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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie de Chericho.

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Speaker 2: I'm Daniel Henderson and we're film women.

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Speaker 1: Women of the film.

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Speaker 2: Fem Do Cinema.

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Speaker 1: That's right. Uh yeah, Hey, what are you doing? Hey?

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Speaker 2: I'm I'm contemplating in this current landscape of this world,

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Speaker 2: if my fierce attachment to privacy is gone too far.

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Speaker 1: Okay, tell me more, tell me more.

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Speaker 2: I kind of like how I navigate the public space

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Speaker 2: online and in social media because I only have one thing,

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Speaker 2: Like I only have Instagram. But so was trying to

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Speaker 2: send me a message on Instagram and they were not

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Speaker 2: able to and he was like oh. He came over

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Speaker 2: and he was like, oh, I can't. I can't send

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Speaker 2: you a message because you're like too popular. And I

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Speaker 2: was like, no, that's not it. It's not because I'm popular.

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Speaker 2: He's like, you have a bunch of followers. I'm like, yeah,

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Speaker 2: but that's not it. It's because I locked down my

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Speaker 2: account so I cannot get messages from strangers. And he's like, oh,

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Speaker 2: but then what's the point of being on social media

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Speaker 2: if you're not talking to anyone? And I was like,

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Speaker 2: good point. D Like if I take the social out

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Speaker 2: of social media. What's the fucking point?

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Speaker 1: But yeah, wait a minute, So you're not friends with

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Speaker 1: him yet? Is that so because you obviously if you

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Speaker 1: were friends with him on social media, he would have

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Speaker 1: been able to send you a message.

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Speaker 2: Right, we're friends now, like we follow each other now at.

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Speaker 1: A certain point. Yeah, I guess it is kind of

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Speaker 1: like if you do have social media that is forward facing, right,

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Speaker 1: then kind of have to like deal with the fact

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Speaker 1: that there are strangers that are going to access your stuff.

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Speaker 2: Yeah.

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Speaker 1: I mean, if you have a lock to count and

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Speaker 1: you know, you only like let in people that you

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Speaker 1: really know, then that's one thing. But I think that

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Speaker 1: if it's public, there is sort of like okay, well

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Speaker 1: there is going to be something you can't control it all.

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Speaker 1: I mean, I have to admit I have friends who

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Speaker 1: I have their full ass phone number like that, I've

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Speaker 1: had their phone number for like twenty years, and they

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Speaker 1: still will only message me on social media. I'm like, why,

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Speaker 1: like just text me, you know, and I know, and

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Speaker 1: then they'll send me a message through Facebook, which is

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Speaker 1: like so acid I And it's like I don't check

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Speaker 1: Facebook ever, you know, like at least do the most

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Speaker 1: popular one at least do the you know, Instagram or something.

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Speaker 2: Or I'll do a Twitter x blue Sky like something.

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Speaker 1: Listen, I'm gonna tell you a little secret. I have

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Speaker 1: gotten dates off of Twitter formerly Twitter now x that

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Speaker 1: I have on any dating, actual dating app.

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Speaker 2: I believe that shit. Yeah, I believe that shit because

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Speaker 2: everyone can just see how brilliant and cool you are.

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Speaker 2: And it's like low stakes because you're like, I'm just

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Speaker 2: gonna slide into the DMS and it could work and

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Speaker 2: it could not. You could ignore it if you want to.

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Speaker 2: You can jump in if you want to. That does

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Speaker 2: not surprise me at all.

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Speaker 1: And at first I was like, this is weird, right,

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Speaker 1: and then I'm like, actually, it's not weird because a

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Speaker 1: dating profile is so set up for performance, do you

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Speaker 1: know what I mean? Like it's not like Twitter is

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Speaker 1: raw as fuck, Like it's like the worst of you,

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Speaker 1: so raw.

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Speaker 2: Twitter is raw dog in life, where really dating app

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Speaker 2: is like a full profhilactic experience.

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Speaker 1: Yeah, if you get me at my Twitter, then we

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Speaker 1: could date, like like on a dating profile. All it

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Speaker 1: would be is just like LinkedIn, just like a fucking facade,

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Speaker 1: just like a fucking shoke, like what's something that no

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Speaker 1: one knows about you? Mm hmm oh. I have this

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Speaker 1: cute problem where I can't sleep unless I'm watching The

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Speaker 1: Golden Girls. It's like, Wow, what a secret I have.

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Speaker 2: This actually leads into something else social media related, but like,

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Speaker 2: I've noticed this uptick in people being like I'm weird

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Speaker 2: and they're not like, oh my god, I can believe

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Speaker 2: I'm so weird. I had like a two pumpkin spice

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Speaker 2: lottes today and I'm like, that's not weird. Weird is

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Speaker 2: like you sit at home by yourself for three days

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Speaker 2: straight and start wondering if worms can replicate, Like every

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Speaker 2: worm can replicate their body if they cut in half.

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Speaker 2: If you cut every worm you see in have how

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Speaker 2: how soon would it be until you have a worm army.

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Speaker 2: That's weird. Weird is not like, oh my god, I

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Speaker 2: actually farted once, like in front of my fucking partners,

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Speaker 2: Like that's not weird.

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Speaker 1: Yeah, I listen. I I'm gonna go back to vander

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Speaker 1: pump fucking rules because that's all I'm thinking about. It

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Speaker 1: is my frame of referencemh. Now, because I'm doing a rewatch,

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Speaker 1: I'm in this season where I guess Stacy Schroeder decided

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Speaker 1: that she was into murder.

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Speaker 2: Yes, I remember that season.

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Speaker 1: Yes, And she had like a murder themed birthday party

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Speaker 1: and it was it was it was a very branded

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Speaker 1: season for her. And I was like, does she think

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Speaker 1: that she's super weird because she likes murder? Because I'll

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Speaker 1: tell you it ain't that weird. We should know out

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Speaker 1: of anybody.

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Speaker 2: What's weird is I had to prevent myself from committing

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Speaker 2: a murder. Like I was standing on a train track

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Speaker 2: so I wanted to push someone over. Isn't that weird? Yeah,

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Speaker 2: that's weird.

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Speaker 1: That's very weird, and maybe let's talk about it, like yeah,

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Speaker 1: in like a national capacity, I read helter skelter, not weird,

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Speaker 1: not weird. Yeah, there are levels to the shit. And

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Speaker 1: I feel like, you know, somebody like you, You've been

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Speaker 1: around the block, You've seen a few things, and this

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Speaker 1: is really what.

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Speaker 2: I feel like. What really gets me is like I

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Speaker 2: haven't had these feelings since I was in high school.

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Speaker 2: When I was in high school and I was a senior,

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Speaker 2: and I'd been through the fucking bullying and everyone ragging

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Speaker 2: on how I looked and like just sticking out like

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Speaker 2: a sore thumb and not fitting in, and then all

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Speaker 2: of a sudden, the preppy people discovered grunge and started

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Speaker 2: wearing fucking flannels to school. And I'll never forget this

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Speaker 2: one woman named Shelleless, one girl named Shelley, and she

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Speaker 2: was just like, I am like alternative now, and I'm like,

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Speaker 2: you live in a two million dollar house and you

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Speaker 2: drive a BMW. You're fucking not, oh Shell, No, but

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Speaker 2: I haven't had those feelings for so long, Like I

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Speaker 2: haven't had those feelings. And then I see all this

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Speaker 2: stuff on Instagram like I'm weird and I'm having those

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Speaker 2: high school feelings again. Let me tell you, bitch, it

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Speaker 2: does not feel good.

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Speaker 1: Yeah. I feel like there was maybe an entire five

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Speaker 1: episode are very early on our On Our Journey on

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Speaker 1: this podcast where we talked about that shit like calling

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Speaker 1: out fake weirdos, yes, which seems to be a very

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Speaker 1: gen X pursuit, by the way, I totally understand. Okay,

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Speaker 1: it's obnoxious as fuck, but back at our day, it

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Speaker 1: was a thing. It was an absolute fucking thing because

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Speaker 1: rules were rules back then. If you were weird, you

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Speaker 1: were not popular. If you were weird, you were not rich.

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Speaker 1: If you were weird, you were like cast off behind

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Speaker 1: a wall, smoking fucking camel cigarettes with all the others

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Speaker 1: and never the two shall meet.

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Speaker 2: You know what I'm saying, You're ostracized, and I think

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Speaker 2: that's it, Like it's I don't I don't blame anyone

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Speaker 2: who's at the beginning of their weird journey, Like I

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Speaker 2: don't judge you if you're at the beginning of your

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Speaker 2: weird journey and you're figuring out, like, oh, I like

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Speaker 2: things that are different from what the general public likes.

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Speaker 2: I support you fully. I I draw umbrage at the

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Speaker 2: I did a very normal thing, but it's outside of

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Speaker 2: what I consider normal, and now I think I'm weird

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Speaker 2: to the world. It's all bullshit, Like it's it's all

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Speaker 2: bullshit that I'm even but it just I just have

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Speaker 2: to address the fact that I felt it and I

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Speaker 2: was like, oh, I don't like this. I don't like

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Speaker 2: that I feel it. I don't like that I'm judging

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Speaker 2: people in this way or like feeling like I'm still

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Speaker 2: a teenager in this way. It's just I don't like it.

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Speaker 1: Well, but like here's the thing we are at. We

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Speaker 1: are moving towards this like new era of our lives.

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Speaker 1: Where being actually weird can actually happen, and it's scary

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Speaker 1: as fuck.

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Speaker 2: I'm still terrorized and traumatized to know that you are

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Speaker 2: the weird garden lady. I cannot get over that fucking

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Speaker 2: round of serial killer or self care. I'm like, here's

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Speaker 2: weird sitting in a fucking corner by yourself at a

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Speaker 2: party in all the cheese, yelling at people from your

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Speaker 2: fucking car window, and have it filling up your yard

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Speaker 2: with Chotchkey's. It's not having a pumpkin spice Lotte in August.

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Speaker 1: Well, and it's not like I'm sitting here going check

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Speaker 1: out how weird I am.

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Speaker 2: Every daddy exactly you're checking it.

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Speaker 1: Like, hey, listen, I thought I was normal until you

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Speaker 1: told me I was weird, and then I was like,

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Speaker 1: holy fucking shit, I need a zip the lip. I

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Speaker 1: can't talk about this in public. Whoa fucking podcast And I'm.

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Speaker 2: Like, oh, you gotta talk about it much more. We

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Speaker 2: got to work through this because I don't think it's weird.

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Speaker 2: I think it's That's the thing that's hilarious to me

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Speaker 2: that you're like, this is the normal trajectory of my life.

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Speaker 2: But I'm reaching this point of middle age where things

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Speaker 2: that I think are normal are actually weird.

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Speaker 1: Right well, yeah, especially like I'm this like single woman,

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Speaker 1: this single middle aged woman that lives alone in an

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Speaker 1: old country house. And I'm just like okay, like how

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Speaker 1: do I make this cool? Like like I don't want

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Speaker 1: to scare anybody, Like I want people to come over,

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Speaker 1: or i want people to think that I'm not a murderer.

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Speaker 1: Like let's, you know, open it up a little bit,

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Speaker 1: Like I'm not sitting here going like, oh I'm so

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Speaker 1: cool because I'm not lump and weird and I got

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Speaker 1: cinnamon brooms all over the house.

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Speaker 2: Look, we're a month out from Halloween, and every year

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Speaker 2: I worry that people are gonna be like that's the

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Speaker 2: fucking weirdo house.

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Speaker 1: Yeah. Oh god, we talked about this too. It's so

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Speaker 1: we're so close. We're closer than ever.

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Speaker 2: Like I'm I'm out here dragging my garbage cans out

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Speaker 2: to the street with no fucking drawers but no fucking

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Speaker 2: pants on.

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Speaker 1: That is simply what I'm telling you. I'm simply telling

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Speaker 1: you that, Like, and there's a there's a switch from

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Speaker 1: like being a young person that's like I'm so weird, guys,

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Speaker 1: like deal with it to like I'm normal, but everyone

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Speaker 1: is telling me that I'm weird and maybe get like

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Speaker 1: a check.

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Speaker 2: Don't co op the weird too early, because it will

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Speaker 2: come for you, I guess, is my point. Like, you

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Speaker 2: don't have to make an effort to be weird. It

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Speaker 2: will come for you. It will come for all of you.

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Speaker 1: Oh, oh for sure. And like, it's so funny that

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Speaker 1: you were talking about high school again, because it's all

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Speaker 1: I've been thinking about lately. Yeah, because because of of

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Speaker 1: just like this information that I found out recently about

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Speaker 1: a former teacher of mine from high school who is

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Speaker 1: he has a three part Hulu documentary about him, which

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Speaker 1: that has never happened to me before. I've never been

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Speaker 1: like like watching a true crime thing and been like,

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Speaker 1: oh I know that person, have you? No?

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Speaker 2: And I dated an actual fucking murderer.

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Speaker 1: Where's his story?

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Speaker 2: They didn't make a goddamn even frontline episode about him?

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Speaker 1: Was it? Was it like his name just like a

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Speaker 1: simple letter or something like that.

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Speaker 2: His name was a letter like part of his first

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Speaker 2: name is a letter. At two first names, one was

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Speaker 2: just a letter. Yes, And he murdered his business partner

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Speaker 2: and I met him at a taco bell when I

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Speaker 2: was eighteen and went on a date with a man

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Speaker 2: in the city. Yeah, not a single documentary moment has

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Speaker 2: been given to him. You had a teacher in high school,

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Speaker 2: a normal ass situation where you're a high schooler, you

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Speaker 2: have teachers, and you now have a three part documentary

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Speaker 2: about this dude.

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Speaker 1: Yeah, it's it's so like I never expected that to

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Speaker 1: be honest, but then it really has just kind of

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Speaker 1: like sent me like barreling back to just being like

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Speaker 1: in high school in the nineties. And I went, I

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Speaker 1: went and like looked at like I pulled this like

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Speaker 1: rubber made thing from under the bed that had like

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Speaker 1: all these VHS tapes that I just had collected over

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Speaker 1: the years and went and found like all my old

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Speaker 1: projects from that class. Oh, they are so dreadfully terrible.

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Speaker 1: Like I'm just like, I mean, here's what I'll say,

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Speaker 1: because I will tell you that they're terrible, I will

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Speaker 1: say positively that I'm a good camera operator. And there

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Speaker 1: was some great shots and some of that shit they

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Speaker 1: were straight up Tarantino reservoir dogs ripoffs. Like that's all

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Speaker 1: it was. That's all I did in that class, was

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Speaker 1: I feel I was just me and like twelve boys

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Speaker 1: and we just ran around the school and they were

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Speaker 1: like pretending to do the warehouse sequence from restaurant Dogs.

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Speaker 2: So on top of everything else, you're telling me he

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Speaker 2: was a bad teacher.

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Speaker 1: Yeah, I turned that in for a grade and he

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Speaker 1: was okay with that. But to my defense, because I

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Speaker 1: basically I directed it, I edited it. I'm a terrible editor.

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Speaker 1: Oh my god, I was so bad at editing. But

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Speaker 1: then I was a good camera operator. There's some great

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Speaker 1: shots in there, but beyond that, they're fucking awful, and

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Speaker 1: I was so embarrassed, Like I was watching them alone.

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Speaker 1: I hooked up the fucking VCR. I saw have a VCR.

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Speaker 1: I hooked it up to my TV. I was alone

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Speaker 1: watching videos from high school being like giving this like

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Speaker 1: critical appraisal. Like I was like, oh, that was a

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Speaker 1: terrible edit right there. Oh that graphic bled for too

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Speaker 1: long in the next scene.

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Speaker 2: This is a violence that you were doing to yourself,

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Speaker 2: like looking for reasons to denigrate yourself by going back

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Speaker 2: to your high school projects.

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Speaker 1: Oh it was awful, but that's where I'm at. My

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Speaker 1: head's in that place, and then that it was also

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Speaker 1: to could you know, to add to sort of what

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Speaker 1: you've just said about high school weirdos, like that was weird,

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Speaker 1: Like that class was absolutely filled with the most fucked

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Speaker 1: up kids, like just were angry, bitter, suburban punk rock kids,

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Speaker 1: like unlovable nerdiest shit. I include myself and that obviously,

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Speaker 1: So you know, I'm just saying that, like, yeah, I mean,

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Speaker 1: I don't know what weird is now. That's the only

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Speaker 1: weird I know is from that. Yes, you know what

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Speaker 1: I mean.

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Speaker 2: And maybe that's the problem is like my maybe my

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Speaker 2: my weird meter is off because what I consider weird

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Speaker 2: is no longer is. Maybe what I consider weird is

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Speaker 2: truly out of bound psychotic now. I don't know. Maybe

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Speaker 2: it is weird to have like one hair askew during

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Speaker 2: your day or to leave your house without makeup. I

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Speaker 2: don't know.

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Speaker 1: I do believe that the the bar has been reset, though,

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Speaker 1: because because of I think the Internet and just generally

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Speaker 1: that kind of proliferation of alternative culture, you know, that

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Speaker 1: kind of stuff in the nineties that, yeah, I don't

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Speaker 1: think anyone is there's no separation between georg and state anymore.

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Speaker 1: You know that It's like everyone is weird, everyone likes

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Speaker 1: cool things, but so to be truly weird these days

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Speaker 1: feels like a feat.

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Speaker 2: I just still love like, I just still loved encountering

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Speaker 2: a genuine weirdo, which is not me either, Like I

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Speaker 2: do too many things that are considered normal to be

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Speaker 2: a genuine weirdo in most people's eyes. But I just

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Speaker 2: love like I follow a couple of older women on

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Speaker 2: Instagram who are like really about their style and how

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Speaker 2: to wear makeup and how to look good. And I

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Speaker 2: love it. And it's great because they're like in their

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Speaker 2: sixties or you know, seventies, what have you, And it's

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Speaker 2: always lovely to see that. But they're not weird and

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Speaker 2: they're not pretending to be weird. I still want to

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Speaker 2: follow and find the person who's like, I am wearing

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Speaker 2: my dead husband's glasses as a monocle, and I am like,

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Speaker 2: I love a genuine weirdo, like someone who's like, oh,

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Speaker 2: everything I am wearing I found in a dumpster behind

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Speaker 2: a Whole Foods. They don't even sell clothes there. I'm

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Speaker 2: a miracle, Like, I just love that kind of shit.

