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Speaker 1: Hello, everyone, Welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho, I'm Daniel Henderson,

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Speaker 1: and we are here again with you today on this

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Speaker 1: lovely day to talk movies. What's up?

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Speaker 2: Oh, not much, kind of a low week energy wise.

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Speaker 2: I've just been really tired this week. But I've also

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Speaker 2: been watching a lot of TV.

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Speaker 1: Yeah, so I have two. I actually just had a birthday.

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Speaker 1: I have to throw that out there.

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Speaker 2: You sure did.

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Speaker 1: Yeah, So this week was I actually went out of town.

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Speaker 1: I finally did something for my birthday because remember, like

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Speaker 1: the past couple of years have been COVID, and I

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Speaker 1: have done.

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Speaker 2: Something for your birthday on your birthday, not like a

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Speaker 2: month later or three months later.

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Speaker 1: Yeah. Well it was so fun. I was like talking

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Speaker 1: to my mom and dad the other night. And so

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Speaker 1: my birthday is in March, obviously, and I remember my

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Speaker 1: birthday came like two weeks after literally everybody went into quarantine,

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Speaker 1: because I feel like everybody went into quarantine that like

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Speaker 1: first or second week in March. So for my birthday,

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Speaker 1: they weren't even like delivering food, like nobody knew what

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Speaker 1: was going on first. Yeah, I couldn't even get like

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Speaker 1: a cheeseburger delivered to my house.

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Speaker 2: At this point, nobody could send you presents.

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Speaker 1: Yeah, no one. I think actually you came over. We

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Speaker 1: were like two people in you know, has Matt's suits,

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Speaker 1: like not getting within six feet of each other. And

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Speaker 1: I remember you'd like, I think you like dropped a

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Speaker 1: bag off, like I just att yeah, yeah, yeah, it

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Speaker 1: was like something just.

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Speaker 2: Threw it at the door and called you And I

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Speaker 2: was like, your bag's in the parking lot. If you

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Speaker 2: don't wan anybody else to get it, come down in

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Speaker 2: three seconds. I know.

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Speaker 1: It was like so sad, but so anyway, I went

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Speaker 1: up to the mountains of North Georgia and I went

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Speaker 1: hiking and stay in a cabin. It was really nice.

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Speaker 1: But also I have been watching a lot of TV too,

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Speaker 1: and I'm curious as to what you've been watching lately,

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Speaker 1: because I know that a lot of people were recommending

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Speaker 1: TV shows for you. Did you take anybody up on

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Speaker 1: their suggestions or on a different path.

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Speaker 2: I went on a different path a couple a lot

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Speaker 2: of people suggested things that I had already watched or

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Speaker 2: was already aware of, so I just kind of went

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Speaker 2: on a different path. But and also I'm just I'm

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Speaker 2: never gonna watch ted Lasts. So we got so many

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Speaker 2: recommendations for ted Lasso, I cannot explain why, and we

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Speaker 2: do not have to interrogate it further. I'm just never

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Speaker 2: gonna watch it.

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Speaker 1: Let's just leave it at that. I won't be either, Yeah,

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Speaker 1: and let's just leave it there. Yep.

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Speaker 2: And I'm sure it could be the greatest things in

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Speaker 2: slice Bread. I'm missing out, and I'm fine with it.

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Speaker 2: There are three shows that I've been watching, one of

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Speaker 2: which I desperately want to talk to you about because

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Speaker 2: I know you've been watching it too. I watched for

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Speaker 2: a show that I've been really loving on HBO called

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Speaker 2: Welcome to ut Mark, and it's this like Norwegian show.

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Speaker 2: I can't even explain it. It's the weirdest, coolest, wildest

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Speaker 2: show I've seen in a long time, with a very

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Speaker 2: good narrative thread throughout very cool characters. It's just so great.

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Speaker 2: And so I think it's still on I watched it

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Speaker 2: on HBO. I think it's still on there, Welcome to Outmark.

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Speaker 2: It's kind of all I want to talk about, So

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Speaker 2: I hope that you watch it so we can talk

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Speaker 2: about it. The other thing I finally caught up on

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Speaker 2: was Dope Sick on Hulu with Michael Keaton, and like,

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Speaker 2: it has this incredible cast and my god, the Sackler family,

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Speaker 2: just what they've done with opoids, and like just seeing

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Speaker 2: it laid out in the way that it was laid

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Speaker 2: out was jarring and horrifying. But it didn't make me sad.

