, and when

805
00:39:46,280 --> 00:39:50,520
Speaker 1: it was put into the schedule, initially it was mistaken

806
00:39:50,600 --> 00:39:52,520
Speaker 1: for Kenny Rogers The Gambler.

807
00:39:53,160 --> 00:39:54,719
Speaker 2: Oh shit, so.

808
00:39:55,200 --> 00:39:58,160
Speaker 1: There's this like there was this entire point of time

809
00:39:58,200 --> 00:40:01,440
Speaker 1: where like we were like, oh yeah, this movie about Kenny.

810
00:40:01,760 --> 00:40:04,160
Speaker 1: Like We're like, oh, this like really important, you know,

811
00:40:04,680 --> 00:40:07,360
Speaker 1: night of Films featuring you know, like all of this

812
00:40:07,520 --> 00:40:10,080
Speaker 1: like gambling and all this stuff. And then Kenny Rogers

813
00:40:10,120 --> 00:40:12,680
Speaker 1: the Gambler came up. I'm like, wait a minute, that's

814
00:40:12,719 --> 00:40:15,560
Speaker 1: not right. It's not that movie. It's a different movie.

815
00:40:15,600 --> 00:40:17,560
Speaker 1: It doesn't have James Conn in it. And they were like,

816
00:40:18,280 --> 00:40:19,959
Speaker 1: oh yeah, I guess we fucked that up. We gotta

817
00:40:20,040 --> 00:40:25,360
Speaker 1: change it. So anyway, was it on TV NO right before,

818
00:40:25,880 --> 00:40:28,680
Speaker 1: right before I found I found the error?

819
00:40:29,680 --> 00:40:32,200
Speaker 2: Oh god, well that's and that's why you know, it

820
00:40:32,400 --> 00:40:36,160
Speaker 2: pays to sometimes put the year of the film in

821
00:40:36,440 --> 00:40:37,880
Speaker 2: your correspondence because that.

822
00:40:38,000 --> 00:40:39,000
Speaker 4: That will happen.

823
00:40:39,040 --> 00:40:40,879
Speaker 2: Even when I was looking up like hey, I'm gonna

824
00:40:40,880 --> 00:40:44,000
Speaker 2: watch The Gambler tonight, where should I stream it and

825
00:40:44,239 --> 00:40:47,320
Speaker 2: the Kenny Rogers one comes up first all the time.

826
00:40:48,280 --> 00:40:50,200
Speaker 1: Look, you gotta know when to hold them and know

827
00:40:50,280 --> 00:40:51,080
Speaker 1: when to fold them.

828
00:40:51,680 --> 00:40:53,640
Speaker 2: I folded when it comes to This ain't the movie,

829
00:40:57,800 --> 00:40:59,560
Speaker 2: but this movie is great and it led me to

830
00:40:59,640 --> 00:41:03,400
Speaker 2: kind of look up an interesting fact. So gambling was

831
00:41:03,440 --> 00:41:07,640
Speaker 2: not considered an addiction until the late nineteen eighties, which

832
00:41:07,680 --> 00:41:10,200
Speaker 2: makes sense. And once you see this film and you're

833
00:41:10,280 --> 00:41:14,200
Speaker 2: kind of watching because this is a really it's an

834
00:41:14,239 --> 00:41:17,120
Speaker 2: interesting movie that Gene Siskel when he was writing for

835
00:41:17,480 --> 00:41:21,120
Speaker 2: the Chicago Tribune, he kind of framed this movie as

836
00:41:21,120 --> 00:41:23,480
Speaker 2: a character study and he said that the story doesn't

837
00:41:23,480 --> 00:41:26,239
Speaker 2: hang on the ending, which I completely agree with. But

838
00:41:26,440 --> 00:41:30,360
Speaker 2: also it is a very tense movie to watch because

839
00:41:30,360 --> 00:41:35,040
Speaker 2: you're watching someone just make increasingly bad decisions and you

840
00:41:35,160 --> 00:41:37,200
Speaker 2: know that you can't stop. That's not going to stop.

841
00:41:37,600 --> 00:41:40,839
Speaker 2: So my one sentence synopsis is a man who kind

842
00:41:40,880 --> 00:41:44,840
Speaker 2: of never learns gambles to the point of excessive danger.

843
00:41:46,640 --> 00:41:49,480
Speaker 2: And I feel like that could that's a good one

844
00:41:49,560 --> 00:41:53,680
Speaker 2: sentence without giving away too much. So our essential cast

845
00:41:53,760 --> 00:41:56,400
Speaker 2: and this is truly like a murderer's row of a cast.

846
00:41:56,760 --> 00:42:02,360
Speaker 2: You've got James conn playing Axel freed. Paul Sorvino Young

847
00:42:02,480 --> 00:42:07,479
Speaker 2: Paul Sorvino playing a bookmaker named Hips, which hot hot

848
00:42:07,600 --> 00:42:10,759
Speaker 2: I just cannot get over. There's one point where he

849
00:42:11,120 --> 00:42:15,120
Speaker 2: is at Axel's apartment looking for money obviously that is

850
00:42:15,160 --> 00:42:17,880
Speaker 2: owed to him, and he's on the phone with someone

851
00:42:18,120 --> 00:42:21,520
Speaker 2: and he's yelling in Italian and it is so awesome

852
00:42:21,680 --> 00:42:25,360
Speaker 2: and then he says, you dirty, low down stool pigeon,

853
00:42:25,440 --> 00:42:31,000
Speaker 2: motherfucking scumbag, degenerate dog die and he hangs up and

854
00:42:31,040 --> 00:42:32,920
Speaker 2: I'm like, is that not how we want to end

855
00:42:32,920 --> 00:42:33,560
Speaker 2: every phone call?

856
00:42:33,640 --> 00:42:33,879
Speaker 4: Down?

857
00:42:34,719 --> 00:42:35,160
Speaker 1: Ha?

858
00:42:37,520 --> 00:42:41,239
Speaker 2: It was fucking incredible. I love, love love him in

859
00:42:41,280 --> 00:42:43,840
Speaker 2: this role. And he's playing this guy who like he

860
00:42:43,920 --> 00:42:46,640
Speaker 2: really likes Axel as a person, but he's like, you

861
00:42:46,680 --> 00:42:48,840
Speaker 2: also owe me a tremendous.

862
00:42:48,239 --> 00:42:49,600
Speaker 4: Amount of money.

863
00:42:49,680 --> 00:42:53,680
Speaker 2: I can't just ignore that, can't just ignore that. Lauren

864
00:42:53,800 --> 00:42:58,479
Speaker 2: Hutton plays Axel's girlfriend Billy. We've got I mean again.

865
00:42:58,560 --> 00:43:01,759
Speaker 2: Bert Young plays Carl. He's only in a couple of roles,

866
00:43:01,760 --> 00:43:05,080
Speaker 2: but like, just amazing to see Bert Young being young.

867
00:43:08,040 --> 00:43:11,840
Speaker 2: Big Tay Back Big Taybac makes an appearance. M Emmett

868
00:43:11,920 --> 00:43:15,279
Speaker 2: Walsh makes an appearance. It is just like rife with

869
00:43:15,400 --> 00:43:20,440
Speaker 2: these incredibly cool actors, and so what I love about

870
00:43:20,440 --> 00:43:23,239
Speaker 2: this story. The general synopsis of this is that basically,

871
00:43:24,400 --> 00:43:28,240
Speaker 2: you come in on this story at a moment where

872
00:43:28,840 --> 00:43:31,920
Speaker 2: Axel is just gambling his heart out and you think

873
00:43:31,960 --> 00:43:34,480
Speaker 2: it's nighttime, and he's like in Vegas because he is

874
00:43:34,520 --> 00:43:37,480
Speaker 2: like going from table to table. He is just in

875
00:43:37,920 --> 00:43:40,640
Speaker 2: and when he kind of picks his head up and

876
00:43:40,680 --> 00:43:44,560
Speaker 2: comes out of it, he owes forty four thousand dollars

877
00:43:44,760 --> 00:43:49,640
Speaker 2: to hips and everyone seems to know that Axel is

878
00:43:49,640 --> 00:43:53,880
Speaker 2: in trouble. And he owes forty four thousand dollars in

879
00:43:54,000 --> 00:43:56,680
Speaker 2: nineteen seventy four dollars, which I looked up. The inflation

880
00:43:57,160 --> 00:44:01,520
Speaker 2: is two hundred and sixty five thousand dollars modern currency.

881
00:44:01,680 --> 00:44:04,400
Speaker 1: I was gonna say, like, when they said the number

882
00:44:04,760 --> 00:44:06,520
Speaker 1: in the film for the first time, I was like,

883
00:44:06,920 --> 00:44:08,360
Speaker 1: that could literally like buy.

884
00:44:08,120 --> 00:44:10,800
Speaker 2: A house in that area, right, yeah, oh, completely, that

885
00:44:10,800 --> 00:44:12,520
Speaker 2: could buy a house in this era. That could be

886
00:44:12,560 --> 00:44:14,399
Speaker 2: a down payment on a lot of Like that's still

887
00:44:14,400 --> 00:44:17,200
Speaker 2: a lot of money for now. But it was a

888
00:44:17,320 --> 00:44:20,200
Speaker 2: fucking king's ransom back then a quarter of a million

889
00:44:20,280 --> 00:44:24,120
Speaker 2: dollars essentially, So he's what's weird about this scene and

890
00:44:24,120 --> 00:44:26,920
Speaker 2: what I love about entering the movie this way is

891
00:44:26,960 --> 00:44:29,840
Speaker 2: that he plays it so cool, like he is not

892
00:44:29,880 --> 00:44:32,440
Speaker 2: worried at all that he owes this money, and Hips

893
00:44:32,480 --> 00:44:34,640
Speaker 2: doesn't seem to be worried either, even though they're kind

894
00:44:34,640 --> 00:44:37,520
Speaker 2: of laughing and he's like, actually it's a lot of money, dude,

895
00:44:37,560 --> 00:44:39,440
Speaker 2: Like are you gonna be able to pay this back?

896
00:44:40,000 --> 00:44:42,680
Speaker 2: But Axel is so chill, And the way you get

897
00:44:42,719 --> 00:44:45,480
Speaker 2: into learning about how he is who he is is

898
00:44:45,480 --> 00:44:50,359
Speaker 2: he leaves this club you realize it's fucking mourning and

899
00:44:51,040 --> 00:44:55,480
Speaker 2: he goes to work as an English professor at a college.

900
00:44:56,120 --> 00:45:01,480
Speaker 2: And one again beautiful peak into who this character is

901
00:45:01,480 --> 00:45:04,400
Speaker 2: is on the way to work, he stops to bet

902
00:45:04,840 --> 00:45:08,880
Speaker 2: on a pickup basketball game that he sees some kids

903
00:45:08,920 --> 00:45:12,920
Speaker 2: playing as he's driving to work. He's like, hey, I'll

904
00:45:12,920 --> 00:45:14,440
Speaker 2: get in on that a bunch of twenty bucks and

905
00:45:14,440 --> 00:45:18,000
Speaker 2: they're like, we don't have twenty dollars. God, but he's

906
00:45:18,000 --> 00:45:23,440
Speaker 2: betting against children's games like he cannot stop himself. And

907
00:45:24,120 --> 00:45:25,960
Speaker 2: then he goes to work, where he's like in English

908
00:45:26,000 --> 00:45:30,719
Speaker 2: professor who talks about fucking Doshchayevski and shit. And so

909
00:45:30,800 --> 00:45:34,440
Speaker 2: he's a really complicated, weird character because he has like

910
00:45:35,239 --> 00:45:37,920
Speaker 2: what many would deem to be a great career, a

911
00:45:37,960 --> 00:45:40,000
Speaker 2: good job. He seems to like it and be good

912
00:45:40,040 --> 00:45:42,480
Speaker 2: at it. But this is a movie that I think

913
00:45:42,560 --> 00:45:45,640
Speaker 2: is one of the early indicators about gambling being an

914
00:45:45,640 --> 00:45:49,200
Speaker 2: actual addiction, because he cannot stop the trajectory and the

915
00:45:49,239 --> 00:45:52,120
Speaker 2: momentum of this movie is he cannot stop himself. And

916
00:45:52,160 --> 00:45:55,359
Speaker 2: then you kind of like, I also love that first

917
00:45:55,360 --> 00:45:57,840
Speaker 2: scene of him teaching. We'll see like another one, but

918
00:45:57,880 --> 00:46:00,000
Speaker 2: that first scene of him teaching is really interesting because

919
00:46:00,080 --> 00:46:03,680
Speaker 2: he's talking to this student named Spencer, who will come

920
00:46:03,719 --> 00:46:07,640
Speaker 2: back goal come back in the movie. But he's talking

921
00:46:07,640 --> 00:46:10,120
Speaker 2: about all this stuff about how like Dostoyevski said, like

922
00:46:10,120 --> 00:46:12,160
Speaker 2: two and two could be five and you have to

923
00:46:12,160 --> 00:46:15,640
Speaker 2: believe in will, and you have to believe in power,

924
00:46:15,920 --> 00:46:18,120
Speaker 2: the power of fate and all this shit, and Spencer's like,

925
00:46:19,480 --> 00:46:21,719
Speaker 2: I believe in what I see. And I think that

926
00:46:21,840 --> 00:46:24,120
Speaker 2: in that moment, we're looking at a couple of things

927
00:46:24,120 --> 00:46:27,719
Speaker 2: that were really interesting to me about that scene. You're

928
00:46:27,760 --> 00:46:31,920
Speaker 2: looking at someone like Axel who needs a reason, like

929
00:46:32,000 --> 00:46:35,440
Speaker 2: he needs to believe that anything is possible, anything could happen.