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Speaker 1: Yeah, And I want to see that person putting an

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Speaker 1: anti chafing stick in between their thighs in the largest

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Speaker 1: stage on Earth the New York City streets.

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Speaker 2: As long as the outfit's weird, I'll change it from cereal,

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Speaker 2: from serial killer to self care. Yeah, so that outfit

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Speaker 2: is crazy. When you're putting that anti chaf stick on,

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Speaker 2: we can talk.

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Speaker 1: But it was like a breakaway pant at the thigh,

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Speaker 1: so un like do it a couple snaps right at

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Speaker 1: the like the big the hamhawk part of your thigh

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Speaker 1: and then just like putting a opening it up like

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Speaker 1: a hot dog bun and then just put in some

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Speaker 1: antsipe changer there and then just snapping it back into place.

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Speaker 2: Fucking breakaway anti shape delivery divide. You said, open it

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Speaker 2: up like a hot top bun. I would call the

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Speaker 2: fucking cops so fast, or maybe it's more.

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Speaker 1: Like a baked potato, like you're just opening the thigh

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Speaker 1: meet party good.

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Speaker 2: I would. I would call the National Guard. I don't

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Speaker 2: even know how you do that. I think you have

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Speaker 2: to be in the government to do that. I would

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Speaker 2: find a way to call the National fucking Guard. I

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Speaker 2: call the u N. I'd be like, look, I'm on

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Speaker 2: Second Avenue, here's my fucking cross street. Can you come

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Speaker 2: and send somebody? Can you send a tank? Can you

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Speaker 2: send a tank someone just crack this open like a

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Speaker 2: fucking hot dog bun. It started oil it up those thighs.

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Speaker 1: I'm gonna I'm gonna assume that the answer to this

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Speaker 1: next question I'm about to ask you is no. But

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Speaker 1: have you ever researched workouts for the inner thigh before?

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Speaker 2: Yes? Really, I absolutely have, because I've got that like

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00:19:27,600 --> 00:19:31,600
Speaker 2: that like loose meat. It's like it's like like you know,

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Speaker 2: when you're under arms, if you're wearing a tank tup

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Speaker 2: or a bra, it's too tight and like your loose

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00:19:35,920 --> 00:19:38,600
Speaker 2: meat kind of comes out over your in your underarm cracks.

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Speaker 2: Of course that in my actual cracks. So like, how

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Speaker 2: do I get rid of this loose meat in my crack?

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Speaker 1: There's a there's a machine at the gym that you

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Speaker 1: can use. This. I think it's either called actor or

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Speaker 1: an abductor. It is basically the spread e machine.

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Speaker 2: I hate that fucking machine. And I the thing if

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Speaker 2: I was looking up inner thigh workouts because I'm like,

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Speaker 2: there has to be another way. I don't have to

353
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Speaker 2: go to a building and spread my fucking junk out

354
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Speaker 2: for all the world to see, so I can get

355
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Speaker 2: rid of this loose meat pocket so I can hot

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Speaker 2: pocket well.

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Speaker 1: And that's the other thing is that all the other

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Speaker 1: exercises involve opening your knees up like a clam. There's

359
00:20:22,920 --> 00:20:27,040
Speaker 1: like no decent way to exercise those those enterthize like,

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Speaker 1: I don't know, everything looks filthy and gross.

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Speaker 2: I did find a home workout that I will send you,

362
00:20:36,080 --> 00:20:37,960
Speaker 2: and it does look filthy, but you're by yourself and

363
00:20:38,000 --> 00:20:39,680
Speaker 2: you're in your home. You can just close the door,

364
00:20:40,119 --> 00:20:42,119
Speaker 2: oh thank God. And you don't have to get weights

365
00:20:42,200 --> 00:20:44,280
Speaker 2: or machines or anything. Like somebody figured it out. And

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Speaker 2: I think this woman should win a fucking Nobel Peace Prize.

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Speaker 2: There's nothing I want more than, like God, me and

368
00:20:51,320 --> 00:20:54,359
Speaker 2: leggings trying to and everyone knows why you're on that machine,

369
00:20:54,440 --> 00:20:56,640
Speaker 2: just like me and leggings trying to squeeze this loose

370
00:20:56,760 --> 00:21:03,000
Speaker 2: meat into something that resembles a leg. I fucking hate it.

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Speaker 2: I got my my fucking crowschest jowels. Let's just say

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00:21:06,200 --> 00:21:12,800
Speaker 2: it like crowschest jewels. It is the meanest part of

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Speaker 2: middle Age so far, my crosshased jowels. I met her

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Speaker 2: looking like a fucking w C. Fields w Fields to fields,

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Speaker 2: you know how updated my references are.

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Speaker 1: The older the better, as far as I'm concerned.

377
00:21:31,320 --> 00:21:34,679
Speaker 2: You know me, nonjewels anymore. You think the cole Kinman

378
00:21:34,720 --> 00:21:37,280
Speaker 2: has gowels. I wish. I wish somebody would have geowls

379
00:21:37,280 --> 00:21:38,760
Speaker 2: so I could update my fucking references.

380
00:21:39,600 --> 00:21:42,000
Speaker 1: No, they just get them like sucked out through a

381
00:21:43,280 --> 00:21:46,920
Speaker 1: meat straw at the dock. Like and it's not even

382
00:21:47,000 --> 00:21:49,000
Speaker 1: like you. I don't have to go under for it now.

383
00:21:49,160 --> 00:21:49,679
Speaker 1: It's like so.

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00:21:50,040 --> 00:21:53,359
Speaker 2: Easy, oh, to not be old. They just slap you once,

385
00:21:53,440 --> 00:21:55,560
Speaker 2: really hard, and they're like, you're ready to go your numb.

386
00:21:57,240 --> 00:22:02,880
Speaker 1: How do we get from social media to crotch jowl?

387
00:22:03,960 --> 00:22:07,080
Speaker 1: How do we get to w C fields of crotches?

388
00:22:07,280 --> 00:22:10,000
Speaker 2: I how did we get to w C fields and

389
00:22:10,040 --> 00:22:13,879
Speaker 2: a fucking headlock to eat my legs? I don't know.

390
00:22:15,080 --> 00:22:16,679
Speaker 2: We're gonna have to find out when we edit, when

391
00:22:16,720 --> 00:22:18,399
Speaker 2: we go back in listen, because I don't even know.

392
00:22:19,560 --> 00:22:21,320
Speaker 2: I just know that that's where the spirit took us

393
00:22:21,400 --> 00:22:23,480
Speaker 2: and we went with it. It was beautiful. It's like

394
00:22:23,520 --> 00:22:31,399
Speaker 2: a kite on the breeze about these movies, some of

395
00:22:31,480 --> 00:22:33,160
Speaker 2: these fucking movies where we go even worse.

396
00:22:38,720 --> 00:22:41,280
Speaker 1: We do have a theme this week, by the way,

397
00:22:42,240 --> 00:22:45,040
Speaker 1: which I think is actually pretty fucking good. I don't know.

398
00:22:45,760 --> 00:22:47,680
Speaker 2: I agree that it's pretty fucking good. But now all

399
00:22:47,720 --> 00:22:49,400
Speaker 2: I'm thinking about is, how do we have a theme

400
00:22:49,480 --> 00:22:51,320
Speaker 2: that's w C Fields and a crotch luck.

401
00:22:54,240 --> 00:22:57,000
Speaker 1: If anybody can do it, we can for sure.

402
00:22:57,119 --> 00:22:59,840
Speaker 2: A challenge accepted, Challenge given, Challenge accepted.

403
00:23:00,240 --> 00:23:02,639
Speaker 1: Give me at least a weekend to think about it.

404
00:23:02,840 --> 00:23:04,280
Speaker 1: I'll have something for you on Monday.

405
00:23:07,160 --> 00:23:10,720
Speaker 2: Oh, I love this fucking theme. I think it's another

406
00:23:10,840 --> 00:23:12,680
Speaker 2: tag team. You came up with the theme. I just

407
00:23:12,760 --> 00:23:16,480
Speaker 2: kind of finessed it. Yes, our theme this week is

408
00:23:17,960 --> 00:23:21,880
Speaker 2: ass guess or grass Nobody rides for Free. We're doing

409
00:23:21,960 --> 00:23:23,399
Speaker 2: movies about bad road trips.

410
00:23:24,800 --> 00:23:26,440
Speaker 1: Nobody rides for free.

411
00:23:27,920 --> 00:23:29,640
Speaker 2: You got a choice one of three.

412
00:23:31,520 --> 00:23:34,320
Speaker 1: I love that phrase. By the way, it'll never be

413
00:23:34,440 --> 00:23:34,960
Speaker 1: old for me.

414
00:23:35,600 --> 00:23:38,000
Speaker 2: That phrase, to me is the epitome of like a

415
00:23:38,160 --> 00:23:40,119
Speaker 2: late sixties early seventies vibe.

416
00:23:40,720 --> 00:23:46,240
Speaker 1: Oh, especially grass. It's like that is such a old term.

417
00:23:46,920 --> 00:23:49,680
Speaker 1: In fact, it made like your movie this week made

418
00:23:49,720 --> 00:23:50,560
Speaker 1: me think of it again.

419
00:23:51,480 --> 00:23:54,240
Speaker 2: So it iss like can you imagine saying to someone like,

420
00:23:54,320 --> 00:23:57,200
Speaker 2: all right, thanks for driving with me, Like I'm glad

421
00:23:57,200 --> 00:23:59,280
Speaker 2: I picked you up to take you to this party,

422
00:24:00,000 --> 00:24:01,760
Speaker 2: Give me some ass, give me.

423
00:24:01,840 --> 00:24:08,560
Speaker 1: Some ass or some brass, My dude, bad road trips

424
00:24:09,000 --> 00:24:12,320
Speaker 1: we've done. We've done road trips before on the pod.

425
00:24:12,720 --> 00:24:15,919
Speaker 1: This one is like a bad one. We're looking at

426
00:24:16,080 --> 00:24:19,480
Speaker 1: like dark road trips, bad road trips. I saw. The

427
00:24:19,560 --> 00:24:21,680
Speaker 1: last time I saw your film was God, I don't

428
00:24:21,680 --> 00:24:24,840
Speaker 1: even know, maybe like fifteen twenty years ago. Yeah, And

429
00:24:24,960 --> 00:24:28,320
Speaker 1: then I of course was like I just became obsessed

430
00:24:28,480 --> 00:24:33,159
Speaker 1: with I have the it's this Criterion box that called

431
00:24:33,520 --> 00:24:37,120
Speaker 1: America Lost and Found the BBS Story, and it has

432
00:24:38,000 --> 00:24:41,440
Speaker 1: your movie on it, and there's a ton of special features.

433
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Speaker 1: I had to watch every single one. I was like,

434
00:24:44,000 --> 00:24:47,120
Speaker 1: oh my god, I'm I'm like down a rabbit hole

435
00:24:47,160 --> 00:24:51,159
Speaker 1: of information about your movie. And it was good to

436
00:24:51,160 --> 00:24:53,080
Speaker 1: see it again actually because I hadn't seen it obviously

437
00:24:53,080 --> 00:24:54,240
Speaker 1: in a long time, and.

438
00:24:54,520 --> 00:24:56,720
Speaker 2: I really really loved it, and it's I don't know,

439
00:24:56,800 --> 00:24:59,440
Speaker 2: it's one of those rewatches that it doesn't necessarily hit different,

440
00:24:59,480 --> 00:25:01,520
Speaker 2: but I noticed different things and that was kind of

441
00:25:01,600 --> 00:25:06,440
Speaker 2: a nice rediscovery. But I'd never seen your movie, so

442
00:25:06,520 --> 00:25:09,440
Speaker 2: your movie was completely top to bottom shocking for me.

443
00:25:10,160 --> 00:25:14,040
Speaker 1: Wow, that's yes, Like, oh my god, I can't wait

444
00:25:14,119 --> 00:25:15,280
Speaker 1: to hear what you think about it?

445
00:25:16,160 --> 00:25:18,320
Speaker 2: Well, you're going first, I am.

446
00:25:19,040 --> 00:25:25,280
Speaker 1: I am so. My movie for the theme ass gas

447
00:25:25,600 --> 00:25:32,240
Speaker 1: or Grass Bad Road Trips is from nineteen ninety two.

448
00:25:32,480 --> 00:25:35,040
Speaker 1: It was written by Billy Bob Thornton and Tom Epperson.

449
00:25:35,200 --> 00:25:37,400
Speaker 1: It was directed by Calf Franklin, and it's called one

450
00:25:37,640 --> 00:25:40,480
Speaker 1: False Move every ten years of busting Peter Toms and

451
00:25:40,520 --> 00:25:42,159
Speaker 1: stop sign runers. I'd kind of like to take a

452
00:25:42,200 --> 00:25:43,000
Speaker 1: crack at the big time.

453
00:25:43,359 --> 00:25:46,080
Speaker 2: Now did this movie come out after sling Blade.

454
00:25:47,640 --> 00:25:48,560
Speaker 1: Before? Right?

455
00:25:48,960 --> 00:25:53,040
Speaker 2: But Slingblade was like ninety six because I'd never heard

456
00:25:53,080 --> 00:25:54,320
Speaker 2: of it, So I'm like, how did I miss this?

457
00:25:55,359 --> 00:25:55,600
Speaker 1: Yeah?

458
00:25:56,119 --> 00:25:56,159
Speaker 2: It?

459
00:25:57,359 --> 00:25:59,720
Speaker 1: That is like I think part of what I really

460
00:25:59,800 --> 00:26:02,359
Speaker 1: love about the movie ultimately is that it feels like

461
00:26:02,440 --> 00:26:06,560
Speaker 1: a gem. It's just a hidden gem, and I think

462
00:26:06,720 --> 00:26:10,360
Speaker 1: that it, to be honest, I think it had kind

463
00:26:10,400 --> 00:26:15,119
Speaker 1: of come back semi recently to just sort of like

464
00:26:15,200 --> 00:26:22,960
Speaker 1: a more I don't know, cinophile movie consciousness, because Criterion

465
00:26:23,000 --> 00:26:25,800
Speaker 1: put out both Devil in a Blue Dress, which is

466
00:26:25,840 --> 00:26:29,000
Speaker 1: the other Carl Franklin movie that we've talked about on

467
00:26:29,040 --> 00:26:32,800
Speaker 1: the podcast, and this movie. I think they came out within,

468
00:26:33,280 --> 00:26:35,119
Speaker 1: if not at the same time, then within like a

469
00:26:35,160 --> 00:26:39,000
Speaker 1: couple months of each other. And I think obviously Devil

470
00:26:39,080 --> 00:26:42,000
Speaker 1: in a Blue Dress is a little bit more well

471
00:26:42,119 --> 00:26:43,840
Speaker 1: known than this one, and so I think a lot

472
00:26:43,840 --> 00:26:45,840
Speaker 1: of people were kind of discovering this for the first time.

473
00:26:46,680 --> 00:26:49,240
Speaker 1: But like we said, this is the second film we've

474
00:26:49,320 --> 00:26:53,240
Speaker 1: talked about Devil in a Blue Dress before on a

475
00:26:53,400 --> 00:26:55,960
Speaker 1: Black History Month episode when we talked about Denzel Washington,

476
00:26:56,320 --> 00:26:59,960
Speaker 1: right and so, and this is another film by Carl Frankl.

477
00:27:00,359 --> 00:27:06,840
Speaker 1: He grew up in California, got his MFA at the AFI,

478
00:27:08,040 --> 00:27:10,640
Speaker 1: but then he kind of started his career in Hollywood

479
00:27:10,640 --> 00:27:14,160
Speaker 1: as an actor and he did a lot of television,

480
00:27:14,920 --> 00:27:18,640
Speaker 1: but then eventually he came back around to start directing.

481
00:27:19,680 --> 00:27:24,760
Speaker 1: And guess who he directed movies for. Just take one,

482
00:27:24,920 --> 00:27:25,560
Speaker 1: fucking guess.

483
00:27:26,200 --> 00:27:29,960
Speaker 2: Listen, it's gonna be Roger Corman. Because my movie also

484
00:27:30,080 --> 00:27:32,480
Speaker 2: is connected to fucking Roger Corman, because the man is

485
00:27:32,520 --> 00:27:35,440
Speaker 2: single handedly responsible for all of cinema. I am just

486
00:27:35,480 --> 00:27:36,280
Speaker 2: throwing that out there.

487
00:27:36,920 --> 00:27:40,520
Speaker 1: I agree, like, I love Roger Corman and I know

488
00:27:40,600 --> 00:27:42,879
Speaker 1: a lot about him, but I am actually shocked by

489
00:27:42,920 --> 00:27:45,440
Speaker 1: how many movies we've talked about on this podcast that

490
00:27:45,600 --> 00:27:48,000
Speaker 1: have him involved in some way.

491
00:27:48,160 --> 00:27:52,040
Speaker 2: It's influential or somehow involved. It's truly amazing.

492
00:27:52,680 --> 00:27:56,359
Speaker 1: Yes, so he so Carl Franklin did movies for Roger

493
00:27:56,480 --> 00:28:00,440
Speaker 1: Corman at one point. So the screenplay for One False Move, Okay,

494
00:28:01,080 --> 00:28:05,359
Speaker 1: it was obviously co written by Tom Eperson and a

495
00:28:05,480 --> 00:28:10,439
Speaker 1: very famous person, Billy Bob Thornton. They were childhood friends

496
00:28:11,280 --> 00:28:16,920
Speaker 1: from Arkansas. Billy Bob was a musician, Tom was a novelist,

497
00:28:17,160 --> 00:28:20,160
Speaker 1: and they were young. They kind of decided to move,

498
00:28:20,600 --> 00:28:22,760
Speaker 1: you know, back and forth between LA and New York

499
00:28:22,840 --> 00:28:27,040
Speaker 1: for a while, trying to get careers started. And then

500
00:28:27,040 --> 00:28:29,359
Speaker 1: they actually came back to Arkansas at one point because

501
00:28:29,359 --> 00:28:31,480
Speaker 1: they both were like, we couldn't make it, so we're

502
00:28:31,520 --> 00:28:34,960
Speaker 1: going home. But then they decided to go back and

503
00:28:35,200 --> 00:28:39,240
Speaker 1: try to write a screenplay together, and they eventually came

504
00:28:39,320 --> 00:28:42,240
Speaker 1: up with One False Move. I have to say, this

505
00:28:42,440 --> 00:28:45,400
Speaker 1: is like a very funny piece of trivia for me,

506
00:28:45,760 --> 00:28:50,120
Speaker 1: is that initially this screenplay was called Color Me Bad.