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Speaker 2: It made me like actively angry, like I wanted to

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Speaker 2: do something about it. So it wasn't like my Six

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Speaker 2: Feet Under rewatch where I was like, oh god, nothing matters.

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Speaker 2: I was like, no, fuse people. So I really liked that.

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Speaker 2: It's a great show. I think they did a really

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Speaker 2: good job with it. But the one that I want

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Speaker 2: to talk to you about is a perennial favorite, and

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Speaker 2: I can't believe we haven't talked about it already, but

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Speaker 2: the second season of The Righteous Gemstones.

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Speaker 1: God, you are correct. I have watched it. I'm all

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Speaker 1: caught up, even at the end.

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Speaker 2: Oh I love one episode to go, Yes, So you

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Speaker 2: have one episode ago, And for anyone who who hasn't

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Speaker 2: watched The Righteous Gemstones and wants to watch it one day,

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Speaker 2: just fast forward, like, you know, five minutes, because we're

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Speaker 2: gonna talk about it a little bit and try not

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Speaker 2: to give spoilers, but there's no guarantees because I just

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Speaker 2: love this show.

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Speaker 1: I'm gonna I'm gonna tell you something right now. I

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Speaker 1: pretty much figured out that I will literally watch anything

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Speaker 1: Dana McBride does. Yes, in so far as the character

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Speaker 1: of that show talk like depraved southern middle schoolers, like,

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Speaker 1: that's it. That's really all it is for me is

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Speaker 1: that I'm like, it could be like any character, Like

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Speaker 1: you can be a baseball player, you can be a

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Speaker 1: vice principal, you can be, uh, you know, the the

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Speaker 1: head of a megachurch. As long as you talk like

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Speaker 1: a middle schooler, like a shitty southern middle schooler. I'm in.

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Speaker 1: I'll watch. I'll go anywhere with you.

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Speaker 2: I'm there, I will go the distance with Danny McBride.

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Speaker 2: I think he again as of this recording, cool guy,

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Speaker 2: Like hasn't centered done anything recording at the time of

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Speaker 2: this recording, he's been cool and I love his commitment

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Speaker 2: to keeping it real in all his characters and the

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Speaker 2: righteous gemstones because I'm like you, like I loved Eastbound

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Speaker 2: and Down, I loved vice principals. Walton Goggins is his soulmate,

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Speaker 2: and I don't care what anyone has to say, including

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Speaker 2: his wife. Walton Goggins is Danny McBride's soulmate.

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Speaker 1: Yes, they're like John Waters and Devon. They're like total

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Speaker 1: total chismes.

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Speaker 2: Absolutely, And I think that The Righteous Gemstones feels to

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Speaker 2: me like a wonderful culmination of all of those types

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Speaker 2: of characters, because it's this Megachurch family, these three kids

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Speaker 2: and their partners, and the kids are adults, but they

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Speaker 2: are all so they still talk to each other like

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Speaker 2: depraved middle schoolers, like they are all so shitty, and

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Speaker 2: how they interact with each other and watching them devolve

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Speaker 2: further and further with their insults is the highlight of

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Speaker 2: my week every episode. It is so funny. Judy is

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Speaker 2: the greatest character that has been created in recent years. Yeah,

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Speaker 2: and every time somebody says uncle baby Billy, I just

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Speaker 2: want to piss myself laughing.

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Speaker 1: Listen, Georgia stands a legend Walton Goggins from Lithia Springs Baby,

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Speaker 1: like we stand him forever. He probably hasn't lived in

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Speaker 1: Georgia in like thirty years, but I'm just like he is.

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Speaker 1: He is a part of us, like we claim him.

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Speaker 2: As you should.

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Speaker 1: But I think Dana McBride actually lived in Georgia at

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Speaker 1: one point too. I feel like he lived in Statesboro

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Speaker 1: or something. But anyway, Walton Goggins as Uncle baby Billy

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Speaker 1: with that like he perfects that old southern guy whistle

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Speaker 1: voice ye where he talks with that little whistle. Yeah,

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Speaker 1: I'm like, God, what a fucking genius.

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Speaker 2: And also throwing tantrums like he throws the best tantrums

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Speaker 2: on screen. He's an adult man playing an older adult

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Speaker 2: man and just perfects that kind of old man tantrum.