930
00:46:35,560 --> 00:46:38,200
Speaker 2: Will is important because that's how he lives his life

931
00:46:38,280 --> 00:46:40,239
Speaker 2: fast and loose, and then you look at someone like

932
00:46:40,239 --> 00:46:42,759
Speaker 2: Spencer who's like, I'm a black kid in college, I

933
00:46:42,760 --> 00:46:46,120
Speaker 2: play basketball. I have to be rooted in the reality

934
00:46:46,440 --> 00:46:50,120
Speaker 2: of what this world is. So again, like a very

935
00:46:50,360 --> 00:46:55,960
Speaker 2: cool cinematic way to translate who these characters are without

936
00:46:56,680 --> 00:46:58,800
Speaker 2: talking about it. I thought that was just a beautiful,

937
00:46:59,200 --> 00:47:03,960
Speaker 2: beautiful scene. Then you also learn that Axel's about a

938
00:47:03,960 --> 00:47:08,160
Speaker 2: little bit about axels family. So his mom is a doctor,

939
00:47:08,920 --> 00:47:14,600
Speaker 2: his granddad owns a chain of furniture stores, and he's

940
00:47:14,760 --> 00:47:16,839
Speaker 2: kind of well liked in his family, like everyone kind

941
00:47:16,840 --> 00:47:19,839
Speaker 2: of knows that he's got this issue, but he's really

942
00:47:19,960 --> 00:47:23,439
Speaker 2: charming with his family. It's kind of strange, and his

943
00:47:23,520 --> 00:47:27,439
Speaker 2: mom being a doctor, like he immediately tries to borrow

944
00:47:27,440 --> 00:47:29,640
Speaker 2: ten thousand dollars from her to like pay back this

945
00:47:29,880 --> 00:47:33,560
Speaker 2: loan shark. Then he goes to another loan shark to

946
00:47:33,640 --> 00:47:36,879
Speaker 2: borrow money, and that's where we meet Bert Young because

947
00:47:36,920 --> 00:47:39,399
Speaker 2: he goes to this other loan shark and Bert Young

948
00:47:39,480 --> 00:47:40,799
Speaker 2: is like, yeah, I'll take you to him, but let

949
00:47:40,880 --> 00:47:42,440
Speaker 2: me make a stop on the way. And it's one

950
00:47:42,480 --> 00:47:45,319
Speaker 2: of the weirdest scenes of the movie where you know

951
00:47:45,320 --> 00:47:47,640
Speaker 2: they're again kind of talking and again you're getting this

952
00:47:47,719 --> 00:47:49,640
Speaker 2: real look. And I think this is why I agree

953
00:47:49,680 --> 00:47:51,880
Speaker 2: with Gene Siskel who said it was a character study.

954
00:47:52,760 --> 00:47:55,359
Speaker 2: They're in this car, just driving, and you know Bert

955
00:47:55,400 --> 00:47:58,560
Speaker 2: Young's character Carmine is talking about how he wishes he

956
00:47:58,600 --> 00:48:01,480
Speaker 2: went to college, and you know, he's got a nephew

957
00:48:01,480 --> 00:48:03,080
Speaker 2: that went to college and he wishes he did the

958
00:48:03,080 --> 00:48:05,439
Speaker 2: same thing. And Axel's like, yeah, but look.

959
00:48:05,360 --> 00:48:05,799
Speaker 4: At your life.

960
00:48:05,800 --> 00:48:07,680
Speaker 2: It's the middle of the afternoon, you got no plans,

961
00:48:07,680 --> 00:48:09,800
Speaker 2: You're on the open road, and like this little smile

962
00:48:09,840 --> 00:48:12,160
Speaker 2: comes across Carmine's face and he's like, yeah, I don't

963
00:48:12,200 --> 00:48:13,879
Speaker 2: have it so bad. So you can kind of see

964
00:48:13,880 --> 00:48:16,080
Speaker 2: the charm of Axel in the way that he talks

965
00:48:16,120 --> 00:48:19,760
Speaker 2: about his own life and how he makes other people

966
00:48:19,800 --> 00:48:23,080
Speaker 2: feel about being a little bit a little bit loose,

967
00:48:23,880 --> 00:48:27,040
Speaker 2: a little bit culturally loose. But he goes to his

968
00:48:27,160 --> 00:48:29,400
Speaker 2: like they go to this place where Krmen's like, I

969
00:48:29,440 --> 00:48:32,400
Speaker 2: just got to make a quick stop and he basically

970
00:48:32,480 --> 00:48:35,000
Speaker 2: stops at the apartment of someone who owes him money

971
00:48:35,040 --> 00:48:39,879
Speaker 2: and just fucks shit up. And again, a beautiful, beautiful

972
00:48:40,360 --> 00:48:44,760
Speaker 2: storytelling device to showcase this is what's going to happen

973
00:48:44,760 --> 00:48:46,799
Speaker 2: to axel if he ends up borrowing money from this

974
00:48:46,840 --> 00:48:49,839
Speaker 2: guy that he can't pay back. So I just love

975
00:48:49,920 --> 00:48:53,080
Speaker 2: that scene because you're showing and not telling, like what

976
00:48:53,239 --> 00:48:56,000
Speaker 2: this world is that he lives in. Mm hmm, and

977
00:48:56,040 --> 00:48:56,680
Speaker 2: I just love that.

978
00:48:57,280 --> 00:49:00,759
Speaker 1: Yeah, there's something to be said too. I don't know

979
00:49:00,800 --> 00:49:03,279
Speaker 1: what you thought about this, because it's so interesting to know,

980
00:49:04,360 --> 00:49:07,440
Speaker 1: like when it gets revealed that he basically grew up

981
00:49:07,880 --> 00:49:10,719
Speaker 1: wealthy mm hmmm. And I feel like that. You know,

982
00:49:10,760 --> 00:49:16,000
Speaker 1: there's obviously a lot of movies about gambling and gambling addiction.

983
00:49:16,719 --> 00:49:19,200
Speaker 1: I mean, I think about stuff like California Split or

984
00:49:19,280 --> 00:49:23,360
Speaker 1: like you know, I don't know, Uncut Gems. Maybe like

985
00:49:23,400 --> 00:49:25,120
Speaker 1: that's like one of the movies that came to mind

986
00:49:25,120 --> 00:49:26,880
Speaker 1: when I saw this, obviously.

987
00:49:26,880 --> 00:49:28,680
Speaker 4: But I don't know.

988
00:49:28,920 --> 00:49:33,319
Speaker 1: It seems to me that like the idea that he

989
00:49:33,640 --> 00:49:36,839
Speaker 1: grew up with money and that could he could be

990
00:49:36,920 --> 00:49:40,080
Speaker 1: bailed out potentially, you know, by his family is an

991
00:49:40,120 --> 00:49:43,319
Speaker 1: interesting that's an interesting part of the story. And I

992
00:49:43,320 --> 00:49:45,239
Speaker 1: don't know if it makes me. I think it makes

993
00:49:45,280 --> 00:49:48,520
Speaker 1: me feel less sorry for him in a way. And

994
00:49:48,560 --> 00:49:51,640
Speaker 1: I know we just talked about you know, complicated characters

995
00:49:51,719 --> 00:49:56,799
Speaker 1: and our sense of empathy towards them. But but it

996
00:49:56,920 --> 00:49:59,479
Speaker 1: is interesting because you're at you're right. At the same time,

997
00:49:59,719 --> 00:50:02,880
Speaker 1: he's so nice to his family, right, but he is

998
00:50:03,120 --> 00:50:07,720
Speaker 1: like a rich kid who now has a gambling problem,

999
00:50:07,800 --> 00:50:10,600
Speaker 1: and you're just like, huh.

1000
00:50:09,960 --> 00:50:14,919
Speaker 2: It's pretty fascinating, And I think it's really it comes

1001
00:50:14,920 --> 00:50:17,279
Speaker 2: to light most for me in that scene at his

1002
00:50:17,360 --> 00:50:21,120
Speaker 2: grandfather's eightieth birthday, because he gives this kind of glowing

1003
00:50:21,200 --> 00:50:26,000
Speaker 2: toast to his grandfather, but he also basically says that

1004
00:50:26,160 --> 00:50:28,640
Speaker 2: the way he lives like this balls to the wall,

1005
00:50:28,719 --> 00:50:32,080
Speaker 2: try anything lifestyle is because he's like trying to emulate

1006
00:50:32,160 --> 00:50:35,719
Speaker 2: his grandfather who came over here after the war and

1007
00:50:35,760 --> 00:50:38,799
Speaker 2: like built this huge business. And I'm like, that's kind

1008
00:50:38,880 --> 00:50:42,560
Speaker 2: of a weird excuse and a fucked up way to

1009
00:50:42,680 --> 00:50:45,840
Speaker 2: kind of revere someone like you lived your life so

1010
00:50:46,000 --> 00:50:48,959
Speaker 2: loosey goosey that I want to do the same thing

1011
00:50:49,560 --> 00:50:53,680
Speaker 2: and not really recognizing that the reason his grandfather did

1012
00:50:53,719 --> 00:50:58,120
Speaker 2: that is because he was escaping hell and poverty and

1013
00:50:58,640 --> 00:51:00,799
Speaker 2: didn't want to take the chance that that would be

1014
00:51:00,920 --> 00:51:04,000
Speaker 2: the rest of his life. And so he's got this weird, privileged,

1015
00:51:05,080 --> 00:51:10,960
Speaker 2: kind of voyeuristic, weird look at his own life, like

1016
00:51:11,400 --> 00:51:15,319
Speaker 2: very complicatingly like using his family's story as a way

1017
00:51:15,360 --> 00:51:16,960
Speaker 2: to justify his own behavior.

1018
00:51:17,360 --> 00:51:20,480
Speaker 1: Yeah, and I think that's ultimately what makes the scenes

1019
00:51:20,520 --> 00:51:24,920
Speaker 1: when he has to go into this like underworld m

1020
00:51:25,800 --> 00:51:28,640
Speaker 1: to get money. Like when he's with Carmine, you know,

1021
00:51:29,600 --> 00:51:31,360
Speaker 1: he's like, God, I wish I'd gone to college, and

1022
00:51:31,400 --> 00:51:35,200
Speaker 1: he's just like, why, like your life's rules and I'm

1023
00:51:35,239 --> 00:51:38,080
Speaker 1: like kind of spoken like a true rich dude. But

1024
00:51:38,120 --> 00:51:41,080
Speaker 1: you know what, like maybe that's just my own opinion

1025
00:51:41,120 --> 00:51:42,120
Speaker 1: about it, but you know.

1026
00:51:42,600 --> 00:51:45,400
Speaker 2: No, it is because he's really obtuse about and again

1027
00:51:45,440 --> 00:51:48,759
Speaker 2: you can see him trying to live in a very

1028
00:51:49,840 --> 00:51:53,040
Speaker 2: hippyish kind of way, but he just his temper doesn't

1029
00:51:53,040 --> 00:51:58,040
Speaker 2: really allow that, his privilege doesn't really allow that, and

1030
00:51:58,120 --> 00:52:01,520
Speaker 2: his problem doesn't really allow that. Yeah, and so you know,

1031
00:52:01,560 --> 00:52:05,160
Speaker 2: there's this whole scene where he after go it's almost

1032
00:52:05,160 --> 00:52:07,360
Speaker 2: like it looks like he's kind of costplaying when he

1033
00:52:07,400 --> 00:52:09,840
Speaker 2: goes to these Underworld characters, because then he goes to

1034
00:52:09,880 --> 00:52:13,360
Speaker 2: his mom, who just gives him forty four thousand dollars yep,

1035
00:52:13,560 --> 00:52:16,000
Speaker 2: And you're like, wait, that was a possibility this whole time.

1036
00:52:16,040 --> 00:52:16,800
Speaker 4: I mean she's.