507
00:28:50,880 --> 00:28:54,760
Speaker 2: No, it was not. Yes how Dinner They at the

508
00:28:54,920 --> 00:28:57,800
Speaker 2: height of the six You.

509
00:28:59,240 --> 00:29:04,920
Speaker 1: Take tac Yet I want to believe that their screenplay

510
00:29:05,280 --> 00:29:09,840
Speaker 1: predated the band, but that's too They would have had

511
00:29:09,880 --> 00:29:14,560
Speaker 1: to change that name anyway, change the name of the movie.

512
00:29:14,920 --> 00:29:17,280
Speaker 2: That's also it's a bad name for a band. It's

513
00:29:17,360 --> 00:29:18,760
Speaker 2: a horrible name for a film.

514
00:29:19,320 --> 00:29:21,400
Speaker 1: Oh, I totally agree, totally agree.

515
00:29:21,480 --> 00:29:24,720
Speaker 2: I'm glad they changed it, for sure Jans and for

516
00:29:25,000 --> 00:29:28,720
Speaker 2: fucking sure the band never made sense. I'm like, color

517
00:29:28,800 --> 00:29:31,720
Speaker 2: you what? Yeah, I know.

518
00:29:31,960 --> 00:29:33,760
Speaker 1: And I just can't believe that I was so young

519
00:29:34,600 --> 00:29:37,320
Speaker 1: saying about sex like that in the car with my parents.

520
00:29:38,000 --> 00:29:40,600
Speaker 2: Oh, it was not just singing about sex. It was

521
00:29:40,720 --> 00:29:46,960
Speaker 2: like the raunchiest reenactment of sex singing possible. Yeah, and

522
00:29:47,120 --> 00:29:49,280
Speaker 2: they just played it on ninety five point five w

523
00:29:49,440 --> 00:29:51,440
Speaker 2: P LJ like it was no big fucking deal.

524
00:29:52,600 --> 00:29:54,400
Speaker 1: Yeah. There was that like one part in the middle

525
00:29:54,480 --> 00:30:00,360
Speaker 1: where the guy with the deepest voice starts talking. Don't

526
00:30:00,400 --> 00:30:06,960
Speaker 1: say anything like what my mom is like, screech, We're

527
00:30:06,960 --> 00:30:07,680
Speaker 1: in a ditch now.

528
00:30:08,640 --> 00:30:12,520
Speaker 2: I like the guy who looked like Snow Infoma, you

529
00:30:12,600 --> 00:30:16,160
Speaker 2: know see, And I'm like, is he in both bands?

530
00:30:16,240 --> 00:30:17,840
Speaker 2: Is he Snow and in Color Me Bad?

531
00:30:18,200 --> 00:30:20,400
Speaker 1: There were like two guys that looked like Snow in

532
00:30:20,480 --> 00:30:22,240
Speaker 1: that Bad and then one guy that looks like Michael

533
00:30:22,280 --> 00:30:25,960
Speaker 1: Bolton or Kenny G. Kenny G.

534
00:30:26,600 --> 00:30:28,320
Speaker 2: Look, I'm just saying it took a long time for

535
00:30:28,400 --> 00:30:30,960
Speaker 2: America to get boy bands together, to get their shit together.

536
00:30:31,280 --> 00:30:32,920
Speaker 2: We didn't know what the fuck we were doing after

537
00:30:32,960 --> 00:30:36,040
Speaker 2: the fifties and sixties, the height of the do wop.

538
00:30:36,200 --> 00:30:38,000
Speaker 2: It took us a long time to recalibrate.

539
00:30:38,520 --> 00:30:40,680
Speaker 1: That's right, Rest in peace, color me bad. I don't

540
00:30:40,680 --> 00:30:43,040
Speaker 1: know what you're doing now, but they are tiktoking.

541
00:30:43,080 --> 00:30:46,840
Speaker 2: You don't stop in heaven, we hope.

542
00:30:48,240 --> 00:30:50,600
Speaker 1: So here's another thing that I think is really interesting

543
00:30:50,640 --> 00:30:55,480
Speaker 1: about one false move related to music. Perhaps this movie

544
00:30:55,640 --> 00:30:58,720
Speaker 1: was one of the handful of movies that was released

545
00:30:58,880 --> 00:31:07,080
Speaker 1: by the movie Slash Media division of IRS Records, which

546
00:31:08,520 --> 00:31:10,800
Speaker 1: you will know that name if you love the band

547
00:31:10,960 --> 00:31:15,000
Speaker 1: Rim like I do, or if you like eighties music, right,

548
00:31:16,160 --> 00:31:20,400
Speaker 1: And it's fascinating to me because part of me wonders

549
00:31:20,440 --> 00:31:24,560
Speaker 1: if that's the reason why this movie is more unknown

550
00:31:24,920 --> 00:31:27,200
Speaker 1: than it should be is because it was like released

551
00:31:27,240 --> 00:31:30,600
Speaker 1: by this music company that had like a you know,

552
00:31:31,040 --> 00:31:33,960
Speaker 1: weird media division and then went out of business type

553
00:31:34,000 --> 00:31:37,360
Speaker 1: of thing. Yeah, So I went to letterbox and somebody

554
00:31:37,400 --> 00:31:41,680
Speaker 1: had compiled all of the films that IRS Media released,

555
00:31:42,520 --> 00:31:45,440
Speaker 1: and it was about like forty movies or so, and

556
00:31:45,520 --> 00:31:47,520
Speaker 1: the only two I had seen before were one False

557
00:31:47,600 --> 00:31:53,880
Speaker 1: Move and Shakes the Clown w starring bobcat Goldthwaite and

558
00:31:54,080 --> 00:31:54,920
Speaker 1: Julie Brown as you.

559
00:31:54,960 --> 00:31:59,040
Speaker 2: Know, okay, but what maybe an unknown or lesser known

560
00:31:59,080 --> 00:32:02,000
Speaker 2: production company, but a roster I know that I couldn't

561
00:32:02,040 --> 00:32:04,280
Speaker 2: believe it, Like holy shit, I know, I know.

562
00:32:04,360 --> 00:32:06,880
Speaker 1: I was like, what a deep rabbit hole to fall

563
00:32:06,960 --> 00:32:09,520
Speaker 1: into watching all of the Iris Media movies one day.

564
00:32:10,080 --> 00:32:11,400
Speaker 1: But anyway, I thought that was interesting.

565
00:32:11,600 --> 00:32:13,880
Speaker 2: But yeah, because I saw the Iris Media logo and

566
00:32:13,920 --> 00:32:15,520
Speaker 2: I was like, wait a minute, I've only ever seen

567
00:32:15,600 --> 00:32:18,520
Speaker 2: that on music exactly exactly.

568
00:32:18,760 --> 00:32:23,440
Speaker 1: It's kind of cool. So I won't do a traditional

569
00:32:23,480 --> 00:32:26,000
Speaker 1: one sentence synopsis. I'll just kind of give an overview

570
00:32:26,080 --> 00:32:28,840
Speaker 1: of it. So One False Move is centered around a

571
00:32:28,960 --> 00:32:32,960
Speaker 1: pair of ex cons, Ray who was played by Billy

572
00:32:33,000 --> 00:32:36,120
Speaker 1: Bob Thornton and Pluto, who was played by Michael Beach.

573
00:32:36,800 --> 00:32:41,560
Speaker 1: And Ray's girlfriend is also generally along for the ride.

574
00:32:42,320 --> 00:32:45,680
Speaker 1: She is played by Cinda Williams and her name is

575
00:32:45,800 --> 00:32:50,400
Speaker 1: Lilah Walker, but people call her Fantasia. So this kind

576
00:32:50,440 --> 00:32:54,120
Speaker 1: of trio of folks, they're all living in California. At

577
00:32:54,120 --> 00:32:58,520
Speaker 1: the beginning of the movie, Ray and Pluto commit like

578
00:32:59,080 --> 00:33:04,400
Speaker 1: a pretty sturbingly violent crime, and it's obviously involving drugs,

579
00:33:05,320 --> 00:33:09,560
Speaker 1: and it's kind of like jarring to begin a movie.

580
00:33:10,440 --> 00:33:13,120
Speaker 1: To be honest, it really kind of kicks up the

581
00:33:13,200 --> 00:33:14,480
Speaker 1: intensity pretty quickly.

582
00:33:15,360 --> 00:33:17,600
Speaker 2: I don't it really forces oh, like, it forces you

583
00:33:17,640 --> 00:33:19,080
Speaker 2: to sit up and pay attention, because I was like,

584
00:33:19,120 --> 00:33:21,280
Speaker 2: did I miss something like what is happening? Why are

585
00:33:21,320 --> 00:33:22,640
Speaker 2: these people being terrorized?

586
00:33:23,240 --> 00:33:27,400
Speaker 1: Yeah? Totally. And and so because of that, they're kind

587
00:33:27,440 --> 00:33:31,800
Speaker 1: of forced to leave town, right, and Fantasia wants to

588
00:33:32,000 --> 00:33:38,360
Speaker 1: go back to her hometown in rural Arkansas, this place

589
00:33:38,400 --> 00:33:43,040
Speaker 1: called Star City. And there's many reasons for that that

590
00:33:43,160 --> 00:33:46,080
Speaker 1: get rolled out as the movie progresses. But that's what

591
00:33:46,320 --> 00:33:50,080
Speaker 1: kind of sets up this road trip for our theme, right,

592
00:33:50,920 --> 00:33:54,080
Speaker 1: is that there's like three people traveling from LA to

593
00:33:54,200 --> 00:33:58,680
Speaker 1: Arkansas and they're kind of, you know, on the move there.

594
00:33:58,800 --> 00:34:03,840
Speaker 1: They're criminals. And so then at the same time, you've

595
00:34:03,880 --> 00:34:09,239
Speaker 1: got this pair of these like LAPD detectives name mcpheel

596
00:34:09,600 --> 00:34:15,400
Speaker 1: and dud Cole. His name is doud Cole. It's a

597
00:34:15,560 --> 00:34:20,600
Speaker 1: very David Lynchian name if you ask me. But so

598
00:34:20,680 --> 00:34:23,120
Speaker 1: there's these two detectives. They try to head them off

599
00:34:23,200 --> 00:34:25,440
Speaker 1: in Star City, so they travel out to Arkansas too.

600
00:34:26,239 --> 00:34:30,000
Speaker 1: When they get there, they're pretty much quickly introduced to

601
00:34:31,400 --> 00:34:36,800
Speaker 1: the chief of police and his name is Dale Hurricane Dixon,

602
00:34:37,719 --> 00:34:41,000
Speaker 1: and he's played by Bill Paxson.

603
00:34:40,840 --> 00:34:44,520
Speaker 2: Who we love, Ugh Gone too Soon, Rest in Peace, k.

604
00:34:45,000 --> 00:34:51,960
Speaker 1: Rip Kang for sure. And Hurricane is so excited because

605
00:34:51,960 --> 00:34:56,160
Speaker 1: he's like, finally something's happening, some real police work, because

606
00:34:56,200 --> 00:34:58,799
Speaker 1: there's these fancy cops from LA. There's this like very

607
00:34:58,880 --> 00:35:02,960
Speaker 1: violent crime that they're trying to solve. And that's kind

608
00:35:03,000 --> 00:35:04,600
Speaker 1: of the setup of the film is that you've got

609
00:35:04,680 --> 00:35:08,839
Speaker 1: these three you know, convicts who are on a road

610
00:35:08,880 --> 00:35:11,560
Speaker 1: trip across America and then these LA police that are

611
00:35:11,560 --> 00:35:16,680
Speaker 1: waiting in Arkansas for them to show up. So here's

612
00:35:16,680 --> 00:35:19,080
Speaker 1: the thing. The immediately obvious thing for me when you

613
00:35:19,160 --> 00:35:23,840
Speaker 1: watch this film is that it's very much about the

614
00:35:24,920 --> 00:35:30,359
Speaker 1: professional and personal relationships between black people and white people. Yes, right,

615
00:35:31,520 --> 00:35:36,279
Speaker 1: And the conversation is happening all throughout the film, and

616
00:35:36,400 --> 00:35:39,839
Speaker 1: it's very complex at times. It's a lot of gray

617
00:35:40,000 --> 00:35:45,239
Speaker 1: area many times, and it's you know, I'm not sure

618
00:35:45,280 --> 00:35:47,719
Speaker 1: if it's because you know, the movie was written by

619
00:35:48,480 --> 00:35:51,000
Speaker 1: white men and directed by a black man, I don't know,

620
00:35:51,120 --> 00:35:54,359
Speaker 1: but it's a huge reason why I like this film

621
00:35:54,400 --> 00:35:57,440
Speaker 1: so much. I think it's unique in that way because,

622
00:35:59,040 --> 00:36:04,520
Speaker 1: for example, white Pluto is black, right, and during their

623
00:36:05,239 --> 00:36:10,439
Speaker 1: road trip cross country, Ray is established as the one

624
00:36:10,600 --> 00:36:15,040
Speaker 1: who's this very hot head, like he's got a crazy mullet,

625
00:36:15,600 --> 00:36:19,640
Speaker 1: he's ready to pop off at any fucking time. Meanwhile,

626
00:36:19,800 --> 00:36:24,440
Speaker 1: Pluto is like definitely the more rational one, but he

627
00:36:24,520 --> 00:36:27,680
Speaker 1: also has this very calm demeanor and it's kind of

628
00:36:27,800 --> 00:36:30,480
Speaker 1: like the demeanor of a psychopath, if you know what

629
00:36:30,520 --> 00:36:30,839
Speaker 1: I mean.

630
00:36:31,480 --> 00:36:34,080
Speaker 2: He's a very calm demeanor, but he's the most vicious

631
00:36:34,160 --> 00:36:34,920
Speaker 2: killer of the two.

632
00:36:35,640 --> 00:36:40,279
Speaker 1: Yes, he is well educated. He has a high IQ,

633
00:36:40,600 --> 00:36:42,680
Speaker 1: which is stuff that they discussed at the beginning of

634
00:36:42,760 --> 00:36:47,840
Speaker 1: the film, and that, to me, I think is probably

635
00:36:48,320 --> 00:36:51,520
Speaker 1: a deviation from any kind of thing that we'd seen

636
00:36:51,600 --> 00:36:57,920
Speaker 1: before in action crime films, which you usually have, you know,

637
00:36:58,480 --> 00:37:00,600
Speaker 1: the black guy as the hot head and the white

638
00:37:00,680 --> 00:37:03,239
Speaker 1: guy is the kind of steady, calm and cool one, right,

639
00:37:03,360 --> 00:37:09,040
Speaker 1: So there's this inversion happening where Pluto is very intelligent,

640
00:37:09,440 --> 00:37:14,040
Speaker 1: Ray is kind of this redneck type, you know, And

641
00:37:14,120 --> 00:37:16,359
Speaker 1: I think for ninety two that was kind of an

642
00:37:16,400 --> 00:37:20,680
Speaker 1: interesting move, I have to say. And the other interesting

643
00:37:20,800 --> 00:37:24,080
Speaker 1: part that you find out is that Fantasia is actually

644
00:37:24,800 --> 00:37:29,000
Speaker 1: mixed race. She's half black and half white. And there's

645
00:37:29,040 --> 00:37:31,080
Speaker 1: this moment that happens in the film where she actually

646
00:37:31,160 --> 00:37:35,439
Speaker 1: talks about growing up in Arkansas as a biracial woman,

647
00:37:36,520 --> 00:37:40,879
Speaker 1: and she talks about it in these very plain, sort

648
00:37:40,920 --> 00:37:44,640
Speaker 1: of grim terms, and it stirred me very much.

649
00:37:44,760 --> 00:37:47,640
Speaker 2: I have to say, yeah, I was really I ground

650
00:37:47,680 --> 00:37:51,680
Speaker 2: that partner wrote it down like it was really it

651
00:37:51,800 --> 00:37:57,920
Speaker 2: was very poignant and incredibly ry. I want to say

652
00:37:57,920 --> 00:38:00,839
Speaker 2: it just like the you think, basically what she's saying

653
00:38:00,920 --> 00:38:02,759
Speaker 2: is you think you can treat me one way because

654
00:38:02,760 --> 00:38:04,840
Speaker 2: I'm a woman, in another way because I'm black. Like

655
00:38:04,960 --> 00:38:07,640
Speaker 2: it's like, it's really poignant in that scene. I don't

656
00:38:07,640 --> 00:38:09,320
Speaker 2: want to ruin it for anybody, but yeah.

657
00:38:09,280 --> 00:38:12,800
Speaker 1: Yeah, it's It's one of the best lines of the film, honestly,

658
00:38:13,719 --> 00:38:17,719
Speaker 1: and I think smartly the film starts to kind of

659
00:38:17,840 --> 00:38:22,080
Speaker 1: bring her story to the forefront, because in a way,

660
00:38:23,640 --> 00:38:27,160
Speaker 1: you are, like, the thing about Fantasious character is that,

661
00:38:27,280 --> 00:38:28,640
Speaker 1: like you know, at the beginning of the film, like

662
00:38:28,719 --> 00:38:33,400
Speaker 1: she's not participating in the murders. You know, she's like

663
00:38:33,920 --> 00:38:36,120
Speaker 1: the girlfriend of one of the cons. So it's that

664
00:38:36,239 --> 00:38:39,000
Speaker 1: thing where you're kind of going. She seems to be

665
00:38:39,120 --> 00:38:41,799
Speaker 1: a decent person. Why is she even affiliated with Ray

666
00:38:41,840 --> 00:38:44,680
Speaker 1: and Pluto kind of thing? Right? And you know, obviously,

667
00:38:44,719 --> 00:38:48,680
Speaker 1: I think the quick answer to that is that cocaine is.