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Speaker 1: God, I cannot say enough good things about Wanton Goggins.

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Speaker 1: You're so right that they were meant to be together.

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Speaker 1: Total soulmates. Edie Patterson, though, I gotta tell you the

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Speaker 1: one thing about Vice Principles that now having watched The

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Speaker 1: Righteous Gemstones, I'm like, oh my God, I wish she

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Speaker 1: was in Vice Principles more No, because she's fucking incredible.

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Speaker 2: She writes my show too, and she's just so good.

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Speaker 2: She's so good when she signs her she was autographing

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Speaker 2: her photos at the church and she I don't want

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Speaker 2: to ruin it for anyone, but like her autograph on

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Speaker 2: those photos set me over the edge for like a

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Speaker 2: week straight. Every time I thought of it, I burst

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Speaker 2: out laughing. And she also had I don't know if

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Speaker 2: you've you've read last month she or maybe a few

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Speaker 2: weeks ago, she came out with a grub street diet

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Speaker 2: where she was filming something and she was talking about

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Speaker 2: the grub streets. The grub street diet is basically like, hey,

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Speaker 2: what are you eating every day this week? And she

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Speaker 2: was filming in Canada and she's like, it's frazen and

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Speaker 2: I'm eating a lot of hotel food. But she went

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Speaker 2: to this one store and found like Pustashie and she's like,

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Speaker 2: I will put hot mustard on anything, Like she just

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Speaker 2: puts mustard on everything. Like I just love her and

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Speaker 2: I love this character, like I loved her two bits

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Speaker 2: and I love this character so much.

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Speaker 1: Well and so much of like why I love this

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Speaker 1: like universe that they've created throughout these all these shows

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Speaker 1: is because you know, I obviously am from South Carolina

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Speaker 1: and Georgia. I grew up in the South, lived there

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Speaker 1: pretty much in my entire life except for when I

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Speaker 1: lived in LA And they get the nuance of Southern

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Speaker 1: shit so perfect. And I swear to god, Like, every

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Speaker 1: time Judy Jemstone comes on screen, I'm sent back to

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Speaker 1: when I was actually in seventh grade and there was

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Speaker 1: this girl in my middle school named Crystal who had

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Speaker 1: the nastiest mouth like and would just say the nastiest

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Speaker 1: shit like like she was the first one that I

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Speaker 1: knew that was just saying boner, the word boner like

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Speaker 1: all the time. Like I was like, I've never so,

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Speaker 1: I don't think I've ever said boner, like I've never

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Speaker 1: uttered the words. But She's like, y'all need to go

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Speaker 1: around there and check his boner And I'm like, what,

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Speaker 1: Like we're saying this now, and it just like rolled off.

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Speaker 2: For Tom Christ I was still leveled everybody up just

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Speaker 2: by existing. And that is Judy Jemstone to.

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Speaker 1: A teeth, Yes exactly. And that's every time I think

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Speaker 1: I think of this girl Crystal, I think that is

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Speaker 1: Judy Jemstone an adult form, Like she's basically that is

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Speaker 1: sat girl that I went to middle school with as

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Speaker 1: an adult.

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Speaker 2: I remember when we after we watched the first season,

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Speaker 2: we were talking about how the deep speaking of the

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Speaker 2: nuance and the details and the southernness that he just

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Speaker 2: gets so spot on every time It made me laugh

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Speaker 2: so hard when you're like that those bathrooms because they

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Speaker 2: live in these like mega mansion houses, these new build houses,

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Speaker 2: and like they have the kind of bathrooms where their

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Speaker 2: tubs have curtains, yes, like not just like a shower curtain,

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Speaker 2: but like window curtains on the tub, and you're like

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Speaker 2: those details are intensely South.

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Speaker 1: Yeah, So other people are all about putting like drapery

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Speaker 1: in every nook and cranny of a house. It's like

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Speaker 1: a fucking like there's drapery and balances and fucking curtain

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Speaker 1: holder things everywhere, and these tiny spaces, like it is

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Speaker 1: like the window, like a tiny little like window in

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Speaker 1: a bathroom or like in a basement, and there's just

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Speaker 1: like fucking floral swag bullshit everywhere.

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Speaker 2: I swear the full balance on an eight inch window totally.