1037
00:52:16,600 --> 00:52:19,839
Speaker 2: Pissed about it. Yeah, she is truly pissed about it,

1038
00:52:20,239 --> 00:52:22,439
Speaker 2: but she does it. She gives it to him, and

1039
00:52:23,080 --> 00:52:25,280
Speaker 2: I feel like it's one thing to be so careless

1040
00:52:25,280 --> 00:52:28,120
Speaker 2: with yourself, but it's another thing entirely to be careless

1041
00:52:28,200 --> 00:52:31,600
Speaker 2: with so many other people while also professing that you

1042
00:52:31,680 --> 00:52:32,080
Speaker 2: love them.

1043
00:52:32,960 --> 00:52:38,359
Speaker 1: Did was it just me? Or did his mom sort

1044
00:52:38,400 --> 00:52:42,360
Speaker 1: of look like Scott Thompson's character from The Kids in

1045
00:52:42,400 --> 00:52:45,800
Speaker 1: the Hall when he plays the mom The mom character

1046
00:52:47,840 --> 00:52:51,360
Speaker 1: she's married to bris Ran Barb. She's married to Bruce McCullough.

1047
00:52:52,560 --> 00:52:57,800
Speaker 2: The salty ham, Yeah, for sure.

1048
00:52:58,080 --> 00:52:59,080
Speaker 1: You didn't like it?

1049
00:53:00,760 --> 00:53:02,400
Speaker 4: No, I didn't like the ham, Dear. It was a

1050
00:53:02,440 --> 00:53:03,240
Speaker 4: little bit salty.

1051
00:53:03,280 --> 00:53:03,640
Speaker 1: Thanks.

1052
00:53:04,480 --> 00:53:06,640
Speaker 4: Alli is certainly wolfed enough of it down.

1053
00:53:08,200 --> 00:53:10,000
Speaker 1: I was like, damn, that's a dead rigger for Scott

1054
00:53:10,000 --> 00:53:11,960
Speaker 1: Thompson's mom character.

1055
00:53:12,239 --> 00:53:14,120
Speaker 2: Might have been the model, might have been the model

1056
00:53:14,200 --> 00:53:18,880
Speaker 2: might have been? That is so fucking funny. Yes, absolutely

1057
00:53:19,040 --> 00:53:22,919
Speaker 2: she does. Oh God, And I love her character because

1058
00:53:22,920 --> 00:53:24,919
Speaker 2: she's like, I'm a doctor, I'm smart, Like I didn't

1059
00:53:24,960 --> 00:53:28,600
Speaker 2: rest on my fucking family money to get by in

1060
00:53:28,600 --> 00:53:30,839
Speaker 2: this fucking world, and I can't believe that you do.

1061
00:53:31,200 --> 00:53:33,719
Speaker 2: She's just so pissed at him, but also doesn't want

1062
00:53:33,760 --> 00:53:36,120
Speaker 2: him to die. Yeah, and she even asked him. She's like,

1063
00:53:36,120 --> 00:53:37,440
Speaker 2: what do they do to you if you don't pay back?

1064
00:53:37,440 --> 00:53:39,120
Speaker 2: And he's like, I don't know. I guess they'll kill me.

1065
00:53:39,160 --> 00:53:41,200
Speaker 2: And you're like, that is again, like the most privileged

1066
00:53:41,200 --> 00:53:44,480
Speaker 2: white kid thing of all time to be like, now,

1067
00:53:44,520 --> 00:53:46,840
Speaker 2: maybe I'll just be killed. And she's like, you can't

1068
00:53:46,880 --> 00:53:48,960
Speaker 2: just tell your mother you might be killed for something

1069
00:53:49,000 --> 00:53:51,200
Speaker 2: and expect her to not help you. But that's where

1070
00:53:51,200 --> 00:53:54,640
Speaker 2: he's super fucking manipulative because he knows that he knows that.

1071
00:53:55,440 --> 00:53:57,160
Speaker 2: But then he gets the money and on the way

1072
00:53:57,200 --> 00:54:01,160
Speaker 2: home from taking Billy his girlfriend, uh see his grandpa,

1073
00:54:01,239 --> 00:54:03,560
Speaker 2: he gambles all the money away that his mom just

1074
00:54:03,600 --> 00:54:07,200
Speaker 2: gave him. He bets it on these fucking college football games.

1075
00:54:07,280 --> 00:54:09,680
Speaker 2: And there's something This is kind of the part of

1076
00:54:09,680 --> 00:54:12,160
Speaker 2: the movie where I'm like, there's something really interesting about

1077
00:54:12,160 --> 00:54:15,719
Speaker 2: a man who's convinced that he can't lose when he

1078
00:54:15,880 --> 00:54:21,040
Speaker 2: is right in the middle of losing it all like money, friends,

1079
00:54:21,120 --> 00:54:23,680
Speaker 2: his girlfriend, his family, Like he is in the middle

1080
00:54:23,719 --> 00:54:25,840
Speaker 2: of losing everything, and it's just like, nope, I'm gonna

1081
00:54:26,680 --> 00:54:27,320
Speaker 2: let it ride.

1082
00:54:28,080 --> 00:54:29,920
Speaker 1: Well, and then that is the thing I think that

1083
00:54:30,000 --> 00:54:32,719
Speaker 1: makes these movies so excruciating is because you're just like

1084
00:54:33,080 --> 00:54:36,600
Speaker 1: you have been pretty much losing ever since the minute

1085
00:54:36,640 --> 00:54:40,279
Speaker 1: one of the film, Yes, but you still have this

1086
00:54:40,480 --> 00:54:44,280
Speaker 1: like unflappable confidence. And then like at some certain point

1087
00:54:44,320 --> 00:54:48,600
Speaker 1: he later I think, talks about how without without that

1088
00:54:49,239 --> 00:54:52,560
Speaker 1: like that's the juice, that's like, how that's his rush,

1089
00:54:52,960 --> 00:54:56,120
Speaker 1: is feeling like he's gonna win. And in this weird way,

1090
00:54:56,280 --> 00:55:00,759
Speaker 1: it's just so strange just from my own personal like

1091
00:55:01,080 --> 00:55:04,480
Speaker 1: I am so the opposite. I am not confident about anything.

1092
00:55:04,920 --> 00:55:08,200
Speaker 1: I can't even imaginatively risk averse. See I know I'm

1093
00:55:08,200 --> 00:55:12,239
Speaker 1: so risk averse that I just was so fascinated by

1094
00:55:12,280 --> 00:55:15,480
Speaker 1: that character just being like I can't lose and I'm

1095
00:55:15,480 --> 00:55:19,759
Speaker 1: gonna continue to have this faith that I'm gonna win.

1096
00:55:19,880 --> 00:55:24,600
Speaker 2: Yes, And then what's weird is like it works out sometimes, yeah,

1097
00:55:24,640 --> 00:55:26,680
Speaker 2: but for the most part it doesn't. Because the whole

1098
00:55:26,719 --> 00:55:29,279
Speaker 2: movie you're watching him rob Peter to pay Paul so

1099
00:55:29,360 --> 00:55:32,239
Speaker 2: to speak, right, So you're like, even when you win,

1100
00:55:32,400 --> 00:55:34,640
Speaker 2: you're still not ahead. You still owe a ton of

1101
00:55:34,680 --> 00:55:37,720
Speaker 2: money to people. And so he goes to Las Vegas

1102
00:55:37,760 --> 00:55:40,000
Speaker 2: after he's been on all these football games. He's like, Billy,

1103
00:55:40,080 --> 00:55:43,880
Speaker 2: let's go to Vegas again, the wealth of that that

1104
00:55:43,960 --> 00:55:45,720
Speaker 2: he can just hop on a plane and go to Vegas.

1105
00:55:46,640 --> 00:55:49,319
Speaker 2: And he he thinks he's winning because he checks in

1106
00:55:49,360 --> 00:55:51,560
Speaker 2: at halftime and the games are all going his way.

1107
00:55:52,040 --> 00:55:56,120
Speaker 2: So he gambles even more and he wins some money

1108
00:55:56,120 --> 00:55:58,719
Speaker 2: at the tables. But then by the time he gets home,

1109
00:55:58,760 --> 00:56:03,480
Speaker 2: he realizes, like, I lost all the fucking basketball games. Yeah,

1110
00:56:03,520 --> 00:56:04,440
Speaker 2: and Billy's had it.

1111
00:56:04,520 --> 00:56:04,959
Speaker 4: She leaves.

1112
00:56:05,000 --> 00:56:07,160
Speaker 2: She's like, I cannot wake up with these fucking people

1113
00:56:07,160 --> 00:56:11,040
Speaker 2: shouting in my apartment, Like I cannot live like this,

1114
00:56:11,800 --> 00:56:15,239
Speaker 2: and so she leaves. And it's like, okay, so you

1115
00:56:15,360 --> 00:56:17,960
Speaker 2: have enough money, You've won enough money in Vegas to

1116
00:56:18,080 --> 00:56:21,040
Speaker 2: pay back this bookie that you used for these college

1117
00:56:21,280 --> 00:56:25,320
Speaker 2: football games, but you still owe hips forty four thousand

1118
00:56:25,440 --> 00:56:32,319
Speaker 2: dollarss yep. So he is still fucked at every turn,

1119
00:56:32,360 --> 00:56:34,520
Speaker 2: and that again, is what makes this movie so interesting

1120
00:56:34,560 --> 00:56:37,759
Speaker 2: to me, is that he can never get ahead because

1121
00:56:37,800 --> 00:56:41,040
Speaker 2: he believes in the wrong thing. He believes in himself

1122
00:56:41,480 --> 00:56:44,440
Speaker 2: more than he does the reality of life. He believes

1123
00:56:44,440 --> 00:56:48,719
Speaker 2: in will more than he does reality right, And it's

1124
00:56:48,760 --> 00:56:52,080
Speaker 2: like so frustrating to watch, and all hell does break

1125
00:56:52,080 --> 00:56:54,120
Speaker 2: loose because he does have to pay these Bookies back

1126
00:56:54,200 --> 00:56:56,280
Speaker 2: like Hips is like I will get my fucking money

1127
00:56:56,719 --> 00:56:59,560
Speaker 2: and I don't want to ruin it. But something really

1128
00:56:59,680 --> 00:57:03,480
Speaker 2: fuck tappens where he brings one of his students into

1129
00:57:04,920 --> 00:57:09,600
Speaker 2: this world and involves them in something. But the end

1130
00:57:09,600 --> 00:57:11,160
Speaker 2: of the movie, I wish I could talk about it

1131
00:57:11,160 --> 00:57:15,120
Speaker 2: because it's so fascinating that like, like you realize that

1132
00:57:15,280 --> 00:57:19,760
Speaker 2: he he is such a he's more than a financial gambler,

1133
00:57:19,840 --> 00:57:23,120
Speaker 2: that he will gamble with his life like he gets

1134
00:57:23,160 --> 00:57:27,680
Speaker 2: excitement from any kind of adrenaline. He gets an adrenaline

1135
00:57:27,720 --> 00:57:31,640
Speaker 2: rush and an excitement from any kind of gamble, like

1136
00:57:31,640 --> 00:57:33,960
Speaker 2: will I live, will I die? Will I lose? Will

1137
00:57:33,960 --> 00:57:36,600
Speaker 2: I win? Will I make it? Will I not make anything?

1138
00:57:36,800 --> 00:57:38,920
Speaker 2: Whether it's you can tell. He's the kind of person

1139
00:57:38,960 --> 00:57:42,240
Speaker 2: that when he orders breakfast at a diner is probably

1140
00:57:42,240 --> 00:57:44,840
Speaker 2: like bring me, bring me what you got, and like

1141
00:57:45,320 --> 00:57:48,480
Speaker 2: will be he'll he'll make a bet on that. Like

1142
00:57:48,520 --> 00:57:51,920
Speaker 2: He's just really fascinating and the end of this movie

1143
00:57:52,000 --> 00:57:56,920
Speaker 2: kind of to me exemplifies all the ways that you

1144
00:57:57,320 --> 00:58:01,240
Speaker 2: don't have a solid ending in terms of like everything

1145
00:58:01,320 --> 00:58:03,960
Speaker 2: was fixed or everything got much worse. It leaves you

1146
00:58:03,960 --> 00:58:07,520
Speaker 2: in a place where you're like this character like you're

1147
00:58:07,560 --> 00:58:09,640
Speaker 2: just thinking about the character, like this character is going

1148
00:58:09,680 --> 00:58:12,880
Speaker 2: to continue like this, yeah, until he's murdered.

1149
00:58:13,520 --> 00:58:17,000
Speaker 1: Yeah, he's just like got no. I mean, he just

1150
00:58:17,200 --> 00:58:21,480
Speaker 1: doesn't have good sense for himself. He's no, he's just

1151
00:58:21,520 --> 00:58:26,120
Speaker 1: too obsessed with the rush of danger. And it's crazy.