668
00:38:48,760 --> 00:38:53,359
Speaker 2: Why like a form most eighties, late late eighties, early

669
00:38:53,440 --> 00:38:55,960
Speaker 2: nineties movies COCAINEA yeah.

670
00:38:56,080 --> 00:38:59,640
Speaker 1: I mean, I don't have any experience with doing cocaine,

671
00:38:59,680 --> 00:39:02,400
Speaker 1: but I know lots of people who did and do

672
00:39:03,160 --> 00:39:06,600
Speaker 1: and it always brings the strangest groups of people.

673
00:39:06,400 --> 00:39:07,480
Speaker 2: Together, I have to say.

674
00:39:08,400 --> 00:39:12,200
Speaker 1: But you know, as her story kind of unfolds, and

675
00:39:12,360 --> 00:39:15,360
Speaker 1: especially when they are in Arkansas, when they when they

676
00:39:15,400 --> 00:39:16,960
Speaker 1: make it to Arkansas, or at least she makes it

677
00:39:17,000 --> 00:39:21,920
Speaker 1: to Arkansas, you sort of wonder if these issues of

678
00:39:22,239 --> 00:39:26,719
Speaker 1: her race and her identity are playing into these like

679
00:39:26,880 --> 00:39:31,280
Speaker 1: life decisions that she's made. You know, And as a character,

680
00:39:31,440 --> 00:39:36,160
Speaker 1: she's very interesting and very complex. And you know, like

681
00:39:36,760 --> 00:39:39,320
Speaker 1: I grew up by racial in the South and I

682
00:39:39,560 --> 00:39:43,600
Speaker 1: had I mean obviously not did not have the experience

683
00:39:43,680 --> 00:39:47,319
Speaker 1: that she had, obviously, but in this very simple way,

684
00:39:47,760 --> 00:39:51,719
Speaker 1: I felt like I could kind of understand because I

685
00:39:51,760 --> 00:39:53,839
Speaker 1: don't know, you grew up in the South, and it's

686
00:39:54,040 --> 00:39:57,040
Speaker 1: it's kind of shocking how little people understand you when

687
00:39:57,080 --> 00:39:59,000
Speaker 1: you're a mixed race and they're just like, they don't

688
00:40:00,040 --> 00:40:02,840
Speaker 1: I guess have the language or the nuance to understand

689
00:40:02,880 --> 00:40:07,920
Speaker 1: it sometimes. And that goes for pretty much anybody different really,

690
00:40:08,560 --> 00:40:10,879
Speaker 1: And I think that's changed over the years, but there's

691
00:40:11,960 --> 00:40:14,719
Speaker 1: I mean back in at least the nineties when I

692
00:40:14,920 --> 00:40:17,200
Speaker 1: was Yah, wasn't that long ago.

693
00:40:17,280 --> 00:40:20,000
Speaker 2: That's what's so weird. It's like that was not a

694
00:40:20,080 --> 00:40:23,359
Speaker 2: long time ago that you experienced such strangeness or were

695
00:40:23,400 --> 00:40:28,040
Speaker 2: treated differently for being biracial, like twenty thirty years ago.

696
00:40:28,640 --> 00:40:34,279
Speaker 1: Yeah, And you know, it is like a you know,

697
00:40:34,400 --> 00:40:38,120
Speaker 1: a moment where you know, you do wonder sometimes if

698
00:40:38,200 --> 00:40:41,440
Speaker 1: people treat you in certain ways because of one component

699
00:40:41,520 --> 00:40:44,080
Speaker 1: of who you are versus you know, so anyway, you know,

700
00:40:44,160 --> 00:40:47,760
Speaker 1: I think Fantasia for Me is a very interesting character,

701
00:40:47,840 --> 00:40:50,160
Speaker 1: probably my favorite in the film, to be honest.

702
00:40:50,560 --> 00:40:52,719
Speaker 2: She's such a good arc. Like I just I really

703
00:40:52,800 --> 00:40:56,640
Speaker 2: do love like I I really I looked up Sinta

704
00:40:56,640 --> 00:40:58,360
Speaker 2: Williams because I'm like, oh, she's kind of got an

705
00:40:58,360 --> 00:41:00,759
Speaker 2: interesting look and she's got an interesting approach. But I

706
00:41:00,920 --> 00:41:04,280
Speaker 2: like the arc of her being kind of a throwaway character.

707
00:41:04,760 --> 00:41:07,360
Speaker 2: Or what you think is not an integral part of

708
00:41:07,440 --> 00:41:10,279
Speaker 2: the gang or this group, and then she becomes the

709
00:41:10,480 --> 00:41:14,000
Speaker 2: most important. Yeah, so many ways. I loved it.

710
00:41:14,600 --> 00:41:18,040
Speaker 1: Yeah, to a hundred percent. I'm glad. But you know,

711
00:41:18,160 --> 00:41:20,040
Speaker 1: the three of them being out on the road in

712
00:41:20,080 --> 00:41:23,160
Speaker 1: America is definitely giving people pause. I mean, there's this

713
00:41:24,160 --> 00:41:27,600
Speaker 1: very tense scene where they are stopped by a Texas

714
00:41:27,640 --> 00:41:31,280
Speaker 1: State trooper, which I feel like in both these movies

715
00:41:32,000 --> 00:41:35,440
Speaker 1: that could be another theme is like bad things happen

716
00:41:35,760 --> 00:41:41,120
Speaker 1: in Texas when you get stopped by the police. But

717
00:41:41,920 --> 00:41:46,960
Speaker 1: theme just a casual secondary theme. But you know, everybody

718
00:41:47,080 --> 00:41:49,719
Speaker 1: is freaking out, and I mean especially Ray Rays about

719
00:41:49,719 --> 00:41:53,840
Speaker 1: to fucking lose his shit, and you know Pluto is

720
00:41:54,400 --> 00:41:59,080
Speaker 1: the one who really has to talk everybody into calming down.

721
00:42:00,080 --> 00:42:02,120
Speaker 1: And when you think about it, I mean, this movie

722
00:42:02,320 --> 00:42:05,640
Speaker 1: was released the same year that the Rodney King riots happened.

723
00:42:05,719 --> 00:42:08,680
Speaker 1: And then you have this moment where it's again like

724
00:42:08,760 --> 00:42:13,640
Speaker 1: another example of the relationship between black men and police.

725
00:42:14,080 --> 00:42:17,560
Speaker 1: You know, so it's very current. You know this scene

726
00:42:17,840 --> 00:42:22,239
Speaker 1: for sure, But then you know you have these detectives too, right,

727
00:42:22,640 --> 00:42:25,120
Speaker 1: these two LA detectives, one of whom is white, one

728
00:42:25,160 --> 00:42:28,960
Speaker 1: of who's black. You know, Dud is white and mcphely

729
00:42:29,080 --> 00:42:31,680
Speaker 1: is black. And when they get to Star City, both

730
00:42:31,760 --> 00:42:34,680
Speaker 1: of them find themselves kind of amused with Hurricane, right

731
00:42:34,800 --> 00:42:38,040
Speaker 1: the Bill Paxson character, because he's very he's one of

732
00:42:38,120 --> 00:42:42,839
Speaker 1: these very stereotypically earnest people from a rural place, right,

733
00:42:43,040 --> 00:42:45,680
Speaker 1: Like he is so happy to be hanging out with

734
00:42:45,760 --> 00:42:48,839
Speaker 1: some dudes from La. You know, he talks about how

735
00:42:48,880 --> 00:42:51,640
Speaker 1: he never sees any action there, Like he hasn't pulled

736
00:42:51,680 --> 00:42:54,000
Speaker 1: his gun once in the six years that he's been

737
00:42:54,680 --> 00:42:57,600
Speaker 1: on the force in Star City, and you know, he

738
00:42:57,719 --> 00:43:00,600
Speaker 1: sort of handles the business of the on a more

739
00:43:00,640 --> 00:43:03,400
Speaker 1: personal level. And like one point, like one of the

740
00:43:03,560 --> 00:43:07,200
Speaker 1: townspeople is hungover and he's like menacing his poor wife,

741
00:43:07,440 --> 00:43:10,400
Speaker 1: like to let him in or something, and Hurricane just

742
00:43:10,520 --> 00:43:13,800
Speaker 1: like wrestles this axe out of his hand because I

743
00:43:13,800 --> 00:43:16,560
Speaker 1: guess the guy's gonna go full on fucking Jack Torrance

744
00:43:17,200 --> 00:43:19,520
Speaker 1: on his house, on his own house.

745
00:43:20,680 --> 00:43:22,800
Speaker 2: And Hurricane's like, how about we don't do that, And

746
00:43:22,840 --> 00:43:25,920
Speaker 2: he's like okay, yeah, He's like just go sleep it off.

747
00:43:26,200 --> 00:43:28,399
Speaker 1: Bill or whatever the fuck his name was. I was like, wow,

748
00:43:28,920 --> 00:43:31,000
Speaker 1: that's how they handle it back in Star City.

749
00:43:31,440 --> 00:43:34,200
Speaker 2: Hurricane. He's like a puppy. He has such puppy energy.

750
00:43:34,920 --> 00:43:39,520
Speaker 1: Yeah, definitely. And you know, another like again, interesting racial

751
00:43:40,200 --> 00:43:45,000
Speaker 1: conversation that happens during their interactions with Hurricane is that

752
00:43:46,000 --> 00:43:50,479
Speaker 1: Hurricane has he slips racial slurs out of his mouth

753
00:43:50,560 --> 00:43:54,160
Speaker 1: sometimes with mcpheeley standing right in front of him, and

754
00:43:54,920 --> 00:43:59,799
Speaker 1: his wife tells the police officers like, sorry, it's an

755
00:43:59,840 --> 00:44:05,080
Speaker 1: old habit from childhood, you know, and you're just like wow, okay,

756
00:44:05,440 --> 00:44:09,800
Speaker 1: and like again, like growing up in the South, I

757
00:44:09,960 --> 00:44:12,960
Speaker 1: remember kids doing that once in a while when I

758
00:44:13,120 --> 00:44:16,279
Speaker 1: was in middle school and high school, and I mean

759
00:44:16,320 --> 00:44:18,400
Speaker 1: it was just kind of like a wow moment, you

760
00:44:18,480 --> 00:44:18,920
Speaker 1: know what I mean.

761
00:44:19,719 --> 00:44:21,480
Speaker 2: Did you did you feel like like they felt like

762
00:44:21,520 --> 00:44:24,840
Speaker 2: they were kind of on their best behavior when you

763
00:44:24,960 --> 00:44:27,080
Speaker 2: were around, so that because that was something they would

764
00:44:27,080 --> 00:44:30,880
Speaker 2: normally have said more or was it really like just

765
00:44:30,960 --> 00:44:31,759
Speaker 2: a slip.

766
00:44:33,400 --> 00:44:35,719
Speaker 1: Hard to say, Yeah, I mean it was. It's not

767
00:44:35,880 --> 00:44:38,920
Speaker 1: just racial stuff too. I mean it was like you know,

768
00:44:39,920 --> 00:44:42,200
Speaker 1: the F word and things like that, you know, where

769
00:44:42,200 --> 00:44:45,600
Speaker 1: you're just like I don't know and it and in

770
00:44:45,760 --> 00:44:47,640
Speaker 1: that moment for me, I was like, damn, that is

771
00:44:47,880 --> 00:44:49,680
Speaker 1: I don't know. I don't know how to feel about that, right,

772
00:44:49,760 --> 00:44:52,480
Speaker 1: It's just it's hard. It's just hard to hear. And

773
00:44:54,000 --> 00:44:55,960
Speaker 1: you know, I don't know it was for me, it

774
00:44:56,080 --> 00:44:58,480
Speaker 1: was that that moment where I was like, oh, damn, Hurricane,

775
00:44:58,560 --> 00:45:01,640
Speaker 1: what the fuck. Yeah. But but here's the thing about

776
00:45:01,719 --> 00:45:04,960
Speaker 1: and again, this is why the movie is so textured.

777
00:45:05,880 --> 00:45:09,160
Speaker 1: In spite of all this, mcphelian dud still managed to

778
00:45:09,200 --> 00:45:11,719
Speaker 1: find something charming about Star City. And there's just like

779
00:45:11,880 --> 00:45:15,160
Speaker 1: one night that the three of them are like drinking

780
00:45:15,320 --> 00:45:17,880
Speaker 1: cores and bush mills on the porch and they're smoking

781
00:45:17,920 --> 00:45:20,879
Speaker 1: cigarettes and the cops are drunk, and they're like, Wow,

782
00:45:20,920 --> 00:45:23,040
Speaker 1: it's so beautiful here, and it's like you got your

783
00:45:23,080 --> 00:45:25,320
Speaker 1: house and your family and it's like this great food

784
00:45:25,440 --> 00:45:27,279
Speaker 1: and it's like they're just having a great Southern night,

785
00:45:27,840 --> 00:45:29,920
Speaker 1: you know, and you're just kind of like, wow, this

786
00:45:30,120 --> 00:45:33,880
Speaker 1: is very interesting. And you know, Hurricane really admires them,

787
00:45:33,920 --> 00:45:36,440
Speaker 1: he wants to be them. And there's this my favorite

788
00:45:36,440 --> 00:45:39,560
Speaker 1: scene in the whole movie, which is like, you know,

789
00:45:40,000 --> 00:45:42,759
Speaker 1: seems like a like a brief moment. But to me,

790
00:45:42,880 --> 00:45:45,040
Speaker 1: I think, I don't know why I like it so much.

791
00:45:45,120 --> 00:45:48,640
Speaker 1: But mcphelian dud are like having lunch at the local

792
00:45:48,719 --> 00:45:51,759
Speaker 1: diner and Hurricane walks in and he overhears the two

793
00:45:51,800 --> 00:45:53,200
Speaker 1: of them making fun of him.

794
00:45:54,000 --> 00:45:57,520
Speaker 2: That is like her, it's such a little kid moment,

795
00:45:58,120 --> 00:46:00,440
Speaker 2: Oh my god, where you would never expect as an

796
00:46:00,440 --> 00:46:03,279
Speaker 2: adult to hear your contemporaries like making fun of you

797
00:46:03,440 --> 00:46:07,160
Speaker 2: for wanting thinking you can go and join the lapd Yeah.

798
00:46:07,719 --> 00:46:09,759
Speaker 2: Oh what a heartbreaking moment, I know.

799
00:46:09,960 --> 00:46:11,719
Speaker 1: And then like, I mean, Bill Paxton is such a

800
00:46:11,760 --> 00:46:14,000
Speaker 1: good actor for being able to communicate that. It's like

801
00:46:14,080 --> 00:46:16,520
Speaker 1: a core wound, right, It's like a wound of like,

802
00:46:17,280 --> 00:46:19,200
Speaker 1: oh my gosh, I'm embarrassed. And then he tries to

803
00:46:19,520 --> 00:46:21,440
Speaker 1: buy a candy bar, Like he pretends to buy a

804
00:46:21,520 --> 00:46:25,440
Speaker 1: candy bar, and I'm like, god, damn, like so painful.

805
00:46:26,400 --> 00:46:29,960
Speaker 2: You know, he's such a good actor. His face conveyed

806
00:46:30,200 --> 00:46:31,360
Speaker 2: so much emotion.

807
00:46:32,239 --> 00:46:34,680
Speaker 1: I know, he was so good. And then you know,

808
00:46:34,719 --> 00:46:37,480
Speaker 1: I'm sitting there in this scene going, how am I

809
00:46:37,520 --> 00:46:40,400
Speaker 1: feeling sorry for this character who literally just said the

810
00:46:40,560 --> 00:46:43,239
Speaker 1: N word in the previous And that I feel like

811
00:46:43,400 --> 00:46:46,440
Speaker 1: is the movie in a nutshell. It's just very nuanced,

812
00:46:46,640 --> 00:46:50,799
Speaker 1: very interesting having a conversation about race in this era

813
00:46:51,000 --> 00:46:56,640
Speaker 1: where things were very racially charged early nineties and you know,

814
00:46:56,880 --> 00:46:59,520
Speaker 1: and then just as a neo noir film, it's so

815
00:46:59,800 --> 00:47:03,799
Speaker 1: ten and the ending. I would never give the ending away.

816
00:47:03,880 --> 00:47:06,480
Speaker 1: It's so shocking to me and just sort of like

817
00:47:08,160 --> 00:47:11,080
Speaker 1: it's just sort of the whole movie plays out in

818
00:47:11,239 --> 00:47:16,560
Speaker 1: like such a kind of skillful, dramatic way. And I

819
00:47:16,719 --> 00:47:18,680
Speaker 1: just think it has a lot to do with Carl

820
00:47:18,719 --> 00:47:21,080
Speaker 1: Franklin as a director. He's just so good at it.

821
00:47:21,880 --> 00:47:26,200
Speaker 1: And I think Billy Bob and his collaborator wrote an

822
00:47:26,200 --> 00:47:28,640
Speaker 1: amazing script. I mean, it just all kind of comes

823
00:47:28,719 --> 00:47:31,920
Speaker 1: together and I just I love it. And it is

824
00:47:32,000 --> 00:47:34,960
Speaker 1: a fucking haunted road trip across America, and the same

825
00:47:35,000 --> 00:47:37,279
Speaker 1: way that it yours is it's just this feeling of

826
00:47:37,880 --> 00:47:43,120
Speaker 1: America in nineteen ninety two, you know, and just that

827
00:47:43,440 --> 00:47:46,320
Speaker 1: feeling of, yeah, getting stopped by police and having to

828
00:47:46,440 --> 00:47:51,560
Speaker 1: contend with like people in this like crime world. Anyway,

829
00:47:51,640 --> 00:47:55,919
Speaker 1: it's it's a fave of mine. Again, cannot believe I'd

830
00:47:55,920 --> 00:47:58,680
Speaker 1: never seen it before. I'm so glad I did.