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Speaker 1: Like somebody is like going down a hobby lobby and

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Speaker 1: fucking buying like fabric to make their own like sunflower

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Speaker 1: balloon valance for this like fifteen inch window or whatever.

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Speaker 2: It's like so outrage everything matches. They've got. They've got

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Speaker 2: the barbie toilet roll holder on the back of everything

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Speaker 2: toilet where like her legs go in the hole and

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Speaker 2: then she has like a crouchet dress that covers the

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Speaker 2: toilet paper.

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Speaker 1: By fucking mom had that. When we were growing up.

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Speaker 1: My grandma had one of those, and every time I

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Speaker 1: did a shit, I.

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Speaker 2: Was like, the fuck is this bitch doing here?

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Speaker 1: Listen, I'll tell you right now. So both my parents

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Speaker 1: are immigrants, right, They're from other countries. They moved to

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Speaker 1: America at some point, Like my dad moved in I

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Speaker 1: don't even remember. He was like a teenager. My mom

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Speaker 1: came over when she married my dad. Okay, And for

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Speaker 1: the most part, we were raised in the South, so

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Speaker 1: I had this like weird disconnect between like my parents

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Speaker 1: not being Southern. But then they also kind of got

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Speaker 1: into southern shit, like they were really obsessed with the

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Speaker 1: Civil War. I think I talked about this yes on

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Speaker 1: a Bontus episode of how they assimilated.

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Speaker 2: They assimilated to Southerness, not just America, right.

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Speaker 1: Hey can. I kept wondering why they wanted to go

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Speaker 1: to all these like Civil War things. I'm like, you

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Speaker 1: have no skin in this game. You were not in

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Speaker 1: this country, like who gives a fuck, But they loved it.

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Speaker 1: And in the bath, I swear to god, I remember

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Speaker 1: that Barbie toilet roll thing next to this tiny basket

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Speaker 1: of soaps from Dollywood, you know, Dollywood, the Dolly Partons

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Speaker 1: theme park, still in plastic, so it was still shrink

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Speaker 1: wrapped because nobody's gonna use those fancy soaps. And those

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Speaker 1: two used to sit next to each other in my

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Speaker 1: mom's bathroom when we were living in Goose Creek, South Carolina.

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Speaker 2: Like those two things you've got, Danny McBride and Walton

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Speaker 2: Goggins are soulmates, the Barbie toilet roll and the unrepped

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Speaker 2: soaps from like Dollywood or in my house it was

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Speaker 2: from Atlantic City, the unwrapped soaps from Atlantic City in

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Speaker 2: that little basket. They are also a parent, a quintessential pairing.

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Speaker 1: Yes, I and I want to believe that this was

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Speaker 1: also just sort of like eighties style, like eighties like

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Speaker 1: bathroom style was like this, but also it was there's

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Speaker 1: a folksiness there, like totally that a lot of moms

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Speaker 1: and grandma's had, you know, well, because a lot of that.

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Speaker 2: And I think we talked about this before too, maybe

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Speaker 2: in the same episode where you mentioned.

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Speaker 3: That Dollywood soaps, but we've talked about the fact that

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Speaker 3: like back then, a lot of stuff was just.

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Speaker 2: Handmade and you did what you could with what you had,

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Speaker 2: and it was kind of like a mark of pride

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Speaker 2: in your home that you made something for it. So

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Speaker 2: like if you had a crochet Barbie Doll toilet roll holder,

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Speaker 2: You're definitely gonna match it with the crochet doorknob hole

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Speaker 2: or whatever the thing that hung on the doorknob. Yet,

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Speaker 2: like I don't know what that thing was like to

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Speaker 2: keep the drafts out or whatever, like doorknob.

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Speaker 4: I don't know.

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Speaker 2: Those things were just like in every house because of

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Speaker 2: the time. But like you said, and there's a folksiness

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Speaker 2: to it, I think folksiness was more appreciated in the

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Speaker 2: eighties than it is now for sure. Yeah, no, Ki,

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Speaker 2: nobody was trying to like style out their houses like

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Speaker 2: their grandmother's. The way we are, like everyone right now

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Speaker 2: is like I love mid century Modern and I'm like, no,

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Speaker 2: you don't. You just miss your grandma's house. Yeah.