1152
00:58:26,160 --> 00:58:29,840
Speaker 1: It does remind me a lot of uncut gems in

1153
00:58:29,840 --> 00:58:32,560
Speaker 1: that way where you're just like okay, dude, like that's it,

1154
00:58:32,640 --> 00:58:34,640
Speaker 1: Like there's no way you can sustain this. This is

1155
00:58:34,760 --> 00:58:40,640
Speaker 1: too too crazy. But this movie has I have to say,

1156
00:58:41,880 --> 00:58:44,800
Speaker 1: I don't know what this character is called. Maybe there

1157
00:58:44,960 --> 00:58:47,320
Speaker 1: is somebody who's come up with something, but for me,

1158
00:58:47,840 --> 00:58:50,840
Speaker 1: it's this. It's this characters that happens in somebody's like

1159
00:58:50,920 --> 00:58:53,760
Speaker 1: crime movies, and I just always think it's a scumbag

1160
00:58:53,800 --> 00:58:57,000
Speaker 1: and a robe, Like who the scumbag and a robe is?

1161
00:58:57,240 --> 00:58:58,080
Speaker 1: He goes to this?

1162
00:58:58,560 --> 00:58:59,400
Speaker 4: You know, I don't know.

1163
00:58:59,520 --> 00:59:03,960
Speaker 1: He's like pimp slash drug dealer, slash money guy. I

1164
00:59:04,000 --> 00:59:06,760
Speaker 1: think the actor who plays him is this guy London Lee.

1165
00:59:07,160 --> 00:59:09,480
Speaker 1: And there's this scene where he walks in and you

1166
00:59:09,520 --> 00:59:12,680
Speaker 1: know it's the guy's like on the couch like doing

1167
00:59:12,760 --> 00:59:15,720
Speaker 1: drugs with his like beautiful women and his fucking weird

1168
00:59:15,800 --> 00:59:18,440
Speaker 1: dude that hangs out and and he says this line,

1169
00:59:18,520 --> 00:59:21,080
Speaker 1: he's like, what's the man? And you don't snort no more,

1170
00:59:21,400 --> 00:59:24,320
Speaker 1: not even to be sociable, Like he's got that whole

1171
00:59:24,360 --> 00:59:27,400
Speaker 1: like attitude like you ain't doing cocaine no more, like,

1172
00:59:27,440 --> 00:59:31,800
Speaker 1: not even to be fridley like. And he just says

1173
00:59:31,880 --> 00:59:34,600
Speaker 1: and he's just just like that whole scene. I swear

1174
00:59:34,640 --> 00:59:36,400
Speaker 1: to God, like, if I knew how to edit, I

1175
00:59:36,400 --> 00:59:41,080
Speaker 1: would do a supercut of that character that like scumbag

1176
00:59:41,080 --> 00:59:43,320
Speaker 1: and a rogue character in like all these movies. But yeah,

1177
00:59:43,400 --> 00:59:46,040
Speaker 1: I uh, it's this is it. I totally think it's

1178
00:59:46,080 --> 00:59:50,280
Speaker 1: a character study too. I mean, it's so deeply fascinating

1179
00:59:50,320 --> 00:59:54,400
Speaker 1: to watch the trajectory of this character and like, yeah,

1180
00:59:54,440 --> 00:59:57,960
Speaker 1: you know, And I gotta say, James Gone wearing some tight,

1181
00:59:58,320 --> 00:59:59,400
Speaker 1: tight clothes.

1182
00:59:59,480 --> 01:00:03,560
Speaker 2: Tight like a professor with a deep v buttoned like

1183
01:00:03,720 --> 01:00:08,320
Speaker 2: unbuttoned shirt seven Days were fucking Wild. He shows up

1184
01:00:08,360 --> 01:00:12,480
Speaker 2: like scruffy with a deep and a full chest hair.

1185
01:00:12,600 --> 01:00:14,919
Speaker 2: This is not like like, oh he's making it work

1186
01:00:14,960 --> 01:00:17,680
Speaker 2: because it looks like, you know, he's wearing like a no,

1187
01:00:17,920 --> 01:00:19,919
Speaker 2: this is like full chest hair out to the point

1188
01:00:19,920 --> 01:00:22,880
Speaker 2: where his students are like, you look fucking rough, dude.

1189
01:00:22,920 --> 01:00:25,880
Speaker 1: Okay he I swear to god, if you counted, he

1190
01:00:25,960 --> 01:00:28,760
Speaker 1: had four buttons unbuttoned on one of his shirts, but

1191
01:00:28,760 --> 01:00:31,680
Speaker 1: then when he went to class he just put one on,

1192
01:00:31,960 --> 01:00:36,520
Speaker 1: so he was still three buttons down in absolutely in.

1193
01:00:36,440 --> 01:00:39,160
Speaker 2: The middle of class. No jacket, no blazer, like, there's

1194
01:00:39,200 --> 01:00:43,760
Speaker 2: no nothing covering that up. Push again, You're like, Okay,

1195
01:00:43,760 --> 01:00:46,240
Speaker 2: so you're smart, and you clearly went to good schools

1196
01:00:46,240 --> 01:00:49,280
Speaker 2: and you're clearly very intelligent, but you don't give a

1197
01:00:49,280 --> 01:00:50,560
Speaker 2: shit about this job.

1198
01:00:52,000 --> 01:00:55,160
Speaker 1: If modern five professors came in with three buttons down,

1199
01:00:55,200 --> 01:00:57,160
Speaker 1: I'd be like this guy, I.

1200
01:00:57,160 --> 01:00:57,880
Speaker 4: Would pack up.

1201
01:00:59,120 --> 01:01:00,800
Speaker 2: I would pack up and my books and be like,

1202
01:01:00,800 --> 01:01:02,760
Speaker 2: I'm sorry, I need to drop this class. I don't

1203
01:01:02,800 --> 01:01:04,840
Speaker 2: know what's gonna happen, but it does not feel good.

1204
01:01:06,480 --> 01:01:08,880
Speaker 1: He sleeps with students, no question.

1205
01:01:09,320 --> 01:01:13,200
Speaker 2: Absolutely. Oh shit. Oh this was a great film. I

1206
01:01:13,240 --> 01:01:14,200
Speaker 2: loved love, loved it.

1207
01:01:14,600 --> 01:01:17,000
Speaker 1: I did too. I'm so glad you picked it. I mean,

1208
01:01:17,360 --> 01:01:24,360
Speaker 1: really good seventies James Kahn classic. All right, So my

1209
01:01:24,560 --> 01:01:29,320
Speaker 1: movie for the theme Rip King James Kahn is a

1210
01:01:29,360 --> 01:01:32,440
Speaker 1: movie from nineteen eighty one. It was written and directed

1211
01:01:32,440 --> 01:01:34,760
Speaker 1: by Michael Mann. It is called thief.

1212
01:01:35,080 --> 01:01:37,440
Speaker 4: I wear one hundred and fifty dollar flax. I wear

1213
01:01:37,520 --> 01:01:39,920
Speaker 4: silk shirts. I wor eight hundred out of silks.

1214
01:01:40,560 --> 01:01:43,800
Speaker 7: I were a cold watch, I were a perfect, deep, flawless,

1215
01:01:43,840 --> 01:01:45,000
Speaker 7: a great carret ring.

1216
01:01:46,200 --> 01:01:46,840
Speaker 4: I'm a six.

1217
01:01:47,560 --> 01:01:50,560
Speaker 1: I know that, Danielle. I know that you're not like

1218
01:01:50,600 --> 01:01:54,520
Speaker 1: a super big fan of heist movies. So I should

1219
01:01:54,560 --> 01:01:56,720
Speaker 1: have apologized in advance when I picked this movie, because

1220
01:01:56,720 --> 01:01:58,200
Speaker 1: I'm like, oh God, she's gonna hate me for picking

1221
01:01:58,240 --> 01:01:59,000
Speaker 1: a heist movie.

1222
01:01:59,560 --> 01:02:03,320
Speaker 2: No, I love a heist movie that doesn't drag.

1223
01:02:05,440 --> 01:02:10,600
Speaker 1: True, I hate that shit too. There are a lot

1224
01:02:10,640 --> 01:02:12,439
Speaker 1: of draggy heist movies, a.

1225
01:02:12,400 --> 01:02:15,800
Speaker 2: Lot, yeah, and a lot that are just like convoluted

1226
01:02:15,840 --> 01:02:17,400
Speaker 2: for the sake of being convoluted.

1227
01:02:17,880 --> 01:02:22,160
Speaker 1: Yeah, true, true, true. But I gotta tell you this

1228
01:02:22,200 --> 01:02:25,040
Speaker 1: is maybe one of my favorites. I think a lot

1229
01:02:25,080 --> 01:02:26,600
Speaker 1: of it is because of Michael Man.

1230
01:02:27,160 --> 01:02:27,600
Speaker 2: Yeah.

1231
01:02:28,360 --> 01:02:32,040
Speaker 1: I mean, if some of you don't know who Michael

1232
01:02:32,080 --> 01:02:35,920
Speaker 1: Mann is by name, I would say that he is

1233
01:02:36,880 --> 01:02:43,000
Speaker 1: one of the most influential people to the style and

1234
01:02:43,040 --> 01:02:47,480
Speaker 1: the sound of the nineteen eighties, if that makes sense. Absolutely,

1235
01:02:48,400 --> 01:02:52,880
Speaker 1: and this is and this is primarily from this film,

1236
01:02:52,920 --> 01:02:55,920
Speaker 1: I would say, But also he was the executive producer

1237
01:02:56,000 --> 01:03:00,360
Speaker 1: of a little TV show called Miami Vice. He brought

1238
01:03:00,400 --> 01:03:03,040
Speaker 1: this up in the intro with Josh, but like he

1239
01:03:03,120 --> 01:03:08,040
Speaker 1: also directed the Brian Cox version of Manhunter, which of

1240
01:03:08,040 --> 01:03:12,600
Speaker 1: course is like based off the Red Dragon books had

1241
01:03:12,640 --> 01:03:17,200
Speaker 1: a electer. He also directed this is not in the eighties,

1242
01:03:17,240 --> 01:03:21,800
Speaker 1: but you know, he directed the film Heat, which every

1243
01:03:21,960 --> 01:03:24,440
Speaker 1: boyfriend you've ever had has probably talked about at one

1244
01:03:24,440 --> 01:03:27,960
Speaker 1: point or another. So Michael Man is very much like

1245
01:03:29,560 --> 01:03:34,600
Speaker 1: I think he's like a filmmaker's filmmaker or something like.

1246
01:03:34,720 --> 01:03:40,120
Speaker 1: He's this movie really Thief, Really, I think set the

1247
01:03:40,120 --> 01:03:43,800
Speaker 1: table for a lot of the style of what eighties

1248
01:03:44,000 --> 01:03:51,960
Speaker 1: crime like TV and film would be. Right. Absolutely, I'll

1249
01:03:51,960 --> 01:03:54,280
Speaker 1: put it to you this way. Okay, if you have

1250
01:03:54,480 --> 01:03:59,560
Speaker 1: ever seen a guy in a Hawaiian shirt or a

1251
01:03:59,680 --> 01:04:05,040
Speaker 1: sat baseball jacket pull a gun in an abandoned warehouse

1252
01:04:05,080 --> 01:04:07,760
Speaker 1: while some synthesizer is playing in the background, you can

1253
01:04:07,800 --> 01:04:11,160
Speaker 1: thank this movie for that. Speaking of the score, okay,

1254
01:04:11,240 --> 01:04:14,520
Speaker 1: so Michael Mann used the band Tangerine Dream for the

1255
01:04:14,520 --> 01:04:17,320
Speaker 1: score to Thief, which, if you remember on our Miracle

1256
01:04:17,360 --> 01:04:21,080
Speaker 1: Mile episode, the same band did the score for that film, right,

1257
01:04:21,800 --> 01:04:24,720
Speaker 1: And I would say, like Miracle Mile The music in

1258
01:04:24,760 --> 01:04:28,160
Speaker 1: this movie really sets a tone, and not just overall

1259
01:04:28,200 --> 01:04:33,720
Speaker 1: but literally seen by scene. Yeah, yeah, it's pretty great.