831
00:48:00,080 --> 00:48:03,000
Speaker 2: As that nineties feel of a movie that you didn't

832
00:48:03,239 --> 00:48:06,040
Speaker 2: know what was coming next and it was still riveting,

833
00:48:07,920 --> 00:48:10,800
Speaker 2: which is, you know, a rarity now, I think, but

834
00:48:11,000 --> 00:48:13,360
Speaker 2: it's always welcome for me. And I think that it

835
00:48:13,600 --> 00:48:18,320
Speaker 2: was just such a great cast, such great writing, incredible directing,

836
00:48:19,080 --> 00:48:22,640
Speaker 2: and really talking about you know, kind of the how

837
00:48:22,680 --> 00:48:26,920
Speaker 2: do you keep getting by and getting on in heightened

838
00:48:27,000 --> 00:48:29,880
Speaker 2: racial situations, but also how do you keep getting by

839
00:48:29,960 --> 00:48:32,719
Speaker 2: and getting on when you're working with stone cold murderers?

840
00:48:33,080 --> 00:48:36,520
Speaker 2: And like race is a factor there too, but it's

841
00:48:36,800 --> 00:48:39,520
Speaker 2: it was fascinating. I loved this movie. I was really

842
00:48:39,560 --> 00:48:40,200
Speaker 2: glad you picked it.

843
00:48:41,000 --> 00:48:44,560
Speaker 1: Oh, I'm so happy. It makes me happy when you're

844
00:48:44,600 --> 00:48:47,200
Speaker 1: into the movie as much as I'm into the movies

845
00:48:47,239 --> 00:48:49,279
Speaker 1: that you pick, Like when we have those moments where

846
00:48:49,280 --> 00:48:52,840
Speaker 1: I'm like, I love this movie, thanks for picking it.

847
00:48:53,120 --> 00:48:57,720
Speaker 2: It's just completely completely and again a totally different tinge

848
00:48:57,800 --> 00:48:59,600
Speaker 2: to a road trip than we're used to seeing. So

849
00:48:59,719 --> 00:49:01,520
Speaker 2: I appreciated that as well.

850
00:49:02,680 --> 00:49:05,480
Speaker 1: Yeah, absolutely, Well, I mean, I gotta say, I think

851
00:49:05,640 --> 00:49:10,759
Speaker 1: your film is the quintessential road trip movie.

852
00:49:11,120 --> 00:49:14,920
Speaker 2: Totally. Oh, we are gonna talk about it because my

853
00:49:15,080 --> 00:49:18,600
Speaker 2: movie was released in nineteen sixty nine. It was written

854
00:49:18,680 --> 00:49:22,440
Speaker 2: by Peter Fonda, Dennis Hopper, and Terry Southern and directed

855
00:49:22,520 --> 00:49:26,239
Speaker 2: by Dennis Hopper. My movie is easy writer, No man,

856
00:49:27,080 --> 00:49:31,080
Speaker 2: this is grass. You mean marijuana?

857
00:49:31,719 --> 00:49:32,200
Speaker 1: I got you?

858
00:49:32,920 --> 00:49:37,200
Speaker 2: Nah, it's just child. Wait lo on, oh wow.

859
00:49:38,440 --> 00:49:42,200
Speaker 1: Let me ask you, is that you're pumping the motorcycle hands.

860
00:49:44,680 --> 00:49:46,200
Speaker 1: What are your thoughts on that song?

861
00:49:47,280 --> 00:49:49,239
Speaker 2: I mean, that song can go to hell. It's so bad.

862
00:49:49,760 --> 00:49:50,960
Speaker 1: I'm so happy you said that.

863
00:49:51,400 --> 00:49:53,200
Speaker 2: I was like, that song is trash.

864
00:49:53,920 --> 00:49:55,319
Speaker 1: God damn, I hate that song.

865
00:49:55,760 --> 00:49:58,160
Speaker 2: That is a fucking brass monkey of a song. A

866
00:49:58,400 --> 00:50:00,799
Speaker 2: song go to hell? You know what I'm talking about?

867
00:50:00,800 --> 00:50:02,840
Speaker 2: Anymore brass monkey of a song. I'm making shit up

868
00:50:02,880 --> 00:50:04,120
Speaker 2: to talk about how bad that song is.

869
00:50:05,560 --> 00:50:08,320
Speaker 1: I got it, girl, I understood the reference completely.

870
00:50:08,400 --> 00:50:08,440
Speaker 2: No.

871
00:50:08,560 --> 00:50:13,640
Speaker 1: I was like, is there a more fucking boomer nightmare

872
00:50:13,800 --> 00:50:15,120
Speaker 1: song than Born to Be Wild?

873
00:50:15,719 --> 00:50:19,719
Speaker 2: Heaven Metals Under could not be less heavy metal, could

874
00:50:19,760 --> 00:50:20,839
Speaker 2: not be less heavy metal?

875
00:50:22,239 --> 00:50:24,560
Speaker 1: Latinn do you loose?

876
00:50:26,440 --> 00:50:29,799
Speaker 2: It's bad and it's unfortunate, especially because this film has

877
00:50:29,840 --> 00:50:32,200
Speaker 2: a great soundtrack. Actually, there's a lot of good songs

878
00:50:32,239 --> 00:50:33,719
Speaker 2: in it, and that that is the one that like

879
00:50:33,960 --> 00:50:38,839
Speaker 2: outlived the rest to become the emblem of this movie

880
00:50:39,080 --> 00:50:40,640
Speaker 2: is also a travesty.

881
00:50:41,160 --> 00:50:43,520
Speaker 1: I know they should have put that fucking Jimmy Hendrick

882
00:50:43,600 --> 00:50:44,759
Speaker 1: song at the beginning.

883
00:50:44,400 --> 00:50:48,640
Speaker 2: Of that Yes, yes, very Born to Be Wild song.

884
00:50:49,600 --> 00:50:51,400
Speaker 2: They've got a fucking Grateful Dead song on it, and

885
00:50:51,400 --> 00:50:53,759
Speaker 2: they got all kinds of shit on there is great. Yeah,

886
00:50:54,440 --> 00:50:56,440
Speaker 2: but I will say about easy writer, I'm gonna give

887
00:50:56,440 --> 00:50:57,759
Speaker 2: you a one sentence and then we're gonna get into

888
00:50:57,760 --> 00:51:00,920
Speaker 2: some history. Two long Haired Hippy set out on a

889
00:51:01,040 --> 00:51:04,359
Speaker 2: road trip from Los Angeles to New Orleans, encountering all

890
00:51:04,440 --> 00:51:06,919
Speaker 2: of the beauty and madness that America has to offer

891
00:51:07,120 --> 00:51:14,240
Speaker 2: in nineteen sixty nine Perfection. So. Peter Fonda is Jane

892
00:51:14,360 --> 00:51:20,279
Speaker 2: Fonda's younger brother and Bridget Fonda's dad. He was born

893
00:51:20,320 --> 00:51:24,319
Speaker 2: in New York and his mother died by suicide when

894
00:51:24,480 --> 00:51:29,240
Speaker 2: he was ten, and I think Jane Fonda was like thirteen,

895
00:51:30,200 --> 00:51:34,360
Speaker 2: And on his eleventh birthday, Peter Fonda accidentally shot himself

896
00:51:34,440 --> 00:51:38,319
Speaker 2: in the stomach and nearly died what which I did

897
00:51:38,440 --> 00:51:40,640
Speaker 2: not know And he kind of didn't know that either.

898
00:51:41,040 --> 00:51:41,239
Speaker 1: Yeah.

899
00:51:41,280 --> 00:51:45,160
Speaker 2: I watched so many interviews, and in certain interviews he's like, yeah,

900
00:51:45,360 --> 00:51:47,239
Speaker 2: because people questioned, like, you know, it was a year

901
00:51:47,320 --> 00:51:50,480
Speaker 2: after your mother died by suicide, was in an attempt

902
00:51:50,520 --> 00:51:52,880
Speaker 2: on your life? And he said no, like if it was,

903
00:51:52,960 --> 00:51:55,080
Speaker 2: I would have done it in a much more like

904
00:51:55,719 --> 00:51:57,879
Speaker 2: I need attention kind of way, like shooting my hand

905
00:51:58,000 --> 00:52:02,560
Speaker 2: or something. He's like, this was truly an accident. Wow. Well, yeah,

906
00:52:02,600 --> 00:52:04,320
Speaker 2: I nearly died when he was eleven.

907
00:52:05,719 --> 00:52:07,560
Speaker 1: That is wild. I had no idea.

908
00:52:08,080 --> 00:52:11,160
Speaker 2: Yeah, And he was born into this, you know, dynastic

909
00:52:11,320 --> 00:52:14,720
Speaker 2: family of actors, and his father was, when he was younger,

910
00:52:14,880 --> 00:52:18,400
Speaker 2: obviously already an established actor. His sister was well on

911
00:52:18,480 --> 00:52:21,560
Speaker 2: her way to becoming much more famous and well known

912
00:52:21,600 --> 00:52:24,680
Speaker 2: than he was or would be, and he kind of

913
00:52:24,920 --> 00:52:26,680
Speaker 2: you know, I watched an interview with the AFI, the

914
00:52:26,719 --> 00:52:29,440
Speaker 2: American Film Institute from nineteen ninety nine where he was

915
00:52:29,480 --> 00:52:32,960
Speaker 2: talking about why he and Dennis Hopper and Terry Southern

916
00:52:33,000 --> 00:52:36,360
Speaker 2: wrote this movie. And I'm going to paraphrase here because

917
00:52:36,400 --> 00:52:38,320
Speaker 2: he said, you know, we had our own clothes in

918
00:52:39,160 --> 00:52:40,960
Speaker 2: the nineteen sixties, Like we had our own clothes, we

919
00:52:41,000 --> 00:52:43,080
Speaker 2: had our own music, we had our own art, we

920
00:52:43,160 --> 00:52:46,440
Speaker 2: had our own poetry, our own books, our own lifestyle,

921
00:52:46,800 --> 00:52:50,400
Speaker 2: but we did not have our own movie. So they

922
00:52:50,560 --> 00:52:53,120
Speaker 2: basically were trying to talk to an audience that had

923
00:52:53,200 --> 00:52:56,160
Speaker 2: never been addressed. And Dennis Hopper in that same interview

924
00:52:56,239 --> 00:52:59,040
Speaker 2: said they made all of their money back in one

925
00:52:59,160 --> 00:53:01,759
Speaker 2: theater in New York in one week, so it was

926
00:53:01,800 --> 00:53:06,560
Speaker 2: a good you know, a good experiment for them. It

927
00:53:06,680 --> 00:53:09,960
Speaker 2: paid off well. But they saw something in looking at

928
00:53:10,000 --> 00:53:13,080
Speaker 2: the counterculture of America that was so prescient and so

929
00:53:13,640 --> 00:53:16,800
Speaker 2: prevalent in their lives that wasn't being addressed in a

930
00:53:16,840 --> 00:53:19,440
Speaker 2: way that they thought was was honest or real. So

931
00:53:19,560 --> 00:53:21,880
Speaker 2: they that's what they set set out to do with

932
00:53:22,000 --> 00:53:23,239
Speaker 2: this film. Yeah.

933
00:53:23,680 --> 00:53:26,000
Speaker 1: Yeah, I have to say, like if you think about

934
00:53:26,160 --> 00:53:28,719
Speaker 1: the I mean, god, this was such an an era

935
00:53:29,080 --> 00:53:33,759
Speaker 1: for like corny, acid Hollywood movies that came out like

936
00:53:34,280 --> 00:53:37,919
Speaker 1: during this time, like Hollywood just trying to like get

937
00:53:38,040 --> 00:53:41,080
Speaker 1: into the counterculture some and then there was just like

938
00:53:41,239 --> 00:53:45,640
Speaker 1: Jackie Gleeson is accidentally on LSD and you know, like

939
00:53:47,200 --> 00:53:51,879
Speaker 1: you think about like just this idea of like these

940
00:53:52,360 --> 00:53:57,320
Speaker 1: overbloated Hollywood movies, and then this comes in like a

941
00:53:57,440 --> 00:53:59,239
Speaker 1: fucking gunshot.

942
00:53:58,960 --> 00:54:02,560
Speaker 2: Like absolutely, and he is. And he had his own

943
00:54:02,719 --> 00:54:07,760
Speaker 2: experience with that through a certain director named Roger Corman,

944
00:54:08,520 --> 00:54:13,520
Speaker 2: that's right, in nineteen sixty seven. In nineteen sixty seven,

945
00:54:13,640 --> 00:54:18,680
Speaker 2: Roger Corman directed a movie called The Trip from and

946
00:54:18,800 --> 00:54:21,520
Speaker 2: I quote from this is from the Guardian obituary for

947
00:54:22,080 --> 00:54:25,200
Speaker 2: Peter Fonda from an up and coming actor Jack Nicholson.

948
00:54:25,320 --> 00:54:27,560
Speaker 2: So Jack Nicholson wrote a script called The Trip that

949
00:54:27,719 --> 00:54:32,960
Speaker 2: Roger Corman directed alongside Bruce Den, Dennis Hopper, and Susan Strasberg.

950
00:54:33,600 --> 00:54:38,120
Speaker 2: Mister Fonda starred as a mild mannered television commercial director

951
00:54:38,160 --> 00:54:41,080
Speaker 2: who uses LSD for the first time and makes the

952
00:54:41,200 --> 00:54:43,840
Speaker 2: most of it. So this came out two years before

953
00:54:44,320 --> 00:54:44,839
Speaker 2: Easy Writer.

954
00:54:45,520 --> 00:54:47,439
Speaker 1: Right, Yeah, that's a wild movie.

955
00:54:48,080 --> 00:54:50,160
Speaker 2: I've never seen I want to see it. After reading this,

956
00:54:50,280 --> 00:54:52,040
Speaker 2: I've never seen it, but I was like, again, Roger

957
00:54:52,120 --> 00:54:56,040
Speaker 2: Corman connection. Jack Nicholson wrote it like it was very countercultural,

958
00:54:56,239 --> 00:54:58,440
Speaker 2: but from that perspective that you just talked about, which is,

959
00:54:59,280 --> 00:55:01,439
Speaker 2: you know, is an a weird that this corny older

960
00:55:01,480 --> 00:55:03,160
Speaker 2: guy is trying drugs for the first time?

961
00:55:03,880 --> 00:55:06,200
Speaker 1: Yeah? Yeah, Well, and like that's the thing is that

962
00:55:06,400 --> 00:55:09,760
Speaker 1: like all of those movies, like anything that was involving

963
00:55:10,000 --> 00:55:12,279
Speaker 1: because you think about like you know, and that's part

964
00:55:12,320 --> 00:55:14,520
Speaker 1: of I think what the box set, the Criterion box

965
00:55:14,600 --> 00:55:18,160
Speaker 1: at the BBS box set is about is that they

966
00:55:18,280 --> 00:55:20,920
Speaker 1: were the people that came in and just blew like

967
00:55:21,960 --> 00:55:25,759
Speaker 1: a puff of fresh air into all this Hollywood bullshit, right,

968
00:55:26,200 --> 00:55:30,239
Speaker 1: like Jack Nicholson, Peter Fond of Dennis Hopper, you know,

969
00:55:32,040 --> 00:55:35,400
Speaker 1: these directors like Bogdanovich and like, you know, anybody that

970
00:55:35,560 --> 00:55:37,279
Speaker 1: was kind of associated with this whole crew. I mean

971
00:55:37,280 --> 00:55:38,960
Speaker 1: they were kind of like making all these movies that

972
00:55:39,040 --> 00:55:44,600
Speaker 1: were like not you know, whatever the Carol Channing you know,

973
00:55:44,800 --> 00:55:46,960
Speaker 1: on acid Movie or whatever. You know, they were like

974
00:55:47,160 --> 00:55:51,160
Speaker 1: doing the actual shit that was happening in the counterculture.

975
00:55:51,760 --> 00:55:54,120
Speaker 1: And that's yeah, I mean, this is like the daddy

976
00:55:54,160 --> 00:55:54,600
Speaker 1: of the mall.

977
00:55:54,800 --> 00:55:59,759
Speaker 2: This movie absolutely absolutely and it's I think that I

978
00:56:00,040 --> 00:56:01,480
Speaker 2: don't know when the first time was that you encountered

979
00:56:01,520 --> 00:56:03,239
Speaker 2: this film, but I didn't watch it as a younger person.

980
00:56:03,280 --> 00:56:04,960
Speaker 2: I watched it for the first time in my twenties

981
00:56:05,480 --> 00:56:07,719
Speaker 2: because I always felt like it had this vibe of like,

982
00:56:08,200 --> 00:56:09,920
Speaker 2: isn't it like it kind of had this vibe of

983
00:56:10,000 --> 00:56:12,799
Speaker 2: like the parody of what the nineteen sixties became, which

984
00:56:12,840 --> 00:56:14,680
Speaker 2: is like, isn't it just so cool to like drow

985
00:56:14,800 --> 00:56:19,359
Speaker 2: fucking acid man. Yeah. So I didn't see it much

986
00:56:19,600 --> 00:56:21,520
Speaker 2: until much later in my life, but when I did,

987
00:56:21,600 --> 00:56:24,920
Speaker 2: I finally realized, much like when we were talking about Omily, Oh,

988
00:56:25,040 --> 00:56:27,319
Speaker 2: this is where all of those stereotypes were born. It's

989
00:56:27,360 --> 00:56:29,960
Speaker 2: like from things like this that were actually very earnest

990
00:56:30,080 --> 00:56:33,160
Speaker 2: and explicit in their attempt to explain something real.

991
00:56:33,920 --> 00:56:38,000
Speaker 1: Yeah, oh yeah, I mean it totally became probably became

992
00:56:38,120 --> 00:56:40,879
Speaker 1: something that they would have hated. And at a certain

993
00:56:40,920 --> 00:56:45,360
Speaker 1: point as it became just like this, you know, they

994
00:56:45,400 --> 00:56:48,520
Speaker 1: were like the nirvana of counterculture movies or something that

995
00:56:48,719 --> 00:56:50,640
Speaker 1: just got too big and then it was like, now

996
00:56:50,760 --> 00:56:53,400
Speaker 1: everything needs to be easy writer, Like we got to

997
00:56:53,440 --> 00:56:55,640
Speaker 1: make the new easy Writer, guys, and you're just like,

998
00:56:55,719 --> 00:56:58,040
Speaker 1: oh my god, you know, and then it just yeah, and.