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Speaker 1: No, everybody's house now has like desert vibes. It's like

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Speaker 1: everything is white and then there's like one you know,

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Speaker 1: fucking postcard, a black white postcard that's like tacked to

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Speaker 1: the wall, and then there's like a snake plant and

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Speaker 1: that's it. That's an entire fucking house.

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Speaker 2: And you gotta have a bare light bulb in there's something. Yes,

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Speaker 2: I know, we've talked about this because it is my

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Speaker 2: constant pet peeve. When I see bear light bulbs on,

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Speaker 2: like apartment therapy or like any of the house things

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Speaker 2: I follow, I want to throw my computer out of

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Speaker 2: the window. Oh my god, bear, like beare light bulbs.

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Speaker 2: To me. When I was growing up, that was like

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Speaker 2: the ultimate symbol of how.

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Speaker 1: Poor poverty it was poverty.

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Speaker 2: Yeah, yeah, we had bare light bulbs in my house

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Speaker 2: and I'm like, damn, Mom, can't even afford a fucking lampshade.

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Speaker 2: We God, damn poor.

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Speaker 1: No, not not back then, there's no way. That's That's

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Speaker 1: the thing about poor people is like like when people

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Speaker 1: don't have shit, they're not trying to make it look

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Speaker 1: like they don't have shit. They're trying to like, exactly

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Speaker 1: do the fanciness. That's why they're crocheting intricate barbied all

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Speaker 1: dresses to cover toilet paper.

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Speaker 2: Because exactly they're like, we didn't want you to know

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Speaker 2: that we take a pic, Yes we do. We want

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Speaker 2: you to know that we have things coming out of

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Speaker 2: our holes. Yes, that's how poor we are. What do

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Speaker 2: you think we are? An upper echelon family in here.

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Speaker 1: The interesting thing too, though about the righteous Jumpstones is

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Speaker 1: that so those people's houses are fancy country rich people houses, right,

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Speaker 1: so that shit gets leveled up in an extreme way.

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Speaker 1: And like, the funny thing is, so they've got like

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Speaker 1: the bathrooms with like the again with like the floral

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Speaker 1: swag and the bullshit. But then they have these like

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Speaker 1: I love when they show the shots of the kids rooms,

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Speaker 1: and they've got these like ginormous chairs for video games.

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Speaker 2: Shit like baseball glove chair.

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Speaker 1: Yes, And like all of the couches and the recliners

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Speaker 1: do like robot shit, Like they have a cooler inside

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Speaker 1: of the arm rests and they're like moving around three

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Speaker 1: sixty degrees. Because that's the other thing too about rich

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Speaker 1: country people is that they buy the stupidest shit. They

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Speaker 1: buy the stupidest shit.

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Speaker 2: Those couches make me so fucking sad, the couches that

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Speaker 2: have the big cup holders in the armrest that flips down. Yes,

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Speaker 2: it makes me so sad. And it's like a weird

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Speaker 2: always a weird leather like a leatheretteh a leather leatherish.

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Speaker 2: It's like I'm the fucking the flip down arm with

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Speaker 2: the cup holders, like I'm in a truck, and I'm like,

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Speaker 2: I don't need my couch to feel like a truck.

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Speaker 2: Maybe that's why it makes me feel so sad.

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Speaker 1: So my thing about the cooler in the couch is

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Speaker 1: like the ice is gonna fucking melt. You're gonna pull

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00:17:31,800 --> 00:17:34,639
Speaker 1: put that gas station ice in there, put a couple

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Speaker 1: cores in there, and then that ice melts, and then

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Speaker 1: what do you do with the ice that's in the

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Speaker 1: melted ice that's in your couch? Or what are you

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Speaker 1: get in the shop? A wet drive back and just

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Speaker 1: doing that shit in.

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Speaker 2: There, and you know, nobody is so that what they

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Speaker 2: have instead is a fucking swamp. Like you're like, where'd

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Speaker 2: these mosquitos come from?

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Speaker 4: Oh?

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Speaker 2: My couch swamp it it's just a breeding ground then

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00:17:56,840 --> 00:18:00,560
Speaker 2: for like dampness, yeah, I get, and the mildew smell like,

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Speaker 2: oh god, those couches make me so fucking sad.

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Speaker 1: Yeah, And then there you go. You you fucking wasted

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00:18:06,760 --> 00:18:13,320
Speaker 1: four thousand dollars ruining your custom Auburn Football University fucking

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Speaker 1: embroidered love seat or whatever the fuck.