1260
01:04:34,360 --> 01:04:38,800
Speaker 1: So Thief takes place in the great City of Chicago,

1261
01:04:39,040 --> 01:04:43,280
Speaker 1: where Michael Man is from, and Chicago is like almost

1262
01:04:43,280 --> 01:04:45,960
Speaker 1: a character in and of itself in this film. I

1263
01:04:46,000 --> 01:04:49,640
Speaker 1: would say if you watch Michael Man talk about Thief,

1264
01:04:50,520 --> 01:04:53,400
Speaker 1: he talks about it. He talks about how he was

1265
01:04:53,560 --> 01:04:59,800
Speaker 1: influenced by growing up in Chicago and its history of

1266
01:05:00,200 --> 01:05:03,400
Speaker 1: organized crime. You know the fact that it was the

1267
01:05:03,920 --> 01:05:07,120
Speaker 1: home of al Capone. I mean, some of the mob

1268
01:05:07,280 --> 01:05:11,320
Speaker 1: guys in Thief were based on like real life Chicago

1269
01:05:11,440 --> 01:05:15,800
Speaker 1: mob guys, and James Conn's character was based off the

1270
01:05:15,880 --> 01:05:19,040
Speaker 1: life of like real thieves that he knew that Michael

1271
01:05:19,040 --> 01:05:23,520
Speaker 1: Mann knew, and one of them actually plays the head

1272
01:05:23,600 --> 01:05:27,440
Speaker 1: cop in the film. He was actually a safe cracker

1273
01:05:28,720 --> 01:05:33,040
Speaker 1: and was a part of Frank, like part of the

1274
01:05:33,160 --> 01:05:36,320
Speaker 1: character Frank. A lot of that came from him, and

1275
01:05:36,360 --> 01:05:40,040
Speaker 1: you know, Michael Mann two, he sort of he had

1276
01:05:40,200 --> 01:05:44,560
Speaker 1: done all these prior projects like the Jericho Mile, and

1277
01:05:44,600 --> 01:05:47,120
Speaker 1: a lot of what he did for those prior projects

1278
01:05:47,160 --> 01:05:49,240
Speaker 1: was that he was interviewing people who had gone to prison,

1279
01:05:49,280 --> 01:05:52,080
Speaker 1: and he was at folsome prism, you know, talking to

1280
01:05:52,200 --> 01:05:56,240
Speaker 1: inmates there, and all of that also went into forming

1281
01:05:56,280 --> 01:05:59,439
Speaker 1: the character Frank, who was obviously played by James conn

1282
01:06:00,200 --> 01:06:02,720
Speaker 1: And it's just all really interesting stuff to me. And

1283
01:06:03,240 --> 01:06:07,240
Speaker 1: also Michael Mann, if you watch his interviews, he's a

1284
01:06:07,240 --> 01:06:09,480
Speaker 1: big old nerd and I fucking love it. I'm like,

1285
01:06:09,520 --> 01:06:12,760
Speaker 1: this guy is like a kingfilm nerd, and I just

1286
01:06:12,760 --> 01:06:15,080
Speaker 1: have to say it. I kind of enjoy watching him.

1287
01:06:16,000 --> 01:06:20,120
Speaker 1: He kind of looks like, uh, if David Cronenberg was

1288
01:06:20,120 --> 01:06:23,200
Speaker 1: from Chicago or something. I don't know, He's just kind

1289
01:06:23,200 --> 01:06:28,280
Speaker 1: of looks like that anyway. So one set his synopsis

1290
01:06:28,320 --> 01:06:33,240
Speaker 1: of Thief, a professional diamond thief and safecracker looking to

1291
01:06:33,360 --> 01:06:37,320
Speaker 1: lead the life of crime ops for one last job

1292
01:06:38,200 --> 01:06:40,960
Speaker 1: for a group of savage mob men.

1293
01:06:42,320 --> 01:06:45,520
Speaker 2: Absolutely so Thief.

1294
01:06:45,840 --> 01:06:49,640
Speaker 1: Okay. The lead character played by Jimmy Kahn. His name

1295
01:06:49,680 --> 01:06:55,320
Speaker 1: is Frank by Night. He is a professional jewelry robber.

1296
01:06:57,480 --> 01:07:01,560
Speaker 1: He serves some time in prison, and he's really fucking

1297
01:07:01,640 --> 01:07:04,560
Speaker 1: good at cracking safes. Part of what I love about

1298
01:07:04,560 --> 01:07:10,480
Speaker 1: this movie is that it really dials into that the

1299
01:07:10,640 --> 01:07:14,480
Speaker 1: art of safe cracking, the tools that you use when

1300
01:07:14,520 --> 01:07:19,520
Speaker 1: you crack safes, the methods which you employed to break

1301
01:07:19,560 --> 01:07:23,040
Speaker 1: into banks and other places that it's it's really fascinating

1302
01:07:23,080 --> 01:07:25,520
Speaker 1: to me. And a lot of the tools that he

1303
01:07:25,560 --> 01:07:31,040
Speaker 1: had to have made, yes, they're like it's interesting because

1304
01:07:31,120 --> 01:07:33,960
Speaker 1: I was when I was watching Jimmy conn being interviewed

1305
01:07:34,000 --> 01:07:37,240
Speaker 1: about theF he was talking about how he was actually

1306
01:07:37,360 --> 01:07:40,400
Speaker 1: using tools like the scene the scene at the very

1307
01:07:40,400 --> 01:07:42,560
Speaker 1: beginning when he's cracking that save for the first time

1308
01:07:42,600 --> 01:07:46,200
Speaker 1: and he's using that like weird magnetic drill. He was

1309
01:07:46,360 --> 01:07:49,400
Speaker 1: actually using that drill like they were teaching him how

1310
01:07:49,440 --> 01:07:55,400
Speaker 1: to fucking do the specific drill into the lock hole.

1311
01:07:55,520 --> 01:07:58,960
Speaker 1: And there's like a lot of like sciencey stuff that

1312
01:07:59,040 --> 01:08:01,760
Speaker 1: he had to figure out. And then apparently he like

1313
01:08:01,960 --> 01:08:04,919
Speaker 1: used that like ballpeen hammer or like do the second lock.

1314
01:08:04,960 --> 01:08:06,720
Speaker 1: I mean, he was like really doing it. But it's

1315
01:08:06,760 --> 01:08:10,960
Speaker 1: like all this really specific equipment, and you know, as

1316
01:08:10,960 --> 01:08:13,360
Speaker 1: you find out, like as the movie progresses, it's like

1317
01:08:13,440 --> 01:08:15,760
Speaker 1: all of this equipment that he's literally getting from like

1318
01:08:15,880 --> 01:08:19,040
Speaker 1: the Criminal Underground, Which is another part of this movie

1319
01:08:19,040 --> 01:08:21,599
Speaker 1: that I really love, is like the dependence on all

1320
01:08:21,600 --> 01:08:27,480
Speaker 1: these people to help him do his jobs. Right, Like, Yeah,

1321
01:08:27,520 --> 01:08:29,160
Speaker 1: one of my favorite characters in the movie is that

1322
01:08:29,280 --> 01:08:31,479
Speaker 1: old welder guy that he goes to visit.

1323
01:08:32,080 --> 01:08:33,960
Speaker 2: He's so funny. He's like, look at this fucking guy

1324
01:08:33,960 --> 01:08:35,120
Speaker 2: in a white lamb coat.

1325
01:08:35,320 --> 01:08:37,960
Speaker 1: Yeah, yeah, he's so great. And he's just like an

1326
01:08:38,000 --> 01:08:41,160
Speaker 1: old guy running you know. It's all of this stuff

1327
01:08:41,160 --> 01:08:44,320
Speaker 1: where like all these old guys are running businesses, but

1328
01:08:44,360 --> 01:08:46,479
Speaker 1: then they do a little shady shit on the side.

1329
01:08:47,280 --> 01:08:49,479
Speaker 1: And you know, he's just like coming in there asking

1330
01:08:49,520 --> 01:08:52,360
Speaker 1: him to build him this like fucking super high power drill,

1331
01:08:52,640 --> 01:08:55,040
Speaker 1: you know, to do this really big job. And that

1332
01:08:55,120 --> 01:08:57,320
Speaker 1: to me is very, very fascinating. That's a part of

1333
01:08:57,320 --> 01:09:00,559
Speaker 1: the movie than I really love. But so you know,

1334
01:09:00,920 --> 01:09:04,639
Speaker 1: by night he is a jewel thief. During the day

1335
01:09:05,240 --> 01:09:08,040
Speaker 1: he owns a used car lot and a bar. Okay,

1336
01:09:08,640 --> 01:09:15,879
Speaker 1: And here's the thing. Frank is getting older. He wants family,

1337
01:09:16,520 --> 01:09:19,160
Speaker 1: He wants a wife. He wants another wife. He just

1338
01:09:19,240 --> 01:09:23,160
Speaker 1: left his other wife. But he wants a woman who

1339
01:09:23,240 --> 01:09:25,720
Speaker 1: works at the diner that he goes to. Her name

1340
01:09:25,800 --> 01:09:29,240
Speaker 1: is Jesse played by Tuesday Wild, who is like such

1341
01:09:29,240 --> 01:09:32,880
Speaker 1: a great actress. She was in this amazing movie that

1342
01:09:32,920 --> 01:09:35,640
Speaker 1: I love called Pretty Poison with Anthony Perkins, and I

1343
01:09:35,680 --> 01:09:37,519
Speaker 1: will always talk about how much I love that movie.

1344
01:09:37,520 --> 01:09:41,880
Speaker 1: Anytime I'm allowed. But she plays like this woman, it's

1345
01:09:41,880 --> 01:09:45,280
Speaker 1: like cashier and a diner, and you know he's been

1346
01:09:45,320 --> 01:09:47,479
Speaker 1: trying to date her for a while, but you know,

1347
01:09:47,520 --> 01:09:50,400
Speaker 1: he really wants to like get out of the business,

1348
01:09:50,760 --> 01:09:57,360
Speaker 1: right And he comes and visits this older guy that

1349
01:09:58,040 --> 01:10:02,959
Speaker 1: he served time with but basically was his like mentor,

1350
01:10:04,080 --> 01:10:08,160
Speaker 1: and he's played by the great Willie Nelson. His character's

1351
01:10:08,200 --> 01:10:10,800
Speaker 1: name is Oakla, which I don't know if that means

1352
01:10:10,800 --> 01:10:12,720
Speaker 1: he's from Oklahoma. Maybe maybe.

1353
01:10:12,760 --> 01:10:12,920
Speaker 5: Yeah.

1354
01:10:12,920 --> 01:10:15,000
Speaker 2: I think at some point he talked about like where

1355
01:10:15,040 --> 01:10:17,840
Speaker 2: he was from, or that he was like some time

1356
01:10:17,880 --> 01:10:19,080
Speaker 2: in Oklahoma or something like that.

1357
01:10:19,200 --> 01:10:22,639
Speaker 1: Yeah, Oklahoma coming up a lot on this episode. Never

1358
01:10:22,680 --> 01:10:27,080
Speaker 1: thought that would happen. But Willie's like Willie's character is

1359
01:10:27,120 --> 01:10:29,880
Speaker 1: basically like a mentor and kind of a father figure

1360
01:10:29,920 --> 01:10:33,240
Speaker 1: to Frank. And he's still in prison. He's sick, he

1361
01:10:33,280 --> 01:10:35,960
Speaker 1: doesn't want to die in prison, and you know he's

1362
01:10:36,000 --> 01:10:38,519
Speaker 1: trying to tell Frank like, hey, I'm gonna I gotta

1363
01:10:38,520 --> 01:10:40,160
Speaker 1: try to get out of here. And I think that

1364
01:10:40,160 --> 01:10:43,479
Speaker 1: that's part of like what informs Frank to be like, Okay,

1365
01:10:43,520 --> 01:10:45,559
Speaker 1: it ain't I don't want to keep doing this shit.

1366
01:10:45,600 --> 01:10:48,160
Speaker 2: I want to go straight like, yeah, I don't want

1367
01:10:48,160 --> 01:10:51,080
Speaker 2: to be this old and in jail like like my

1368
01:10:51,080 --> 01:10:53,720
Speaker 2: my mentor and my hero. So it's time to pull

1369
01:10:53,760 --> 01:10:56,000
Speaker 2: the greatest robbery of all man.

1370
01:10:57,640 --> 01:11:01,400
Speaker 1: One last job. You know how it is that one

1371
01:11:01,520 --> 01:11:05,000
Speaker 1: last job. We might have talked about it before, but man,

1372
01:11:05,280 --> 01:11:08,080
Speaker 1: it's just always that one last job, and it's always

1373
01:11:08,320 --> 01:11:11,200
Speaker 1: you know, it's always complicated, and that's basically what it is.

1374
01:11:11,240 --> 01:11:14,439
Speaker 1: It's like the one last job to end one last jobs. Okay.

1375
01:11:15,120 --> 01:11:18,400
Speaker 1: Now he at the beginning of the film, he's, you know,

1376
01:11:18,520 --> 01:11:21,439
Speaker 1: pulling off a diamond heist. Okay. So the way that

1377
01:11:21,520 --> 01:11:25,880
Speaker 1: it goes is that he gives the stones to a

1378
01:11:25,920 --> 01:11:29,200
Speaker 1: guy I guess that guy's the plug or whatever, and

1379
01:11:29,280 --> 01:11:32,439
Speaker 1: then he's supposed to get his money for doing the job.