999
00:56:58,080 --> 00:56:59,200
Speaker 2: It can't be replicated.

1000
00:56:59,760 --> 00:57:01,640
Speaker 1: Yeah, And that's why we hate Born to Be Wild

1001
00:57:02,000 --> 00:57:04,920
Speaker 1: because of this, the shit that happened after you know,

1002
00:57:05,080 --> 00:57:06,120
Speaker 1: this movie became.

1003
00:57:06,400 --> 00:57:09,680
Speaker 2: So popular and in a weird way, maybe enforcing this,

1004
00:57:09,800 --> 00:57:11,440
Speaker 2: but in a weird way, I think this ties back

1005
00:57:11,440 --> 00:57:13,600
Speaker 2: to what we were talking about in the beginning, the

1006
00:57:13,719 --> 00:57:16,120
Speaker 2: Born to Be Wild of it and the motorcycle, like

1007
00:57:16,200 --> 00:57:18,560
Speaker 2: with the American flag on it. That's what made all

1008
00:57:18,600 --> 00:57:24,080
Speaker 2: of your granddads, who were like accountants in Ohio get motorcycles.

1009
00:57:24,320 --> 00:57:28,160
Speaker 2: They weren't weird, they wanted to be cool, so they

1010
00:57:28,200 --> 00:57:30,680
Speaker 2: went and bought motorcycles because of this fucking movie and

1011
00:57:30,720 --> 00:57:35,480
Speaker 2: this fucking song. Yeah, and they fucked with the definition

1012
00:57:35,560 --> 00:57:37,240
Speaker 2: of what it was to be an outlaw and to

1013
00:57:37,320 --> 00:57:40,080
Speaker 2: be weird and to be a biker and all that shit. Yeah,

1014
00:57:40,200 --> 00:57:43,640
Speaker 2: so where we get these like weekend biker things from. Yeah,

1015
00:57:43,800 --> 00:57:46,400
Speaker 2: I don't need the bikers coming after me. I'm just saying, listen,

1016
00:57:46,480 --> 00:57:48,760
Speaker 2: we love you bikers. I love a biker.

1017
00:57:48,800 --> 00:57:51,440
Speaker 1: I'm just saying, never say anything bad about a biker.

1018
00:57:51,560 --> 00:57:54,479
Speaker 2: So the movie so again, like this movie just kind

1019
00:57:54,520 --> 00:57:59,760
Speaker 2: of reminded me in this rewatch that there is something

1020
00:58:00,760 --> 00:58:03,160
Speaker 2: that happens that then people try to capitalize on, and

1021
00:58:03,280 --> 00:58:05,720
Speaker 2: that's what ruins it. It's not the original thing that

1022
00:58:05,880 --> 00:58:10,120
Speaker 2: ruins it. Yeah, So I'm kind of happy to always

1023
00:58:10,800 --> 00:58:13,480
Speaker 2: go back and revisit these films and kind of realize, oh,

1024
00:58:13,560 --> 00:58:16,800
Speaker 2: this wasn't the parody that it became. In certain ways,

1025
00:58:17,120 --> 00:58:22,040
Speaker 2: it actually was saying something real, and I kind of

1026
00:58:23,800 --> 00:58:25,560
Speaker 2: it kind of moved for me out of this like

1027
00:58:25,840 --> 00:58:29,320
Speaker 2: dude bro space and into something that was more of

1028
00:58:29,400 --> 00:58:31,840
Speaker 2: a conversation about America and what it has been and

1029
00:58:31,920 --> 00:58:35,720
Speaker 2: what it has become. Yeah, so I thought that was

1030
00:58:35,800 --> 00:58:38,240
Speaker 2: kind of fascinating as well, Like they were very they

1031
00:58:38,280 --> 00:58:41,480
Speaker 2: had a real eye on and I think there's even

1032
00:58:41,520 --> 00:58:43,960
Speaker 2: a point where Peter Fonda's character says in the movie like,

1033
00:58:44,040 --> 00:58:47,040
Speaker 2: if we don't look at who we are, we're going

1034
00:58:47,120 --> 00:58:50,280
Speaker 2: to kind of ruin the American experiment, Like we're going

1035
00:58:50,360 --> 00:58:53,720
Speaker 2: to ruin America. Yeah, So to look at a point

1036
00:58:53,960 --> 00:58:55,640
Speaker 2: look to look at this movie from the point of

1037
00:58:55,680 --> 00:58:58,400
Speaker 2: view of like, oh, the counterculture that was trying to

1038
00:58:58,520 --> 00:59:01,120
Speaker 2: save America from itself was very interesting to me.

1039
00:59:01,880 --> 00:59:08,880
Speaker 1: Yeah. Yeah, I I completely I have gone through so

1040
00:59:09,040 --> 00:59:12,440
Speaker 1: many iterations of feelings about this movie because when I

1041
00:59:12,520 --> 00:59:14,480
Speaker 1: first saw it, you know, I saw it much later

1042
00:59:14,560 --> 00:59:18,640
Speaker 1: in life, right, maybe college, maybe twenty five or something,

1043
00:59:19,320 --> 00:59:21,120
Speaker 1: and it was like this movie that I knew was

1044
00:59:21,160 --> 00:59:24,520
Speaker 1: such a landmark film. And then when I watched it,

1045
00:59:24,600 --> 00:59:27,480
Speaker 1: I was like, just seems kind of corny, I don't know,

1046
00:59:27,640 --> 00:59:31,360
Speaker 1: kind of like dad stuff. And then I watched it

1047
00:59:31,480 --> 00:59:34,919
Speaker 1: again at a certain point, like in grad school or something.

1048
00:59:34,960 --> 00:59:38,680
Speaker 1: I don't know, but it was like a different feeling.

1049
00:59:38,840 --> 00:59:41,680
Speaker 1: And then this time I watched it and I just

1050
00:59:41,760 --> 00:59:43,920
Speaker 1: hadn't like the same thing that you've just said, Like,

1051
00:59:44,000 --> 00:59:47,120
Speaker 1: I just was like, oh, it's really kind of making

1052
00:59:47,520 --> 00:59:53,160
Speaker 1: a big statement about America and about freedom and personal

1053
00:59:53,240 --> 00:59:57,040
Speaker 1: freedom and being you know, different than the kind of

1054
00:59:57,040 --> 00:59:59,800
Speaker 1: status quote type of stuff, which is I think the

1055
01:00:00,000 --> 01:00:01,600
Speaker 1: original point of the film, and I was like, oh,

1056
01:00:01,640 --> 01:00:03,320
Speaker 1: I finally it finally dug me long enough. I finally

1057
01:00:03,400 --> 01:00:03,600
Speaker 1: got it.

1058
01:00:04,200 --> 01:00:06,040
Speaker 2: I finally got it. Maybe it's because I didn't do

1059
01:00:06,080 --> 01:00:09,560
Speaker 2: acid before that. Yeah, maybe it because I've never done acid,

1060
01:00:09,600 --> 01:00:12,760
Speaker 2: I didn't get it, but yeah, definitely. I'm it's interesting

1061
01:00:12,800 --> 01:00:14,000
Speaker 2: to me. I'm glad it hit you in the same

1062
01:00:14,000 --> 01:00:16,240
Speaker 2: way this time, because I was thinking, like, where have

1063
01:00:16,320 --> 01:00:17,960
Speaker 2: I been? Why did I miss all of this? But

1064
01:00:18,800 --> 01:00:21,080
Speaker 2: I got so caught up in the cultural conversation about

1065
01:00:21,080 --> 01:00:22,600
Speaker 2: it that I really never saw the movie for what

1066
01:00:22,720 --> 01:00:25,160
Speaker 2: it actually was. So I'm glad to have a rewatch.

1067
01:00:25,680 --> 01:00:30,280
Speaker 1: And I think because the ball has been pushed so

1068
01:00:31,320 --> 01:00:34,280
Speaker 1: further downfield now than it was when we were in college,

1069
01:00:34,840 --> 01:00:37,240
Speaker 1: right like when we were in college, like it was,

1070
01:00:37,520 --> 01:00:40,520
Speaker 1: you know, I think culturally there was a lot of

1071
01:00:40,600 --> 01:00:44,400
Speaker 1: people my age in college that were still kind of

1072
01:00:44,440 --> 01:00:46,880
Speaker 1: obsessed with like sixties and seventies stuff. So maybe it

1073
01:00:46,960 --> 01:00:50,000
Speaker 1: was just more I don't know, just more kind of

1074
01:00:50,360 --> 01:00:53,040
Speaker 1: on the brain for certain people. But then I feel like, now,

1075
01:00:54,080 --> 01:00:56,280
Speaker 1: I mean, what do kids think of Busy Writer? Is

1076
01:00:56,320 --> 01:00:57,840
Speaker 1: it like fucking Mozart to them?

1077
01:00:57,920 --> 01:00:58,800
Speaker 2: Is it so old?

1078
01:00:59,160 --> 01:01:04,520
Speaker 1: So they're like, what is this artifact. Is it fucking Mozart?

1079
01:01:07,240 --> 01:01:08,360
Speaker 2: Guys have harpsichord?

1080
01:01:08,480 --> 01:01:14,560
Speaker 1: The fuck? This is from a cave. I don't know where.

1081
01:01:14,600 --> 01:01:19,280
Speaker 1: This is his ancient history. So it's another Yeah. I mean,

1082
01:01:19,360 --> 01:01:22,520
Speaker 1: it's another reason to watch movies over again different times.

1083
01:01:23,680 --> 01:01:25,200
Speaker 2: And this one is a great one to rewatch. I

1084
01:01:25,200 --> 01:01:29,120
Speaker 2: gotta say that we've got a stunning cast of characters.

1085
01:01:29,520 --> 01:01:33,479
Speaker 2: Peter Fonda plays Wyatt, Dennis Hopper is Billy. A bunch

1086
01:01:33,560 --> 01:01:36,320
Speaker 2: of people float into and out of their lives in

1087
01:01:36,440 --> 01:01:39,240
Speaker 2: this film, including but not limited to, Karen Black and

1088
01:01:39,400 --> 01:01:44,440
Speaker 2: Tony Basil and Jack Nicholson, but it's really about Billy

1089
01:01:44,520 --> 01:01:48,520
Speaker 2: and Wyatt, and they are on this fucking road trip

1090
01:01:48,880 --> 01:01:51,560
Speaker 2: from LA And I will say that Billy, the Dennis

1091
01:01:51,600 --> 01:01:54,480
Speaker 2: Hopper character, is a bit more high strung. Even though

1092
01:01:54,520 --> 01:01:56,720
Speaker 2: he's rocked out of his Gordon nine times out of ten,

1093
01:01:57,080 --> 01:01:59,840
Speaker 2: he's still very high strung about it, whereas Wyatt is

1094
01:01:59,880 --> 01:02:02,600
Speaker 2: a more gentle and peaceful approach to life. And he's

1095
01:02:02,840 --> 01:02:06,040
Speaker 2: kind of in the the Captain America garb of like

1096
01:02:06,120 --> 01:02:10,240
Speaker 2: you know, the American flag gas tank and the American

1097
01:02:10,280 --> 01:02:14,160
Speaker 2: flag jacket, and like he's really out there kind of

1098
01:02:15,040 --> 01:02:18,520
Speaker 2: with his long hair and his cool glasses, like promoting

1099
01:02:18,920 --> 01:02:21,920
Speaker 2: this notion that he too is America, like that kind

1100
01:02:21,960 --> 01:02:25,360
Speaker 2: of idea. Then this movie starts with a very messy

1101
01:02:25,400 --> 01:02:28,280
Speaker 2: coke deal. Messy because like they I've never done coke,

1102
01:02:28,360 --> 01:02:29,720
Speaker 2: but like it was all over their faces and I

1103
01:02:29,760 --> 01:02:32,360
Speaker 2: don't think that's how you're supposed to do it, like

1104
01:02:32,440 --> 01:02:33,520
Speaker 2: you're in the mustache.

1105
01:02:34,040 --> 01:02:36,000
Speaker 1: These two movies also deal with coke.

1106
01:02:36,440 --> 01:02:38,600
Speaker 2: Yeah, maybe that could have been a theme, like learn

1107
01:02:38,640 --> 01:02:39,960
Speaker 2: how to do clo and I' kidding.

1108
01:02:40,440 --> 01:02:42,080
Speaker 1: Coke deals across America.

1109
01:02:43,840 --> 01:02:45,160
Speaker 2: And then they, you know, they kind of do this

1110
01:02:45,320 --> 01:02:47,600
Speaker 2: deal and then they put their money in a plastic

1111
01:02:47,760 --> 01:02:50,360
Speaker 2: tube with a cork in it, and then they put

1112
01:02:50,440 --> 01:02:53,480
Speaker 2: the plastic tube in the gas tank for in Wyatt's

1113
01:02:53,520 --> 01:02:55,680
Speaker 2: bike and they're headed for Marti Gras. But that's like

1114
01:02:55,760 --> 01:02:57,320
Speaker 2: all their money, all their shit that they have to

1115
01:02:57,400 --> 01:02:59,800
Speaker 2: live on. And so when they pick up a hitchhiker,

1116
01:03:00,080 --> 01:03:03,120
Speaker 2: Billy is really high strung about it. You know, he's like,

1117
01:03:03,200 --> 01:03:05,080
Speaker 2: you know, that guy could he's filling up our gas tank.

1118
01:03:05,120 --> 01:03:09,000
Speaker 2: He could see our fucking life livelihood while we're on

1119
01:03:09,080 --> 01:03:11,560
Speaker 2: the road and just take it. And of course why

1120
01:03:11,600 --> 01:03:13,680
Speaker 2: it's like chill that man. Chill like it's gonna be fine,

1121
01:03:13,880 --> 01:03:15,800
Speaker 2: and I will I will say at this point that

1122
01:03:17,200 --> 01:03:20,640
Speaker 2: nineteen sixty nine Peter Fonda, I would have let him

1123
01:03:20,680 --> 01:03:21,919
Speaker 2: ruin my life for a few years.

1124
01:03:22,440 --> 01:03:27,160
Speaker 1: Ah, you know, I didn't want to necessarily ask. I

1125
01:03:27,240 --> 01:03:28,720
Speaker 1: mean the back of my mind, I was like, should

1126
01:03:28,760 --> 01:03:29,160
Speaker 1: I ask?

1127
01:03:30,720 --> 01:03:33,320
Speaker 2: But yeah, my type, I let that man ruin my

1128
01:03:33,440 --> 01:03:34,120
Speaker 2: fucking life.

1129
01:03:34,480 --> 01:03:36,680
Speaker 1: That's a high ass dude, a high.

1130
01:03:37,200 --> 01:03:40,560
Speaker 2: He was like six too. He's a high ass gentleman and.

1131
01:03:40,760 --> 01:03:43,360
Speaker 1: High, like literally high, Like did you realize that he

1132
01:03:43,520 --> 01:03:47,800
Speaker 1: was that high? Like I watched this special feature where

1133
01:03:47,920 --> 01:03:53,440
Speaker 1: they're talking about the scene where they're it's like Billy

1134
01:03:54,080 --> 01:04:00,640
Speaker 1: Wyatt and the lucas Que character. I guess, yeah, guy,

1135
01:04:01,080 --> 01:04:05,440
Speaker 1: that is the commune hippie commune guy and they're sitting

1136
01:04:05,440 --> 01:04:09,959
Speaker 1: around the fire. Apparently Peter Fonder was so high during

1137
01:04:10,040 --> 01:04:12,080
Speaker 1: that saying that he was like freaking the fuck out.

1138
01:04:14,800 --> 01:04:21,720
Speaker 1: I was like, cool, I believe it. That's not fake weed.

1139
01:04:21,800 --> 01:04:25,840
Speaker 2: On set Nope, and several interviews he even said like, yeah,

1140
01:04:25,880 --> 01:04:28,560
Speaker 2: Pot's been the constant in my life, like of all

1141
01:04:28,680 --> 01:04:30,800
Speaker 2: the things like pots, yeah, pretty much stated with me

1142
01:04:31,520 --> 01:04:33,960
Speaker 2: and this character, this lucas Q, you kind of no

1143
01:04:34,080 --> 01:04:36,720
Speaker 2: name hitchhiker character is wild because he does live on

1144
01:04:36,800 --> 01:04:39,240
Speaker 2: a commune like they do. Eventually, you know, they kind

1145
01:04:39,280 --> 01:04:41,360
Speaker 2: of you see how they kind of stop and get

1146
01:04:41,440 --> 01:04:43,080
Speaker 2: help when they need, and get food when they need,

1147
01:04:43,160 --> 01:04:45,120
Speaker 2: and just kind of depend on the kindness of strangers

1148
01:04:45,160 --> 01:04:48,680
Speaker 2: in a way that you wouldn't expect. These kind of

1149
01:04:49,080 --> 01:04:51,560
Speaker 2: cross country bikers too, So we see them having family

1150
01:04:51,960 --> 01:04:54,320
Speaker 2: or having dinner with like this family of ranchers, and

1151
01:04:54,400 --> 01:04:56,840
Speaker 2: then you know, they kind of just work their way

1152
01:04:56,840 --> 01:04:59,960
Speaker 2: across the country like that. So when they meet this hitchhike,

1153
01:05:00,120 --> 01:05:01,520
Speaker 2: they don't know that he lives in a commune. They

1154
01:05:01,560 --> 01:05:04,120
Speaker 2: find that out when they drop them off, and there's

1155
01:05:04,160 --> 01:05:06,840
Speaker 2: like a mime troop at this fucking commune and there

1156
01:05:07,000 --> 01:05:09,120
Speaker 2: is a little bit desolate. There's these people like rolling

1157
01:05:09,160 --> 01:05:11,080
Speaker 2: the desert, like roaming the desert, kind of trying to

1158
01:05:11,120 --> 01:05:13,960
Speaker 2: plant seeds, and he's like, we had a tough winter.