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Speaker 2: And that's that is again like the beauty of the

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Speaker 2: show as well, are those moments where you're like, this

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Speaker 2: is a family who has no business having money because

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00:18:26,200 --> 00:18:29,399
Speaker 2: they're still just so they're the trashiest rich people of

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Speaker 2: all time. Like there's no amount of money that can

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Speaker 2: take the trash out of that background.

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Speaker 1: Look, that's that's new money for you, right, It's like

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00:18:39,280 --> 00:18:42,280
Speaker 1: that's that's the thing, is that that the show is

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Speaker 1: so brilliant and that it really like shines a light

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Speaker 1: on that ship where they're like, oh, like we're buying

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00:18:49,920 --> 00:18:52,960
Speaker 1: each other like the stupidest Christmas presents, we're driving the

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00:18:53,040 --> 00:18:56,280
Speaker 1: stupidest cars we have, like the dumbest house, you know.

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Speaker 1: And I love that Dana McBride looks like old Conway Twitty,

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00:19:01,480 --> 00:19:03,880
Speaker 1: Like that shit cracks me up. And he's just got

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Speaker 1: his his man jewels, his country Gude jewels, like raise

359
00:19:08,760 --> 00:19:11,639
Speaker 1: on every finger. He just I mean, it's just so funny,

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00:19:11,720 --> 00:19:14,080
Speaker 1: like that show rules. I love it it is.

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Speaker 2: Look, if anyone we should get data McBride on the show,

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00:19:16,600 --> 00:19:18,960
Speaker 2: that would be a dream come true. If any of

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00:19:19,000 --> 00:19:22,840
Speaker 2: his kids are listening right now, his nephew's nieces, I

364
00:19:22,840 --> 00:19:25,880
Speaker 2: don't care, put us in touch. We should get Danny

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Speaker 2: McBride on this pod.

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Speaker 1: Casey put him on the list. We gotta rocket him

367
00:19:30,760 --> 00:19:34,440
Speaker 1: to the top. Literally retire if that were to happen,

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Speaker 1: I would retire the next days.

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Speaker 2: He's so funny, and he does it in a way

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Speaker 2: where again, like he's punctuating things about his own background

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Speaker 2: in a way that is not he's making fun of them,

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Speaker 2: but he's not saying this isn't me, Like he's not

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Speaker 2: making fun of something that he isn't He's making fun

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Speaker 2: of things that he knows very intimately. So therefore it's

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Speaker 2: not his like acerbic I don't know.

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Speaker 1: Yeah, no, it's that if you're not that person, like

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00:20:02,520 --> 00:20:06,280
Speaker 1: if you are the person that escaped your family, your

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00:20:06,440 --> 00:20:09,639
Speaker 1: entire family, is that exactly Like you might be the

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00:20:09,680 --> 00:20:13,040
Speaker 1: guy that's like chill and is like not you know,

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00:20:13,359 --> 00:20:17,399
Speaker 1: putting fucking curtains on a toilet, but your family is

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00:20:17,840 --> 00:20:20,960
Speaker 1: and you can't pretend that that ain't true. So you know,

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00:20:21,040 --> 00:20:23,159
Speaker 1: there's a little bit of that where you're like, you know,

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00:20:23,560 --> 00:20:25,879
Speaker 1: obviously we're all we all have to reckon with that

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00:20:26,080 --> 00:20:28,680
Speaker 1: side of our lives, with these people that have that

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Speaker 1: bullshit in their.

386
00:20:29,840 --> 00:20:32,159
Speaker 2: House, like you might live in a converted Evan that

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00:20:32,160 --> 00:20:35,000
Speaker 2: you spend one hundred thousand dollars converting, so you can

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00:20:35,080 --> 00:20:38,479
Speaker 2: like play it being poor. But we know your family.

389
00:20:38,560 --> 00:20:40,520
Speaker 2: Your family has a toilet sham and that is the

390
00:20:40,600 --> 00:20:45,720
Speaker 2: name of this episode. Your family has a toilet sham.

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Speaker 2: You've got as covered toilet sham in your background somewhere.

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Speaker 2: You can't run away from that.

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Speaker 1: She couldn't have said it better myself.

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Speaker 2: You can't run away from it. Just embrace it. We

395
00:20:57,480 --> 00:20:58,920
Speaker 2: all have it. Just embrace it.