1380
01:11:33,000 --> 01:11:35,519
Speaker 1: The guy that's supposed to pay him suddenly ends up dead,

1381
01:11:35,760 --> 01:11:38,759
Speaker 1: as they always do, falling out of a fucking window,

1382
01:11:38,960 --> 01:11:44,360
Speaker 1: just like mob guys love it. And now Frank is like, fuck,

1383
01:11:44,400 --> 01:11:46,320
Speaker 1: I need to get paid, So who do I gotta

1384
01:11:46,400 --> 01:11:48,960
Speaker 1: go to? So again he goes to like another shady

1385
01:11:49,080 --> 01:11:52,600
Speaker 1: Chicago business guy with mob ties, and it's like, you

1386
01:11:52,680 --> 01:11:54,439
Speaker 1: gotta give me my money. So in the in the

1387
01:11:54,479 --> 01:11:57,960
Speaker 1: course of this happening, he meets this guy named Leo,

1388
01:11:59,280 --> 01:12:02,840
Speaker 1: and Leo played by Robert Proski, and I have to

1389
01:12:02,920 --> 01:12:07,320
Speaker 1: say he might be my favorite character in the movie.

1390
01:12:07,880 --> 01:12:12,920
Speaker 1: He is a real motherfucker and like mob boss type, right.

1391
01:12:13,600 --> 01:12:16,559
Speaker 2: Oh, he's so like he's so slimy where you like

1392
01:12:16,600 --> 01:12:19,160
Speaker 2: you can see him being nice just because he's gonna

1393
01:12:19,200 --> 01:12:20,519
Speaker 2: come back and ask you for something.

1394
01:12:21,040 --> 01:12:24,280
Speaker 1: Yeah. I mean, we just talked at length about bad

1395
01:12:24,560 --> 01:12:29,200
Speaker 1: people that we love as characters in films and television.

1396
01:12:29,640 --> 01:12:33,080
Speaker 1: I mean, Robert Prosky is incredible in this film. He's

1397
01:12:33,160 --> 01:12:37,360
Speaker 1: just such like he plays this character so well, and

1398
01:12:37,680 --> 01:12:40,720
Speaker 1: you know, he's scary as shit, Like I mean, he's

1399
01:12:40,760 --> 01:12:43,599
Speaker 1: scary up front, but then later as the movie rolls out,

1400
01:12:43,640 --> 01:12:45,080
Speaker 1: he is terrifying.

1401
01:12:45,560 --> 01:12:45,760
Speaker 4: Right.

1402
01:12:46,800 --> 01:12:52,960
Speaker 1: So, Leo was basically like, listen, ah, you gotta come

1403
01:12:53,080 --> 01:12:56,120
Speaker 1: join my shit, right because we got this job. We

1404
01:12:56,479 --> 01:12:59,519
Speaker 1: like everything is taken care for you. Like you're an

1405
01:12:59,560 --> 01:13:02,040
Speaker 1: independent contractor, you gotta do all your own stuff. But

1406
01:13:02,080 --> 01:13:04,360
Speaker 1: if you work with me, it's all set up for

1407
01:13:04,439 --> 01:13:07,000
Speaker 1: you because I have this entire infrastructure that's gonna help

1408
01:13:07,080 --> 01:13:09,439
Speaker 1: us with. Like you need a fake license, you need

1409
01:13:09,479 --> 01:13:12,800
Speaker 1: a baby, you need you know, some some tools you

1410
01:13:12,880 --> 01:13:15,840
Speaker 1: need anything, we can supply it for you, because of

1411
01:13:15,920 --> 01:13:18,479
Speaker 1: course he's in the fucking mom and that's what they do, right,

1412
01:13:19,240 --> 01:13:22,439
Speaker 1: And Frank is like, Nah, shouldn't do this because it's like,

1413
01:13:22,439 --> 01:13:24,759
Speaker 1: I don't want I'd work for myself and my method

1414
01:13:24,840 --> 01:13:26,840
Speaker 1: is good, and I don't you know. I just do

1415
01:13:26,880 --> 01:13:28,800
Speaker 1: the job and I get out, I get paid, and

1416
01:13:28,880 --> 01:13:33,280
Speaker 1: I don't have any ties. I don't owe anybody anything, right,

1417
01:13:34,040 --> 01:13:37,160
Speaker 1: But it just becomes too enticing for him, and so

1418
01:13:37,200 --> 01:13:41,439
Speaker 1: he eventually agrees to work this job for Leo. And

1419
01:13:41,600 --> 01:13:45,360
Speaker 1: it's basically like this really complicated diamond heist with this

1420
01:13:45,640 --> 01:13:49,760
Speaker 1: safe that's like it's like a vault. Pretty much requires

1421
01:13:51,240 --> 01:13:54,200
Speaker 1: all kinds of special equipment as we mentioned, but also

1422
01:13:54,600 --> 01:13:57,479
Speaker 1: it requires like all these levels of planning, and like

1423
01:13:57,880 --> 01:14:04,519
Speaker 1: he's got this little crew, including his kind of wires guy,

1424
01:14:04,640 --> 01:14:07,519
Speaker 1: his calms guy. His name is Barry and he's played

1425
01:14:07,520 --> 01:14:10,519
Speaker 1: by Jim Belushi, who.

1426
01:14:10,320 --> 01:14:13,800
Speaker 2: Took a break from making sure John Belushi's Wang was

1427
01:14:13,920 --> 01:14:19,400
Speaker 2: edited out of all former movies.

1428
01:14:20,880 --> 01:14:23,759
Speaker 1: Isn't he now like a real big cannabis guy or something.

1429
01:14:23,800 --> 01:14:24,639
Speaker 1: I have no idea.

1430
01:14:25,840 --> 01:14:27,680
Speaker 2: I can't keep up. I can't keep up.

1431
01:14:27,800 --> 01:14:31,599
Speaker 1: Yeah, according to Jim, is now pushing fucking legal weed.

1432
01:14:31,880 --> 01:14:36,120
Speaker 1: I believe, I can't. I don't know, but I gotta

1433
01:14:36,160 --> 01:14:38,639
Speaker 1: tell you he looks fucking cool in this movie.

1434
01:14:38,600 --> 01:14:40,080
Speaker 4: He's like he does.

1435
01:14:40,360 --> 01:14:46,439
Speaker 1: He's just kind of like a kind of stocky dude

1436
01:14:46,479 --> 01:14:49,360
Speaker 1: in like a Hawaiian shirt and like sometimes a satin

1437
01:14:49,400 --> 01:14:52,559
Speaker 1: baseball jacket, and like he's just like his dude, his

1438
01:14:52,760 --> 01:14:55,280
Speaker 1: like the guy that helps him turn off all the

1439
01:14:55,320 --> 01:14:58,000
Speaker 1: alarms and bug all the phone lines. I mean, it's

1440
01:14:58,080 --> 01:15:00,479
Speaker 1: kind of but he's got this kind of crew to

1441
01:15:00,600 --> 01:15:03,439
Speaker 1: help him out with his jobs, and so I don't know,

1442
01:15:03,479 --> 01:15:06,400
Speaker 1: he's just kind of it's this thing where you're like's

1443
01:15:06,600 --> 01:15:10,840
Speaker 1: you can tell like he's like the stakes are getting

1444
01:15:10,920 --> 01:15:13,519
Speaker 1: raised for him with taking his job from the mob,

1445
01:15:13,560 --> 01:15:16,880
Speaker 1: and he's just sort of like but he wants out,

1446
01:15:16,920 --> 01:15:19,800
Speaker 1: and he figures like, if I can get this one

1447
01:15:19,880 --> 01:15:24,439
Speaker 1: last payday, I can like marry Jesse, I can adopt

1448
01:15:24,479 --> 01:15:26,320
Speaker 1: a child with her, I can buy a house, I

1449
01:15:26,360 --> 01:15:28,839
Speaker 1: can just do all the things that he wants. Because

1450
01:15:29,240 --> 01:15:33,840
Speaker 1: when he was in prison, Okay, Frank, there's this whole

1451
01:15:33,880 --> 01:15:36,000
Speaker 1: scene of him and Jesse and the diner and he's

1452
01:15:36,080 --> 01:15:42,280
Speaker 1: kind of convincing Jesse to like date him, essentially, and

1453
01:15:42,360 --> 01:15:44,800
Speaker 1: it's very classic scene. It's the one where he complains

1454
01:15:44,800 --> 01:15:49,479
Speaker 1: that the cream on the table is disgusting, which has

1455
01:15:49,560 --> 01:15:52,840
Speaker 1: happened to me before. I don't know who you've ever been.

1456
01:15:53,160 --> 01:15:58,920
Speaker 1: First of all, table cream is gross, and don't give

1457
01:15:58,960 --> 01:15:59,840
Speaker 1: me no table cream.

1458
01:16:00,040 --> 01:16:03,439
Speaker 2: I don't even want those little fucking cups that they

1459
01:16:03,479 --> 01:16:05,439
Speaker 2: come in, like those plastic cups with the lids you

1460
01:16:05,479 --> 01:16:07,280
Speaker 2: peel back. I'm like, these have been sitting here all

1461
01:16:07,400 --> 01:16:08,800
Speaker 2: day in the sun. I don't want them.

1462
01:16:09,240 --> 01:16:11,120
Speaker 1: Absolutely not. I'll tell you a story. I went to

1463
01:16:11,120 --> 01:16:12,880
Speaker 1: a diner. There was like there's a twenty four hour

1464
01:16:12,920 --> 01:16:16,719
Speaker 1: diner here in Atlanta, very famous. And this was back

1465
01:16:16,840 --> 01:16:20,599
Speaker 1: in the days when you could smoke intours and again,

1466
01:16:20,680 --> 01:16:23,679
Speaker 1: the South was the last people to make that illegal.

1467
01:16:24,720 --> 01:16:27,360
Speaker 1: They love their cigarettes down here. So I remember like

1468
01:16:27,680 --> 01:16:31,439
Speaker 1: drinking coffee with my friend and then pulling the table

1469
01:16:31,479 --> 01:16:33,559
Speaker 1: cream out and then it was one of those things

1470
01:16:33,600 --> 01:16:35,760
Speaker 1: that had the lids that were like flipped open, and

1471
01:16:35,800 --> 01:16:39,519
Speaker 1: I remember like right as I was pouring it into

1472
01:16:39,680 --> 01:16:42,760
Speaker 1: my cup, the lid popped open and there was a

1473
01:16:42,800 --> 01:16:46,280
Speaker 1: cigarette butt in the cream, and my ass, my friend

1474
01:16:46,320 --> 01:16:48,360
Speaker 1: is about to sip her coffee that she had just

1475
01:16:48,400 --> 01:16:50,000
Speaker 1: poured and I was like, I screamed, like.

1476
01:16:50,520 --> 01:16:55,760
Speaker 2: Oh roady. Yeah. So I love this fucking scene. I

1477
01:16:55,760 --> 01:16:58,880
Speaker 2: think it's like like it's on the heels of him

1478
01:16:58,920 --> 01:17:01,800
Speaker 2: showing up too hours late to their date because he's

1479
01:17:01,800 --> 01:17:04,000
Speaker 2: trying to set up this like consider whether or not

1480
01:17:04,040 --> 01:17:08,559
Speaker 2: he'll take this job and talking to Leo, and you know,

1481
01:17:09,160 --> 01:17:11,000
Speaker 2: to his credit, it's kind of hilarious the way he

1482
01:17:11,040 --> 01:17:14,680
Speaker 2: shows up to the date and she's like, fuck you, you're

1483
01:17:14,479 --> 01:17:16,559
Speaker 2: two hours late. I'm not coming, and he's like trying

1484
01:17:16,560 --> 01:17:18,559
Speaker 2: to shove her into the car, and like, to the

1485
01:17:18,560 --> 01:17:22,520
Speaker 2: movie's credit, like a lot of people tried to stop. Yeah,

1486
01:17:22,560 --> 01:17:24,000
Speaker 2: Like they were like, what the fuck are you doing

1487
01:17:24,040 --> 01:17:26,599
Speaker 2: and he's like, uh, of course, correct, let me put

1488
01:17:26,600 --> 01:17:28,120
Speaker 2: her in and then I'll get in next to her.