1159
01:05:14,120 --> 01:05:15,720
Speaker 2: We lost a lot of people, but like this is

1160
01:05:15,760 --> 01:05:18,320
Speaker 2: who's left kind of thing, and it's just like a

1161
01:05:18,480 --> 01:05:22,240
Speaker 2: traditional commune in the sixties where it's like people were

1162
01:05:22,360 --> 01:05:24,439
Speaker 2: just trying to live in a way that made sense

1163
01:05:24,520 --> 01:05:27,320
Speaker 2: to them. And they meet these two women who are like,

1164
01:05:27,440 --> 01:05:31,560
Speaker 2: take us with you, and we don't know it's because

1165
01:05:31,960 --> 01:05:34,800
Speaker 2: they're over this commune shit or because Peter Fonda is

1166
01:05:34,840 --> 01:05:36,640
Speaker 2: super fucking hot, but they're like, take us with you,

1167
01:05:38,440 --> 01:05:41,200
Speaker 2: and they go swimming, and they kind of, you know,

1168
01:05:41,480 --> 01:05:44,800
Speaker 2: just like this is part of their life as well

1169
01:05:44,880 --> 01:05:46,680
Speaker 2: as like they will do unto others as they will

1170
01:05:46,720 --> 01:05:49,520
Speaker 2: have done unto them. So when Billy starts freaking out

1171
01:05:49,560 --> 01:05:52,600
Speaker 2: about wanting to leave this commune, why it is like, like,

1172
01:05:52,720 --> 01:05:55,400
Speaker 2: chill out, man, We're eating their food, and I'm like

1173
01:05:55,440 --> 01:05:58,200
Speaker 2: that is such a hippie gentle way of approaching life.

1174
01:05:58,280 --> 01:06:02,320
Speaker 2: Like they're feeding us. It's fine. They're having weird clandestine

1175
01:06:02,360 --> 01:06:06,240
Speaker 2: meetings about like weapons or something, and they're also feeding us.

1176
01:06:07,680 --> 01:06:09,560
Speaker 2: So they drop off these two women and they kind

1177
01:06:09,600 --> 01:06:12,680
Speaker 2: of they get arrested for parading without a permit because

1178
01:06:12,680 --> 01:06:14,800
Speaker 2: they're riding their bikes through a parade that's happening in

1179
01:06:14,840 --> 01:06:17,640
Speaker 2: this small town. But that's where we meet George Hansen.

1180
01:06:17,680 --> 01:06:20,360
Speaker 2: And George is the Jack Nicholson character, and he is

1181
01:06:20,480 --> 01:06:23,840
Speaker 2: a lawyer with the ACLU who gets them out of

1182
01:06:23,920 --> 01:06:26,440
Speaker 2: jail and then joins them on the road to New Orleans,

1183
01:06:26,760 --> 01:06:30,200
Speaker 2: and he is fucking wild. In this movie. They ask

1184
01:06:30,280 --> 01:06:32,160
Speaker 2: if he has a helmet, and he gets his old

1185
01:06:32,200 --> 01:06:36,520
Speaker 2: football helmet. Yeah, And he is really one of these

1186
01:06:36,600 --> 01:06:38,760
Speaker 2: guys who like you. He kind of reminds me of

1187
01:06:38,840 --> 01:06:41,840
Speaker 2: the kind of person who maybe because he's a lawyer,

1188
01:06:41,960 --> 01:06:44,600
Speaker 2: maybe because he works in civil rights, maybe because he

1189
01:06:44,680 --> 01:06:47,080
Speaker 2: seems to have been raised with some kind of privilege

1190
01:06:47,440 --> 01:06:50,880
Speaker 2: that he really doesn't think there are consequences to his actions.

1191
01:06:51,000 --> 01:06:53,040
Speaker 2: So even though he's in jail, he's not worried about

1192
01:06:53,080 --> 01:06:56,280
Speaker 2: it the way that Billy and Wyatt are worried about it,

1193
01:06:57,520 --> 01:07:00,160
Speaker 2: and he kind of is free in that way, like

1194
01:07:00,240 --> 01:07:01,800
Speaker 2: it makes him free, but it also makes them a

1195
01:07:01,840 --> 01:07:05,240
Speaker 2: little bit naive. And so when they stop for the

1196
01:07:05,320 --> 01:07:08,640
Speaker 2: first night, you realize that George doesn't know what marijuana

1197
01:07:08,800 --> 01:07:11,080
Speaker 2: is because they try to get him high like it.

1198
01:07:11,480 --> 01:07:13,120
Speaker 2: They show him a joint and he's like, no, it's okay.

1199
01:07:13,160 --> 01:07:15,439
Speaker 2: I bought my own, like at the gas station, thinking

1200
01:07:15,520 --> 01:07:16,280
Speaker 2: it's a cigarette.

1201
01:07:16,800 --> 01:07:17,200
Speaker 1: But he does.

1202
01:07:17,320 --> 01:07:19,320
Speaker 2: He gets high for the first time, and like fucking

1203
01:07:19,440 --> 01:07:23,280
Speaker 2: loves it. And I haven't read the book Easy Writers

1204
01:07:23,680 --> 01:07:26,919
Speaker 2: Raging Bulls in a long time, but I think there's

1205
01:07:26,960 --> 01:07:29,920
Speaker 2: some discussion of this scene in that movie, and this

1206
01:07:30,040 --> 01:07:32,040
Speaker 2: is one of the things that I think also in

1207
01:07:32,120 --> 01:07:35,760
Speaker 2: the past, has kept me from enjoying the film to

1208
01:07:35,880 --> 01:07:38,000
Speaker 2: the fullest or understanding the full message of the movie

1209
01:07:38,120 --> 01:07:41,400
Speaker 2: is like, Oh, we're just watching people get high, yay, yippie.

1210
01:07:41,800 --> 01:07:44,160
Speaker 2: So when you're looking at this scene, I think that

1211
01:07:44,680 --> 01:07:46,280
Speaker 2: this time around, it was clear to me that, oh,

1212
01:07:46,360 --> 01:07:48,840
Speaker 2: this has to set the foundation for what they all

1213
01:07:49,000 --> 01:07:51,280
Speaker 2: thought this experience was going to be. What they thought

1214
01:07:51,360 --> 01:07:53,640
Speaker 2: this trip was going to be, where they're just meeting

1215
01:07:53,760 --> 01:07:57,080
Speaker 2: like minded people in strange situations as they make their

1216
01:07:57,160 --> 01:08:03,080
Speaker 2: way to New Orleans. Yeah, and it's not since it

1217
01:08:03,200 --> 01:08:05,880
Speaker 2: ends up not really being that in a very disturbing way.

1218
01:08:06,200 --> 01:08:08,680
Speaker 2: I think you need scenes like this to not just

1219
01:08:08,720 --> 01:08:11,600
Speaker 2: punctuate that like, yes, they're having fun together, but that

1220
01:08:12,400 --> 01:08:14,320
Speaker 2: this is kind of the world that they were pushing for.

1221
01:08:14,480 --> 01:08:15,800
Speaker 2: This is kind of the peace they were pushing for.

1222
01:08:16,040 --> 01:08:17,760
Speaker 2: This is kind of the freedom that they've been pushing for,

1223
01:08:17,960 --> 01:08:20,200
Speaker 2: is that they could just be and exist in the

1224
01:08:20,240 --> 01:08:24,400
Speaker 2: world and meet people and have good experiences.

1225
01:08:25,320 --> 01:08:28,080
Speaker 1: Yeah. Jack Nicholson has the worst Southern accent I've.

1226
01:08:27,920 --> 01:08:30,160
Speaker 2: Ever heard in this absolutely absolutely terrible.

1227
01:08:30,680 --> 01:08:34,400
Speaker 1: I mean, he tried it and for that, thank you, sir,

1228
01:08:34,560 --> 01:08:39,000
Speaker 1: but it was bad. However, I think that he had

1229
01:08:39,240 --> 01:08:44,880
Speaker 1: like this, He has one of the best sequences in

1230
01:08:44,960 --> 01:08:49,320
Speaker 1: the film when they're talking about sort of the concept

1231
01:08:49,439 --> 01:08:53,120
Speaker 1: of you know, us versus them, you know, the idea

1232
01:08:53,280 --> 01:08:59,840
Speaker 1: of the reason why they're outlaws in a way, or

1233
01:08:59,920 --> 01:09:03,919
Speaker 1: they're perceived as outlaws, you know, and that whole conversation

1234
01:09:04,200 --> 01:09:07,160
Speaker 1: is is great and you know again, and I think

1235
01:09:08,280 --> 01:09:11,400
Speaker 1: it's funny because I forgot that Jack Nicholson was in

1236
01:09:11,479 --> 01:09:15,280
Speaker 1: this movie, Like I forgot, and then when he showed up,

1237
01:09:15,320 --> 01:09:18,240
Speaker 1: I was like, oh right, because he gives the best

1238
01:09:18,520 --> 01:09:23,200
Speaker 1: line of you know, the whole the poignant few lines.

1239
01:09:24,120 --> 01:09:26,000
Speaker 2: Well, one of them is when they when they three

1240
01:09:26,040 --> 01:09:27,880
Speaker 2: of them stop at this restaurant and the girls in

1241
01:09:27,920 --> 01:09:30,160
Speaker 2: the restaurant are all going crazy for these hot guys

1242
01:09:30,200 --> 01:09:33,639
Speaker 2: that have rolled in, and the men in the restaurant

1243
01:09:33,680 --> 01:09:36,680
Speaker 2: are all talking major shit about these weirdos that were

1244
01:09:36,840 --> 01:09:39,760
Speaker 2: just rolled in. And at one point, as the you

1245
01:09:39,840 --> 01:09:43,559
Speaker 2: know they right before they leave, George, a Jack Nicholson character, says,

1246
01:09:43,720 --> 01:09:46,040
Speaker 2: they're going to talk to you and talk to you

1247
01:09:46,120 --> 01:09:49,160
Speaker 2: about individual freedom, but if they see a free individual,

1248
01:09:49,240 --> 01:09:52,200
Speaker 2: it's gonna scare the shit out of them. Yeah, Like

1249
01:09:53,040 --> 01:09:55,160
Speaker 2: that could not have hit me more in this day

1250
01:09:55,200 --> 01:09:59,960
Speaker 2: and age. Oh but absolute, truely, Like they're gonna talk

1251
01:10:00,080 --> 01:10:02,000
Speaker 2: about individual freedom and what it means, but when they

1252
01:10:02,080 --> 01:10:04,720
Speaker 2: see a free person, a free individual, that's going to

1253
01:10:04,760 --> 01:10:05,640
Speaker 2: scare the shit out of them.

1254
01:10:06,720 --> 01:10:09,519
Speaker 1: And that scene that you're talking about, the diner scene,

1255
01:10:10,360 --> 01:10:17,679
Speaker 1: is terrifying to me. Like yeah, and again, I don't

1256
01:10:17,720 --> 01:10:20,040
Speaker 1: know it's because I was like raised in the South,

1257
01:10:20,080 --> 01:10:23,719
Speaker 1: but I was like, holy shit, Like I am scared

1258
01:10:23,760 --> 01:10:26,680
Speaker 1: out of my mind for these people. Like I'm just like,

1259
01:10:27,640 --> 01:10:29,720
Speaker 1: and you know, it's funny because when you watch the

1260
01:10:29,920 --> 01:10:35,759
Speaker 1: special features, you you know, you will hear Dennis Hopper

1261
01:10:36,080 --> 01:10:38,160
Speaker 1: and Peter Fonda on one of them kind of talk

1262
01:10:38,200 --> 01:10:41,360
Speaker 1: about how they set that up right, and you know,

1263
01:10:41,920 --> 01:10:45,920
Speaker 1: but these reactions were pretty much real. They were coming

1264
01:10:46,000 --> 01:10:49,880
Speaker 1: from a real place, I think, right. I don't think

1265
01:10:50,479 --> 01:10:53,360
Speaker 1: a lot of them were trained actors, if I'm not mistaken.

1266
01:10:54,479 --> 01:10:59,479
Speaker 1: And they and they were prompted to speak about the

1267
01:10:59,600 --> 01:11:02,160
Speaker 1: actor as if they had done a horrible crime, so

1268
01:11:02,320 --> 01:11:09,120
Speaker 1: they were like obviously supercharged. But I feel like there

1269
01:11:09,160 --> 01:11:11,760
Speaker 1: were some genuine feelings going on in that stand and

1270
01:11:11,800 --> 01:11:12,120
Speaker 1: I was like.

1271
01:11:12,200 --> 01:11:15,320
Speaker 2: Wow, Yeah, the ad libbing of the genuine feelings was

1272
01:11:15,360 --> 01:11:17,800
Speaker 2: also terrifying. Like, Oh, that's what you come up with

1273
01:11:18,280 --> 01:11:22,400
Speaker 2: just right off the dome. Yeah, wow, And it really

1274
01:11:22,560 --> 01:11:24,760
Speaker 2: it kind of also brought to the forefront for me,

1275
01:11:25,200 --> 01:11:28,439
Speaker 2: this notion of how do you extricate yourself from that situation.

1276
01:11:29,640 --> 01:11:31,560
Speaker 2: It's only been once or twice in my life that

1277
01:11:31,640 --> 01:11:33,920
Speaker 2: I have felt like, oh, I need to leave because

1278
01:11:34,280 --> 01:11:36,280
Speaker 2: bad things are going to happen if I stay because

1279
01:11:36,280 --> 01:11:39,760
Speaker 2: I'm black or because I'm a woman. But it's usually

1280
01:11:39,800 --> 01:11:41,839
Speaker 2: been pretty immediate, where like I'll walk into a situation

1281
01:11:41,960 --> 01:11:44,160
Speaker 2: and then leave. So if you're sitting down at a

1282
01:11:44,200 --> 01:11:46,920
Speaker 2: restaurant and people are talking and you're watching this tension

1283
01:11:47,040 --> 01:11:49,559
Speaker 2: build around you, how do you get the fuck out

1284
01:11:49,600 --> 01:11:51,600
Speaker 2: of there? And how do you save yourself or how

1285
01:11:51,640 --> 01:11:54,800
Speaker 2: do you do it safely? And they're able to do it,

1286
01:11:55,600 --> 01:11:59,320
Speaker 2: but it's a really scary scene because you're not sure

1287
01:11:59,400 --> 01:12:02,040
Speaker 2: they going to make it, and they're confronted with such

1288
01:12:02,080 --> 01:12:07,760
Speaker 2: bigotry and ignorance that you realize that the more they're

1289
01:12:07,960 --> 01:12:10,519
Speaker 2: that they they have touched upon it a little bit

1290
01:12:10,600 --> 01:12:12,439
Speaker 2: up to this point, but the more that they continue

1291
01:12:12,479 --> 01:12:15,479
Speaker 2: down this road, the more they're going to experience of this.

1292
01:12:15,840 --> 01:12:17,840
Speaker 2: And these are guys who are saying shit like wellether

1293
01:12:17,920 --> 01:12:19,000
Speaker 2: or not. I don't think they're going to make it

1294
01:12:19,040 --> 01:12:22,439
Speaker 2: to the parish line. Like they're plotting and scheming as

1295
01:12:22,560 --> 01:12:26,640
Speaker 2: they're talking about them around them. It's very terrifying. And

1296
01:12:26,760 --> 01:12:29,800
Speaker 2: as it turns out there something terrible happens, like they

1297
01:12:29,880 --> 01:12:32,040
Speaker 2: do get jumped. When they're all sitting around. They're all

1298
01:12:32,120 --> 01:12:35,800
Speaker 2: sleeping outside because you know, as we've seen in the

1299
01:12:35,880 --> 01:12:37,960
Speaker 2: film up to this point, nobody will give them a room,

1300
01:12:39,720 --> 01:12:43,200
Speaker 2: so they're all sleeping outside and camping, and George gets

1301
01:12:43,800 --> 01:12:49,000
Speaker 2: knifed essentially and beat and they kick the shit out

1302
01:12:49,000 --> 01:12:50,439
Speaker 2: of them and kill them. I don't know if I

1303
01:12:50,439 --> 01:12:53,320
Speaker 2: should ruin that or not, but I'll leave it.

1304
01:12:53,360 --> 01:12:56,479
Speaker 1: Open and listen. This is an ancient sea scroll of

1305
01:12:56,520 --> 01:13:00,679
Speaker 1: a film. According to some girl young folks.