1489
01:17:29,320 --> 01:17:32,840
Speaker 2: It was just very very funny to see that again,

1490
01:17:32,880 --> 01:17:35,800
Speaker 2: that kind of passion of like, no, I want you

1491
01:17:35,920 --> 01:17:38,000
Speaker 2: to date me. And then he spends this diner scene

1492
01:17:38,000 --> 01:17:40,240
Speaker 2: trying to convince her that he's not a piece of shit,

1493
01:17:41,000 --> 01:17:44,599
Speaker 2: and they're talking about their lives and there's just this

1494
01:17:44,680 --> 01:17:47,680
Speaker 2: one part where he's he tells her that he was

1495
01:17:47,720 --> 01:17:52,200
Speaker 2: in Joliet and he says, you know, there's was this

1496
01:17:52,560 --> 01:17:55,920
Speaker 2: moment where these guys were going to do hydrotherapy on

1497
01:17:55,960 --> 01:17:58,760
Speaker 2: me and it was essentially like sexual assault in the showers,

1498
01:17:59,400 --> 01:18:02,160
Speaker 2: and in order to avoid it, he like had to

1499
01:18:02,200 --> 01:18:05,719
Speaker 2: plan to fight and he didn't win. And he says,

1500
01:18:06,680 --> 01:18:08,800
Speaker 2: just again like this Michael Man way of kind of

1501
01:18:09,800 --> 01:18:13,000
Speaker 2: letting you know who this character is and what his

1502
01:18:13,040 --> 01:18:16,479
Speaker 2: background is. He just says, they jumped all over me

1503
01:18:16,520 --> 01:18:18,160
Speaker 2: and did a bunch of things and then I was

1504
01:18:18,160 --> 01:18:21,000
Speaker 2: in the hospital for six months, and you're like, wow,

1505
01:18:21,160 --> 01:18:24,880
Speaker 2: Like he he kind of also like survived by he said,

1506
01:18:24,920 --> 01:18:27,960
Speaker 2: he survived by not caring about himself, Like he had

1507
01:18:27,960 --> 01:18:29,760
Speaker 2: to just pretend he didn't care about himself. And I

1508
01:18:29,800 --> 01:18:32,439
Speaker 2: don't know, it's just a very very It's an iconic

1509
01:18:32,479 --> 01:18:34,719
Speaker 2: scene for a reason, and it's really an interesting way

1510
01:18:36,240 --> 01:18:38,439
Speaker 2: to see him opening up and being vulnerable to this

1511
01:18:38,560 --> 01:18:43,000
Speaker 2: woman that he wants to convince to be with him. Yeah,

1512
01:18:43,080 --> 01:18:43,920
Speaker 2: it is kind of cool.

1513
01:18:44,400 --> 01:18:46,439
Speaker 1: Yeah, And like part of I think, like what his

1514
01:18:46,560 --> 01:18:48,400
Speaker 1: mission is with her is that he doesn't want to

1515
01:18:48,439 --> 01:18:51,400
Speaker 1: lie to her about what he does. And you know,

1516
01:18:51,640 --> 01:18:55,400
Speaker 1: as it's revealed, you know, Jesse has her own issues.

1517
01:18:55,439 --> 01:18:58,519
Speaker 1: I mean, she was previously with a drug dealer and

1518
01:18:58,560 --> 01:19:00,519
Speaker 1: so that's like. The one thing I think is the

1519
01:19:00,760 --> 01:19:03,200
Speaker 1: kind of parallel between your movie and my movie too,

1520
01:19:03,280 --> 01:19:08,720
Speaker 1: is that the girlfriend character having her own sort of

1521
01:19:08,760 --> 01:19:13,760
Speaker 1: experience with this like crime, with this underworld, and it

1522
01:19:13,880 --> 01:19:19,960
Speaker 1: makes them kind of like cautious about entering into relationships

1523
01:19:20,000 --> 01:19:23,880
Speaker 1: with these guys, with both guys, these James Conn characters.

1524
01:19:23,920 --> 01:19:25,840
Speaker 2: But I do think that it made me want It

1525
01:19:25,840 --> 01:19:27,639
Speaker 2: made me think that that is how date should be,

1526
01:19:28,360 --> 01:19:30,760
Speaker 2: Like it should just be one marathon date where you're like,

1527
01:19:30,760 --> 01:19:31,759
Speaker 2: here's all my shit.

1528
01:19:32,200 --> 01:19:32,840
Speaker 4: Yes or no.

1529
01:19:33,560 --> 01:19:36,439
Speaker 1: Cut to the fucking point. I agree. I'm like, let's

1530
01:19:36,439 --> 01:19:39,000
Speaker 1: just get it all at once. Here's my vision board

1531
01:19:39,080 --> 01:19:41,839
Speaker 1: I have in my wallet that I made in prison,

1532
01:19:42,160 --> 01:19:46,240
Speaker 1: my portable vision board. This like collage that he's created

1533
01:19:46,280 --> 01:19:50,400
Speaker 1: with like the cutout, you know, the cutouts, and he

1534
01:19:51,280 --> 01:19:52,960
Speaker 1: takes it out. It's like, this is what I want.

1535
01:19:53,080 --> 01:19:56,320
Speaker 1: Here's who I think you could be. Here's Willie Nelson

1536
01:19:56,360 --> 01:19:58,439
Speaker 1: in the corner. Like it's that thing where he like

1537
01:19:59,080 --> 01:20:03,240
Speaker 1: he sees like himself being a different type of person.

1538
01:20:03,360 --> 01:20:06,880
Speaker 1: Like he's like, listen, I had a bad experience in prison.

1539
01:20:07,400 --> 01:20:11,640
Speaker 1: I had to basically dissociate every moment. And you know

1540
01:20:11,840 --> 01:20:15,519
Speaker 1: I'm doing this right, now because I was hoping to

1541
01:20:15,680 --> 01:20:18,599
Speaker 1: just get set up, you know, with with the stuff

1542
01:20:18,600 --> 01:20:22,000
Speaker 1: that I need to leave, and that's why I'm taking

1543
01:20:22,000 --> 01:20:24,840
Speaker 1: this job. And I would really like it if you

1544
01:20:24,840 --> 01:20:28,559
Speaker 1: wanted to, you know, be with me. And she's like yes,

1545
01:20:29,080 --> 01:20:32,600
Speaker 1: and they you know, enter into a relationship. And so

1546
01:20:32,720 --> 01:20:36,559
Speaker 1: then this part of the movie is where you just

1547
01:20:36,600 --> 01:20:40,680
Speaker 1: really man, I just love man. I love criminals or

1548
01:20:40,800 --> 01:20:43,400
Speaker 1: just talking that junk, like all this stuff like that.

1549
01:20:43,520 --> 01:20:49,280
Speaker 1: I mean, like, listen, you know, we have accused men

1550
01:20:49,439 --> 01:20:53,640
Speaker 1: of being like annoying and making like their stuff, like

1551
01:20:53,680 --> 01:20:56,679
Speaker 1: all their guy stuff is can get it's very eye rolly.

1552
01:20:57,040 --> 01:20:59,360
Speaker 1: But I gotta tell you, like this shit really like

1553
01:20:59,479 --> 01:21:04,000
Speaker 1: in like, I am fueled by watching old mob guys

1554
01:21:04,800 --> 01:21:08,320
Speaker 1: talk details about how to fucking rob banks. Like I'm

1555
01:21:08,360 --> 01:21:11,680
Speaker 1: just like, I don't know. I'm like maybe I don't know,

1556
01:21:12,360 --> 01:21:16,439
Speaker 1: like all these guys in polyester slacks fucking like looking

1557
01:21:16,479 --> 01:21:22,360
Speaker 1: at plans, you know, talking about like alarm systems and shit.

1558
01:21:22,479 --> 01:21:26,360
Speaker 1: I'm like, sorry, I don't know if that means I'm

1559
01:21:26,360 --> 01:21:31,400
Speaker 1: not a feminist, but that's what I like. So uh, basically,

1560
01:21:31,400 --> 01:21:36,040
Speaker 1: what happens from this point is that they they stage

1561
01:21:36,800 --> 01:21:39,880
Speaker 1: the crime. I won't I don't want to give away

1562
01:21:39,920 --> 01:21:45,080
Speaker 1: the movie necessarily, but essentially what happens is is that

1563
01:21:45,479 --> 01:21:49,760
Speaker 1: the heist is executed. There's this scene and not to

1564
01:21:49,800 --> 01:21:51,960
Speaker 1: be again not to be like a total film nerd,

1565
01:21:52,000 --> 01:21:55,240
Speaker 1: but the camera in the elevator shaft when they're trying

1566
01:21:55,280 --> 01:21:57,519
Speaker 1: to bust through the ceiling and like all of the

1567
01:21:57,560 --> 01:21:59,240
Speaker 1: ship's coming down on top. I mean, I was like,

1568
01:21:59,280 --> 01:22:03,880
Speaker 1: that's fuck genius. Love that scene. And it's just a

1569
01:22:03,920 --> 01:22:09,679
Speaker 1: lot of like cutting wires, uh, repelling down elevator shaft

1570
01:22:10,080 --> 01:22:16,240
Speaker 1: using this giant bespoke drill that involves like it is

1571
01:22:16,360 --> 01:22:19,559
Speaker 1: it gets so hot that there's a guy that comes

1572
01:22:19,600 --> 01:22:22,360
Speaker 1: through with like a fire extinguisher so that they don't

1573
01:22:22,400 --> 01:22:23,880
Speaker 1: like start a fire in the bank.

1574
01:22:24,479 --> 01:22:27,800
Speaker 2: Amazing, It's amazing, and it's it's this the scenes. The

1575
01:22:27,840 --> 01:22:30,400
Speaker 2: things in this movie that I also truly love is

1576
01:22:30,400 --> 01:22:34,840
Speaker 2: that these heigt scenes are mostly either silent or just

1577
01:22:34,880 --> 01:22:38,200
Speaker 2: with the music of Tangerine Dream. Yeah, And so there's

1578
01:22:38,280 --> 01:22:40,280
Speaker 2: they're not talking to each other, they're not They explain

1579
01:22:40,360 --> 01:22:42,600
Speaker 2: the job before the job, and then they get in

1580
01:22:42,640 --> 01:22:43,160
Speaker 2: there and they do.

1581
01:22:43,120 --> 01:22:46,479
Speaker 1: The job exactly and it's basically exactly what they laid

1582
01:22:46,479 --> 01:22:48,800
Speaker 1: out with like all of their plans, like the entire

1583
01:22:48,920 --> 01:22:51,639
Speaker 1: you know, hour long part of the movie where they're

1584
01:22:51,720 --> 01:22:55,600
Speaker 1: kind of ironing out everything, you know, like it's it

1585
01:22:55,680 --> 01:22:59,599
Speaker 1: goes down exactly as planned, which is kind of like great,

1586
01:22:59,680 --> 01:23:02,320
Speaker 1: and they're there's this like moment, This is my favorite

1587
01:23:02,360 --> 01:23:05,799
Speaker 1: scene in the movie is when they open the vaults

1588
01:23:06,880 --> 01:23:09,160
Speaker 1: and Jim Belushi goes in and starts putting the diamonds

1589
01:23:09,160 --> 01:23:13,599
Speaker 1: in that bag. James Kahan pulls a fucking chair in

1590
01:23:13,640 --> 01:23:17,879
Speaker 1: front of the opening and just lights a cigarette and he's.

1591
01:23:17,680 --> 01:23:19,920
Speaker 2: Like, yeah, man, we did it.

1592
01:23:20,000 --> 01:23:23,439
Speaker 1: Like is this moment where I'm like, God, I wish

1593
01:23:23,479 --> 01:23:25,479
Speaker 1: the movie had ended like that. That would have been

1594
01:23:25,560 --> 01:23:26,519
Speaker 1: so sweet.

1595
01:23:27,000 --> 01:23:29,160
Speaker 2: And he's like covered in dirt and Jim Belushi's just

1596
01:23:29,200 --> 01:23:32,080
Speaker 2: shoveling diamonds into a double bag. It's beautiful.

1597
01:23:32,520 --> 01:23:35,720
Speaker 1: It is like that. It was really that moment that

1598
01:23:35,880 --> 01:23:39,759
Speaker 1: made me understand like Michael Mann's influence on this genre

1599
01:23:39,840 --> 01:23:41,760
Speaker 1: and in this era where I'm just like, yeah, this

1600
01:23:41,800 --> 01:23:45,080
Speaker 1: is this money shot. This is like, here's this like song,

1601
01:23:45,240 --> 01:23:48,439
Speaker 1: this triumphant song play in the background, James CON's fucking

1602
01:23:48,479 --> 01:23:51,479
Speaker 1: smoking a cigarette. There's like dust everywhere, and the fucking

1603
01:23:51,560 --> 01:23:54,760
Speaker 1: fire extinguishers going off and there's like diamonds being show

1604
01:23:54,800 --> 01:23:57,880
Speaker 1: in the bag. I'm like, yeah, this is awesome. Unfortunately

1605
01:23:57,880 --> 01:24:02,400
Speaker 1: the movie does not end here, and needless to say,

1606
01:24:03,080 --> 01:24:09,679
Speaker 1: all hell breaks loose after this, truly, but this movie

1607
01:24:10,120 --> 01:24:14,920
Speaker 1: is there's so many like movies that I've loved over

1608
01:24:14,960 --> 01:24:17,680
Speaker 1: the years that kind of that take this approach of

1609
01:24:17,720 --> 01:24:21,360
Speaker 1: like this very like minute by minute kind of like

1610
01:24:21,760 --> 01:24:25,439
Speaker 1: discussing the plan of a crime type of thing. It's

1611
01:24:25,520 --> 01:24:28,920
Speaker 1: like The Friends of Eddie Coyle, The Hot Rock, like

1612
01:24:28,960 --> 01:24:31,559
Speaker 1: all these great films that I've loved over the years

1613
01:24:31,680 --> 01:24:36,559
Speaker 1: that kind of have that that method to it. And

1614
01:24:36,640 --> 01:24:39,080
Speaker 1: I think that that that can seem boring that and

1615
01:24:39,160 --> 01:24:41,400
Speaker 1: I think maybe that's why people do think that some

1616
01:24:41,439 --> 01:24:44,880
Speaker 1: of these movies are kind of boring, because it's like, God,

1617
01:24:44,920 --> 01:24:47,559
Speaker 1: we're gonna sit here and watch like fucking two guys

1618
01:24:47,600 --> 01:24:52,639
Speaker 1: talk about you know, jobs and you know briefcases and

1619
01:24:52,840 --> 01:24:55,640
Speaker 1: you know how to like take out like get the

1620
01:24:55,680 --> 01:24:58,320
Speaker 1: pass code for an alarm, like Jesus Christ burning ten

1621
01:24:58,360 --> 01:25:01,280
Speaker 1: minutes on this shit. You know. I like it. I

1622
01:25:01,479 --> 01:25:03,280
Speaker 1: like the level of detail.

1623
01:25:03,600 --> 01:25:05,519
Speaker 2: Yeah I don't. I don't mind it. I think again,

1624
01:25:05,600 --> 01:25:07,760
Speaker 2: for me, it's only when it's super convoluted, Like I

1625
01:25:07,800 --> 01:25:11,200
Speaker 2: don't like it when it's like when it's convoluted in

1626
01:25:11,240 --> 01:25:12,880
Speaker 2: a way that when they are doing the job, you

1627
01:25:12,880 --> 01:25:15,280
Speaker 2: don't understand what's happening or why. Like I like that,

1628
01:25:15,600 --> 01:25:17,200
Speaker 2: you know the movies where they're like, all right, let's

1629
01:25:17,200 --> 01:25:19,680
Speaker 2: set it up. This is fun, this is interesting, Like

1630
01:25:19,720 --> 01:25:22,040
Speaker 2: this is exciting, and like you get to see their

1631
01:25:23,200 --> 01:25:25,800
Speaker 2: passion and their skill, and I like that a lot.

1632
01:25:25,960 --> 01:25:28,320
Speaker 1: This movie, in particular, I think is just really and

1633
01:25:28,400 --> 01:25:30,000
Speaker 1: again a lot of it has to do it's just

1634
01:25:30,000 --> 01:25:32,439
Speaker 1: the vibe. I mean, it's like the color palette is

1635
01:25:32,479 --> 01:25:37,880
Speaker 1: like black and blue, and it's like real gritty, the synthiness,

1636
01:25:38,320 --> 01:25:40,840
Speaker 1: you know, it just creates this ambiance that I just

1637
01:25:40,840 --> 01:25:44,640
Speaker 1: think it's so like it just becomes the eighties. It

1638
01:25:44,720 --> 01:25:47,040
Speaker 1: just becomes like what we would later see. And I

1639
01:25:47,040 --> 01:25:50,000
Speaker 1: swear to god, like every TV show, every shitty action

1640
01:25:50,160 --> 01:25:53,680
Speaker 1: movie has that tone in the eighties. It's like it's

1641
01:25:53,720 --> 01:26:01,200
Speaker 1: just totally proliferated everever and ever, and I think it's great. Again.

1642
01:26:01,280 --> 01:26:04,840
Speaker 1: I was like up on the Criterion Blu Ray James

1643
01:26:04,880 --> 01:26:09,639
Speaker 1: Kahn's commentary, like he does like an entire interview and

1644
01:26:10,280 --> 01:26:13,400
Speaker 1: he says it's one of his three most like the

1645
01:26:13,439 --> 01:26:15,639
Speaker 1: three films that he made he's most proud of. He's

1646
01:26:15,680 --> 01:26:21,599
Speaker 1: so entertaining in the in the interview, and uh yeah,

1647
01:26:21,960 --> 01:26:25,720
Speaker 1: a great a great flick. If you love crime, if

1648
01:26:25,720 --> 01:26:31,200
Speaker 1: you love Diamonds, the Tools, if if you love a

1649
01:26:31,280 --> 01:26:34,120
Speaker 1: story about a guy who's trying to get out of

1650
01:26:34,160 --> 01:26:38,599
Speaker 1: the business, if you like One Last Job, it's it's

1651
01:26:38,640 --> 01:26:39,320
Speaker 1: a great.

1652
01:26:39,720 --> 01:26:44,200
Speaker 2: Oh It's very compelling and entertaining and human. And I

1653
01:26:44,280 --> 01:26:45,519
Speaker 2: just I really love this movie.

1654
01:26:45,560 --> 01:26:46,160
Speaker 4: I like it a lot.

1655
01:26:46,240 --> 01:26:47,720
Speaker 2: I've only seen it a couple of times, but I

1656
01:26:47,760 --> 01:26:48,639
Speaker 2: really really like it.

1657
01:26:49,760 --> 01:26:53,440
Speaker 1: And uh yeah, it's a for this week, you know, obviously,

1658
01:26:53,640 --> 01:26:57,519
Speaker 1: like we have invoked the name of Jimmy kNN so

1659
01:26:57,560 --> 01:27:00,000
Speaker 1: many times, but it was nice to like be able

1660
01:27:00,120 --> 01:27:03,040
Speaker 1: to actually sit down and watch two of his movies.

1661
01:27:03,400 --> 01:27:06,920
Speaker 1: I did a double feature, like I watched Gambler then

1662
01:27:06,960 --> 01:27:11,000
Speaker 1: a Thief, and it's just a good reminder of like

1663
01:27:11,640 --> 01:27:14,920
Speaker 1: how talented he was and just he had he just

1664
01:27:14,960 --> 01:27:17,879
Speaker 1: had created so many memorable roles and there were always

1665
01:27:17,920 --> 01:27:21,920
Speaker 1: these like complicated men like in both these films, like

1666
01:27:22,800 --> 01:27:25,240
Speaker 1: you sort of want to root for them. Sometimes they

1667
01:27:25,240 --> 01:27:30,160
Speaker 1: make that shit real hard, but ultimately, you know, you know,

1668
01:27:30,320 --> 01:27:32,439
Speaker 1: I think Jimmy Kahn is the perfect person to play

1669
01:27:32,439 --> 01:27:32,880
Speaker 1: that type.

1670
01:27:33,040 --> 01:27:37,600
Speaker 2: You know, absolutely uh so much charisma, so emotional, like

1671
01:27:37,640 --> 01:27:39,400
Speaker 2: there are a lot of things. There are a lot

1672
01:27:39,479 --> 01:27:41,840
Speaker 2: of scenes in Thief where like you're getting kind of

1673
01:27:41,840 --> 01:27:43,840
Speaker 2: close shots of his face and like he just hiss

1674
01:27:43,920 --> 01:27:47,240
Speaker 2: very expressive eyes and you know, there's like a sadness

1675
01:27:47,240 --> 01:27:49,040
Speaker 2: to him. I don't know, he just he really had

1676
01:27:49,200 --> 01:27:54,439
Speaker 2: a look and a way of conveying these characters that

1677
01:27:54,760 --> 01:27:57,200
Speaker 2: I just think was pretty masterful.

1678
01:27:57,720 --> 01:28:01,639
Speaker 1: Yeah, Rip King, all right, p King.

1679
01:28:02,120 --> 01:28:02,479
Speaker 7: All right.

1680
01:28:02,720 --> 01:28:06,680
Speaker 1: So we do not have an episode next week. No,

1681
01:28:07,600 --> 01:28:10,200
Speaker 1: we do have a bonus episode though, that's coming out Thursday,

1682
01:28:10,640 --> 01:28:16,120
Speaker 1: the twenty second, so check that out. The bonus episodes

1683
01:28:16,120 --> 01:28:17,759
Speaker 1: have been wild lately.

1684
01:28:18,640 --> 01:28:22,920
Speaker 2: I don't even know how to categorize the bonus episodes wild.

1685
01:28:24,320 --> 01:28:27,400
Speaker 1: I don't even know any like, oh good, they're fun.

1686
01:28:27,600 --> 01:28:30,160
Speaker 2: They're fucking fun, super fun.

1687
01:28:31,080 --> 01:28:33,600
Speaker 1: You want to tell them about the movies for next episode,

1688
01:28:33,680 --> 01:28:35,120
Speaker 1: next main feed episode.

1689
01:28:35,640 --> 01:28:39,280
Speaker 2: Yeah, the next episode, which will be out on October fourth.

1690
01:28:39,840 --> 01:28:42,240
Speaker 2: We have two movies for you to watch for homework,

1691
01:28:42,240 --> 01:28:45,439
Speaker 2: which you can start now, and those films are A

1692
01:28:45,560 --> 01:28:49,160
Speaker 2: Raisin in the Sun from nineteen sixty one and to

1693
01:28:49,320 --> 01:28:53,160
Speaker 2: Sir with Love from nineteen sixty seven. And I know

1694
01:28:53,240 --> 01:28:56,639
Speaker 2: you think you're gonna guess the theme, but I sincerely

1695
01:28:57,560 --> 01:28:58,000
Speaker 2: the theme.

1696
01:28:58,080 --> 01:28:59,880
Speaker 1: It's one of those where it's like, oh, I know it,

1697
01:29:00,000 --> 01:29:01,880
Speaker 1: and then I'm like, wait a minute, I didn't know

1698
01:29:01,920 --> 01:29:02,439
Speaker 1: it like that.

1699
01:29:04,680 --> 01:29:05,080
Speaker 4: And listen.

1700
01:29:05,080 --> 01:29:06,640
Speaker 1: If you want to email us, we are at I

1701
01:29:06,640 --> 01:29:09,120
Speaker 1: Saw What You Did pot at gmail dot com. Uh,

1702
01:29:09,400 --> 01:29:12,599
Speaker 1: please send us questions for the bonus episodes. Like I said,

1703
01:29:12,600 --> 01:29:16,200
Speaker 1: they're wild, but yeah, that's where we are.

1704
01:29:16,120 --> 01:29:18,639
Speaker 2: Online and you can find us on our social media

1705
01:29:18,800 --> 01:29:22,280
Speaker 2: at I Saw POT on Instagram and Twitter. We also

1706
01:29:22,400 --> 01:29:24,720
Speaker 2: have a po box that you can find on our

1707
01:29:24,760 --> 01:29:27,720
Speaker 2: Instagram link tree, and we've been getting lots of handwritten

1708
01:29:27,840 --> 01:29:30,120
Speaker 2: letters and reading some of those in the bonus episodes.

1709
01:29:30,200 --> 01:29:32,519
Speaker 1: Yeah, people send us gifts, which I think are super

1710
01:29:32,560 --> 01:29:36,400
Speaker 1: sweet and we love it. We love you know any

1711
01:29:36,600 --> 01:29:39,840
Speaker 1: any little thing you send us is very thoughtful and

1712
01:29:39,880 --> 01:29:43,280
Speaker 1: we just really appreciate everybody who listens and who you

1713
01:29:43,320 --> 01:29:48,080
Speaker 1: know sends us cool stuff. So okay, well listen, Thanks

1714
01:29:48,120 --> 01:29:51,000
Speaker 1: again for listening. Danielle. Always a fucking pleasure doing this

1715
01:29:51,040 --> 01:29:51,800
Speaker 1: podcast with you.

1716
01:29:52,200 --> 01:30:02,400
Speaker 2: Always, always always do you guys do by? This has

1717
01:30:02,400 --> 01:30:05,879
Speaker 2: been an exactly Right Production, produced and mixed by Casey O'Brien.

1718
01:30:06,200 --> 01:30:08,840
Speaker 2: Our theme song is by Tom bry Fogel, artwork by

1719
01:30:08,840 --> 01:30:12,479
Speaker 2: Garrett Ross. Our executive producers are Georgia Hartstart Caring, Tile,

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Speaker 2: Gareth and Daniel Kramer. You can follow us on Instagram

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Speaker 2: and Twitter at I Saw pod, and you can email

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Speaker 2: us at I Saw What You Did Pod at gmail