1306
01:13:01,280 --> 01:13:06,000
Speaker 2: I just but it's that reaction to that savagery, because

1307
01:13:06,040 --> 01:13:08,639
Speaker 2: you know why, it is hurt but he's not killed,

1308
01:13:08,880 --> 01:13:11,040
Speaker 2: but he's hurt very badly, And it's the reaction to

1309
01:13:11,120 --> 01:13:13,479
Speaker 2: that savagery where one of the first things they think

1310
01:13:13,600 --> 01:13:15,200
Speaker 2: is like, what do we do here? Oh, we should

1311
01:13:15,200 --> 01:13:17,760
Speaker 2: send his stuff back to his family, Like they're still

1312
01:13:17,840 --> 01:13:22,080
Speaker 2: thinking in such a kind way after having experienced such

1313
01:13:22,120 --> 01:13:25,120
Speaker 2: abject violence. That their first thought wasn't let's save ourselves

1314
01:13:25,160 --> 01:13:27,080
Speaker 2: to get the fuck out of here, you know. But

1315
01:13:27,160 --> 01:13:29,960
Speaker 2: they do leave eventually and get to Marty Gronn. It's

1316
01:13:30,040 --> 01:13:35,200
Speaker 2: kind of a strange arrival because they've they've experienced the highs,

1317
01:13:35,360 --> 01:13:38,120
Speaker 2: the highest of highs, and lowest of lows, and now

1318
01:13:38,160 --> 01:13:42,559
Speaker 2: they're kind of they've reached this pinnacle and they've had

1319
01:13:42,640 --> 01:13:44,680
Speaker 2: a new friend. Someone who they thought was going to

1320
01:13:44,720 --> 01:13:47,400
Speaker 2: be with them for a while in their lives is

1321
01:13:47,640 --> 01:13:51,800
Speaker 2: gone simply because he was hanging out with these two

1322
01:13:52,040 --> 01:13:54,599
Speaker 2: long hair like they're The reason he's kind of dead

1323
01:13:54,720 --> 01:13:58,160
Speaker 2: is because he was in their presence right, which is

1324
01:13:58,200 --> 01:14:00,160
Speaker 2: really upset because he didn't look the part. Like he

1325
01:14:00,240 --> 01:14:02,200
Speaker 2: didn't look he didn't have long hair, he didn't look

1326
01:14:02,200 --> 01:14:03,679
Speaker 2: like a hipp He might have been a freer spirit,

1327
01:14:03,760 --> 01:14:05,320
Speaker 2: but he definitely and he kept doing this thing like

1328
01:14:05,360 --> 01:14:08,320
Speaker 2: when he drank go nicknackme, but like he just kind

1329
01:14:08,360 --> 01:14:10,559
Speaker 2: of like was a freer spirit, but he didn't look

1330
01:14:10,600 --> 01:14:14,120
Speaker 2: the part, so he wasn't He could pass culturally, so

1331
01:14:14,200 --> 01:14:16,519
Speaker 2: he wasn't in as much danger until they hooked up

1332
01:14:16,560 --> 01:14:19,080
Speaker 2: with them. So they get to New Orleans and they

1333
01:14:19,120 --> 01:14:23,040
Speaker 2: remember that the hitchhiker on the commune gave them some

1334
01:14:23,280 --> 01:14:27,479
Speaker 2: acid to be split amongst four people, so they decide

1335
01:14:27,479 --> 01:14:30,160
Speaker 2: to split it amongst these two women. They have met

1336
01:14:30,280 --> 01:14:33,799
Speaker 2: these sex workers again, Tony Basil and Karen Black, amazing,

1337
01:14:35,320 --> 01:14:39,560
Speaker 2: and they decide to drop acid in a fucking graveyard

1338
01:14:39,760 --> 01:14:43,200
Speaker 2: in New Orleans, which I would not recommend. I've never

1339
01:14:43,360 --> 01:14:45,840
Speaker 2: done that myself, but this is the trip to end

1340
01:14:45,880 --> 01:14:49,720
Speaker 2: all trips. There there are tears, there is nakedness, there

1341
01:14:49,840 --> 01:14:53,599
Speaker 2: is thrashing, there is sex, there is weeping, there is laughter.

1342
01:14:53,720 --> 01:14:56,760
Speaker 2: I mean, it is like hugging a fucking statue and

1343
01:14:56,840 --> 01:14:59,160
Speaker 2: crying about your mother. Like it makes acid look like

1344
01:14:59,240 --> 01:15:07,080
Speaker 2: the worst decision and anyone could make. Yeah, truly, why

1345
01:15:07,120 --> 01:15:09,440
Speaker 2: would anyone do this to themselves intentionally?

1346
01:15:10,600 --> 01:15:13,559
Speaker 1: I know, it was like there was definitely some demons

1347
01:15:13,640 --> 01:15:17,120
Speaker 1: being exercised in that moment. And it's shot very I mean,

1348
01:15:17,160 --> 01:15:21,640
Speaker 1: it's very psychedelic. It's a very like you know, the

1349
01:15:21,960 --> 01:15:27,240
Speaker 1: film sequence is very like you know, artistic, and it's

1350
01:15:27,280 --> 01:15:32,040
Speaker 1: kind of moving through different audio moments, and yeah, the

1351
01:15:32,200 --> 01:15:35,680
Speaker 1: cutting of the scene is so wild. But yeah, it

1352
01:15:35,720 --> 01:15:39,000
Speaker 1: makes you feel like, don't take acid in a graveyard

1353
01:15:39,080 --> 01:15:43,240
Speaker 1: during Marty Grass just be like a bad experience for you.

1354
01:15:44,680 --> 01:15:47,519
Speaker 2: Can that be if we ever release an advice book?

1355
01:15:47,520 --> 01:15:51,680
Speaker 2: Can that be the title all the bad advice you

1356
01:15:51,800 --> 01:15:52,799
Speaker 2: learned from watching films?

1357
01:15:53,560 --> 01:15:55,920
Speaker 1: Yeah, write it down.

1358
01:15:57,040 --> 01:15:59,920
Speaker 2: But it was. And it's also a cathartic scene because

1359
01:16:00,479 --> 01:16:04,080
Speaker 2: obviously why it is for sure is still processing what

1360
01:16:04,200 --> 01:16:07,519
Speaker 2: happened with George and the experiences that they've had with

1361
01:16:07,680 --> 01:16:12,599
Speaker 2: facing all of this bigotry on the road. But Billy's

1362
01:16:12,640 --> 01:16:14,200
Speaker 2: still trying to have a good time and he's that's

1363
01:16:14,280 --> 01:16:15,920
Speaker 2: kind of his mo like he's very high strung, but

1364
01:16:15,960 --> 01:16:17,679
Speaker 2: he's always trying to have a good time. So they

1365
01:16:17,760 --> 01:16:21,120
Speaker 2: do make it through this event of being high And

1366
01:16:21,240 --> 01:16:24,080
Speaker 2: I will not spoil the very very end of the movie,

1367
01:16:24,280 --> 01:16:27,800
Speaker 2: but I don't know, man, I just I really am

1368
01:16:27,880 --> 01:16:31,400
Speaker 2: always shocked by it. Yeah, me too, always shocked by

1369
01:16:31,439 --> 01:16:33,519
Speaker 2: it from the first time I saw it, and they

1370
01:16:34,120 --> 01:16:38,559
Speaker 2: it kind of drills home this point of how violence

1371
01:16:38,880 --> 01:16:42,320
Speaker 2: and bigotry can pop up anywhere and it doesn't have

1372
01:16:42,439 --> 01:16:45,559
Speaker 2: to be as forceful or in your face to be dangerous.

1373
01:16:46,360 --> 01:16:48,640
Speaker 2: But there's a real moment at the end of this

1374
01:16:48,800 --> 01:16:54,400
Speaker 2: movie where you see the embers of the American dream

1375
01:16:54,880 --> 01:16:58,640
Speaker 2: and you see the embers of Freedom Burning, and it

1376
01:16:58,920 --> 01:17:01,200
Speaker 2: is just has never hit me as hard as I

1377
01:17:01,360 --> 01:17:02,839
Speaker 2: as it did on this rewatch.

1378
01:17:03,840 --> 01:17:09,760
Speaker 1: Yeah, definitely, yeah there, Yeah, I just again I kind

1379
01:17:09,760 --> 01:17:13,080
Speaker 1: of have gone through the ringer with this movie, and

1380
01:17:13,200 --> 01:17:17,400
Speaker 1: I now I think, just as an older person, I'm

1381
01:17:17,439 --> 01:17:20,479
Speaker 1: starting to really appreciate what it did and its placed

1382
01:17:20,520 --> 01:17:23,040
Speaker 1: in kind of film history, Hollywood history, but also just

1383
01:17:23,640 --> 01:17:26,320
Speaker 1: the messages of it. It's just so weird that it

1384
01:17:26,400 --> 01:17:31,000
Speaker 1: comes back again like the Yeah, the film becomes kind

1385
01:17:31,000 --> 01:17:34,559
Speaker 1: of more important now in a weird way. And now

1386
01:17:34,720 --> 01:17:37,880
Speaker 1: all of Like I mean, the last time I saw it,

1387
01:17:38,240 --> 01:17:42,040
Speaker 1: the very first time, everybody was still alive, Like all

1388
01:17:42,080 --> 01:17:44,680
Speaker 1: the actors were pretty much still alive. So it's like,

1389
01:17:44,760 --> 01:17:47,200
Speaker 1: I don't know, now it's just a different a different thing,

1390
01:17:47,479 --> 01:17:50,040
Speaker 1: Like this movie means something different to me than it

1391
01:17:50,080 --> 01:17:52,800
Speaker 1: did when I first saw it. But one thing that

1392
01:17:52,880 --> 01:17:56,560
Speaker 1: I think is so wild. I never caught this. This

1393
01:17:56,680 --> 01:17:59,120
Speaker 1: is a first time catch for me. So there's the

1394
01:17:59,240 --> 01:18:03,040
Speaker 1: scene where at the beginning, what they're they're basically at

1395
01:18:03,080 --> 01:18:06,240
Speaker 1: the airport and they're like right underneath the airplanes doing

1396
01:18:06,280 --> 01:18:09,439
Speaker 1: a jock deal. I was like, who the fuck is that?

1397
01:18:09,600 --> 01:18:15,360
Speaker 1: Little man? Is that Roman Polansky? And then I realized

1398
01:18:15,400 --> 01:18:19,800
Speaker 1: it wasn't Roman Polanski, it was Phil Spector, and I

1399
01:18:19,920 --> 01:18:23,679
Speaker 1: was I was like, Damn, Phil Spector's in this fucking movie.

1400
01:18:25,160 --> 01:18:31,840
Speaker 2: Phil Spector pre terrorizing Ronnie, pre terrorizing and murdering someone

1401
01:18:31,960 --> 01:18:36,000
Speaker 2: straight up. Yeah, pre weird car accident like he was

1402
01:18:36,160 --> 01:18:36,960
Speaker 2: just born a creep.

1403
01:18:38,439 --> 01:18:43,640
Speaker 1: Yeah, just a strange little footnote that he and I

1404
01:18:43,800 --> 01:18:46,000
Speaker 1: was like, I guess I get him. In Roman, they're

1405
01:18:46,000 --> 01:18:47,960
Speaker 1: both like little hippie.

1406
01:18:47,720 --> 01:18:52,479
Speaker 2: Dudes, a little mousey hippie guys, both who have committed

1407
01:18:52,880 --> 01:18:55,439
Speaker 2: it's astounding human atrocities.

1408
01:18:56,120 --> 01:19:01,360
Speaker 1: Right exactly. But yeah, no, it's it's a it's a

1409
01:19:01,479 --> 01:19:03,680
Speaker 1: it's a good movie. And I will say too if

1410
01:19:03,720 --> 01:19:07,320
Speaker 1: you're like on the fence, like if you've never seen

1411
01:19:07,400 --> 01:19:09,920
Speaker 1: it and you're like, uh, okay, Boomer, no, I won't

1412
01:19:09,920 --> 01:19:13,240
Speaker 1: watch that movie. Watch it. I think it is surprisingly

1413
01:19:14,439 --> 01:19:17,760
Speaker 1: like it moves past that hype. And again maybe it's

1414
01:19:17,760 --> 01:19:21,280
Speaker 1: just because of me now, but for me, I think

1415
01:19:21,360 --> 01:19:24,040
Speaker 1: it moves past the hype, it moves past the fucking

1416
01:19:24,240 --> 01:19:27,840
Speaker 1: born to be wildness of it and is a great film,

1417
01:19:28,120 --> 01:19:29,080
Speaker 1: great American film.

1418
01:19:29,400 --> 01:19:32,040
Speaker 2: Absolutely could not agree more. Yeah, it was weird, it

1419
01:19:32,120 --> 01:19:33,640
Speaker 2: was weird for me to pick it. But but it

1420
01:19:33,760 --> 01:19:37,040
Speaker 2: was such the quintessential yeah road trip movie that I

1421
01:19:37,080 --> 01:19:39,479
Speaker 2: felt like I had, like I wanted to, like I

1422
01:19:39,520 --> 01:19:42,120
Speaker 2: didn't want to. I couldn't see this fitting in better

1423
01:19:42,200 --> 01:19:45,880
Speaker 2: in any other theme. Yeah, and yeah, it's worth giving

1424
01:19:45,880 --> 01:19:47,479
Speaker 2: It's worth giving it a shot for all the reasons

1425
01:19:47,479 --> 01:19:49,960
Speaker 2: that Milly just laid out, and also just it's it's

1426
01:19:50,880 --> 01:19:53,519
Speaker 2: it's the high ass Peter Fonda at his best.

1427
01:19:55,040 --> 01:19:58,040
Speaker 1: So you're so, you're saying in the in the the

1428
01:19:58,200 --> 01:20:03,639
Speaker 1: theme question, you choose ass and not gas grass day.

1429
01:20:04,080 --> 01:20:06,439
Speaker 2: I can get my own grass. I can get my

1430
01:20:06,520 --> 01:20:10,439
Speaker 2: own gas. I cannot get my own high ass.

1431
01:20:11,520 --> 01:20:15,320
Speaker 1: Get that Peter fond of ass, and you'll be good.

1432
01:20:15,680 --> 01:20:19,120
Speaker 2: I'm apologizing to any of his grandchildren that could be listening, or.

1433
01:20:21,200 --> 01:20:23,040
Speaker 1: Any of Jane is going to be a live forever

1434
01:20:23,240 --> 01:20:26,080
Speaker 1: knock on Wood. Sorry Jane this episode.

1435
01:20:26,560 --> 01:20:30,360
Speaker 2: Sorry for your sister listening. But I would have destroyed

1436
01:20:30,560 --> 01:20:40,759
Speaker 2: his dick, destroy his dick, destroyed his dick. True, aye, child,

1437
01:20:41,680 --> 01:20:46,040
Speaker 2: I was both to destroy his dick. I'm loopy. I

1438
01:20:46,080 --> 01:20:47,360
Speaker 2: don't even know what I'm doing at this point.

1439
01:20:47,720 --> 01:20:51,960
Speaker 1: My talking your god, listen, this was so much fun.

1440
01:20:52,000 --> 01:20:56,840
Speaker 1: I'm so glad we did this episode. If you want

1441
01:20:56,880 --> 01:20:58,840
Speaker 1: to email us. We are at I Saw What You

1442
01:20:58,880 --> 01:21:01,200
Speaker 1: Did put at gmail dot com. Send us questions for

1443
01:21:01,280 --> 01:21:04,559
Speaker 1: bonus episodes. Of course, we also have a po box

1444
01:21:04,680 --> 01:21:07,280
Speaker 1: two if you want to send us handwritten letters. It

1445
01:21:07,400 --> 01:21:11,240
Speaker 1: is on the link tree on our social.

1446
01:21:11,040 --> 01:21:14,519
Speaker 2: Media And we are getting such great voicemails from you all.

1447
01:21:14,680 --> 01:21:16,920
Speaker 2: Thank you so much. Please keep sending them. We will

1448
01:21:16,960 --> 01:21:18,519
Speaker 2: play them on the show. All you have to do

1449
01:21:18,680 --> 01:21:21,160
Speaker 2: is record a voice memo on your phone and email

1450
01:21:21,240 --> 01:21:23,439
Speaker 2: it to I Saw what you Did pod at gmail

1451
01:21:23,479 --> 01:21:26,160
Speaker 2: dot com. Make it sixty seconds or less, and please

1452
01:21:26,240 --> 01:21:27,400
Speaker 2: record it in a quiet space.

1453
01:21:28,439 --> 01:21:33,160
Speaker 1: That's right. Find us on socials. I saw pod on Instagram,

1454
01:21:33,240 --> 01:21:36,640
Speaker 1: Twitter and Blue Sky and we have merch go to

1455
01:21:36,880 --> 01:21:40,080
Speaker 1: the exactly right shop to find our things.

1456
01:21:41,120 --> 01:21:43,439
Speaker 2: And we have bonus episodes too. We have a new

1457
01:21:43,479 --> 01:21:47,120
Speaker 2: bonus episode dropping on the main feed every third Thursday

1458
01:21:47,320 --> 01:21:51,599
Speaker 2: of the month, which I believe is this week. Plus

1459
01:21:51,680 --> 01:21:54,360
Speaker 2: we have old bonus episodes trickling out onto the main

1460
01:21:54,439 --> 01:21:56,680
Speaker 2: feed every couple of weeks on Wednesdays.

1461
01:21:58,760 --> 01:22:01,479
Speaker 1: All Right, just started laughing because I looked at the

1462
01:22:01,880 --> 01:22:05,680
Speaker 1: name of next week's episode. Ah, do you want to

1463
01:22:05,680 --> 01:22:08,280
Speaker 1: give them the movies? A?

1464
01:22:10,479 --> 01:22:13,759
Speaker 2: I absolutely do, and I can't believe we set ourselves

1465
01:22:13,840 --> 01:22:16,759
Speaker 2: up for this double feature, but here we are because

1466
01:22:16,800 --> 01:22:20,519
Speaker 2: our movies next week are Seven from nineteen ninety five

1467
01:22:21,320 --> 01:22:25,280
Speaker 2: and finally No Country for Old Men from two thousand

1468
01:22:25,280 --> 01:22:25,679
Speaker 2: and seven.

1469
01:22:26,640 --> 01:22:31,080
Speaker 1: Listen, I could not be more excited to rewatch seven.

1470
01:22:31,439 --> 01:22:35,080
Speaker 1: I have not seen that shit since I was in

1471
01:22:35,200 --> 01:22:40,320
Speaker 1: the Seven Deadly Monkeys, I think, and I am so excited.

1472
01:22:40,400 --> 01:22:42,040
Speaker 1: Oh my god, I cannot wait for next week.

1473
01:22:42,320 --> 01:22:44,720
Speaker 2: You know I love a seven Deadly Monkeys call back

1474
01:22:45,640 --> 01:22:48,000
Speaker 2: for that alone. I'm excited for the movies next week.

1475
01:22:49,040 --> 01:22:53,719
Speaker 1: God speaking of high school, well ah as always, Danielle,

1476
01:22:53,800 --> 01:22:54,839
Speaker 1: a fucking pleasure.

1477
01:22:56,040 --> 01:22:57,560
Speaker 2: I loved it. I love it.

1478
01:22:59,080 --> 01:22:59,400
Speaker 1: Bye.

1479
01:23:06,880 --> 01:23:09,919
Speaker 2: This has been an exactly right production. Produced by Casey O'Brien,

1480
01:23:10,240 --> 01:23:13,760
Speaker 2: Episode mixing and theme music by Tom Bryfogel, artwork by

1481
01:23:13,800 --> 01:23:17,799
Speaker 2: Garrett Ross. Our executive producers are Georgia Hartstart, Karen tile Garriff,

1482
01:23:17,840 --> 01:23:20,519
Speaker 2: and Daniel Kramer. You can follow us on Instagram and

1483
01:23:20,640 --> 01:23:23,439
Speaker 2: Twitter at I Saw Pod, and you can email us

1484
01:23:23,520 --> 01:23:25,599
Speaker 2: at I Saw What You Did Pod at gmail