396
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Speaker 1: Just embrace it.

397
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Speaker 2: Well, if you haven't seen the Righteous Gemstones, you deserve

398
00:21:03,400 --> 00:21:05,960
Speaker 2: to treat yourself. And the second season, when the first

399
00:21:05,960 --> 00:21:09,000
Speaker 2: season was wild, the second season is wild in a

400
00:21:09,000 --> 00:21:12,399
Speaker 2: completely different way, which I also appreciate the skill of

401
00:21:12,440 --> 00:21:15,560
Speaker 2: that in the writing, because they keep all the characters fresh,

402
00:21:15,600 --> 00:21:18,600
Speaker 2: and you know, the characters are standard, like they stay

403
00:21:18,600 --> 00:21:23,080
Speaker 2: the same, but they expand their worlds so much and

404
00:21:23,160 --> 00:21:24,720
Speaker 2: so wildly. I just I love it.

405
00:21:24,880 --> 00:21:27,440
Speaker 1: Yeah, you got it. I mean, every fucking person on

406
00:21:27,480 --> 00:21:31,600
Speaker 1: the show is funny, like Adam Divine and Tony Cavallero

407
00:21:31,800 --> 00:21:36,560
Speaker 1: like their whole their friendship. The way that they pass

408
00:21:36,640 --> 00:21:40,080
Speaker 1: their days on that show is so goddamn funny. There

409
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Speaker 1: is literally it's all killer, no filler.

410
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Speaker 2: It's so good. Completely agree. I'm so glad. I'm so

411
00:21:45,520 --> 00:21:48,040
Speaker 2: glad we finally talked about it together because I feel

412
00:21:48,040 --> 00:21:50,280
Speaker 2: like the first season we went cozy like texting each

413
00:21:50,280 --> 00:21:53,080
Speaker 2: other and busted it down, but I think we watched

414
00:21:53,119 --> 00:21:55,800
Speaker 2: it off off kilter this this season. So I'm glad

415
00:21:55,840 --> 00:21:57,800
Speaker 2: we get to talk about it because this season and

416
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Speaker 2: Adam Divine, it must be said, kills it in the

417
00:22:00,800 --> 00:22:03,960
Speaker 2: role of like the young Justin Bieber type pastor Yes,

418
00:22:05,320 --> 00:22:08,440
Speaker 2: because those fools are in a league of their own.

419
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Speaker 1: Oh my god, what the musclemen. Just wait for it. People,

420
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Speaker 1: If you haven't seen it, you're not even ready for

421
00:22:14,680 --> 00:22:16,480
Speaker 1: those musclemen. That's all I'm saying.

422
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Speaker 2: Well, you know what I'm ready for. Ready to talk

423
00:22:24,720 --> 00:22:25,800
Speaker 2: about movies?

424
00:22:26,040 --> 00:22:32,080
Speaker 1: Oh oh, you might have guessed the theme for this week.

425
00:22:32,520 --> 00:22:33,439
Speaker 1: We've done it before.

426
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Speaker 2: We love it.

427
00:22:34,560 --> 00:22:37,320
Speaker 1: It's yeah. I mean, one day we're gonna do a

428
00:22:37,359 --> 00:22:40,320
Speaker 1: theme where both of the movies are named the same thing.

429
00:22:40,400 --> 00:22:42,240
Speaker 1: And it's not what you think it is exactly, But

430
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Speaker 1: why don't she tell them the theme for this week?

431
00:22:44,840 --> 00:22:47,920
Speaker 2: So a theme for this week is just because you can,

432
00:22:48,400 --> 00:22:51,479
Speaker 2: doesn't mean you should. Yes, And we have done this

433
00:22:51,520 --> 00:22:55,399
Speaker 2: before with the point breaks and the feet Loose the

434
00:22:55,400 --> 00:22:56,240
Speaker 2: Footloose movies.

435
00:22:58,080 --> 00:23:00,960
Speaker 1: Yes we have. And you know, the whole thing about

436
00:23:01,000 --> 00:23:04,680
Speaker 1: it is that, you know, we obviously have talked about

437
00:23:04,680 --> 00:23:07,359
Speaker 1: this in these previous episodes where it's like, Okay, Hollywood

438
00:23:07,400 --> 00:23:10,479
Speaker 1: has bankrupt of original ideas and so they just love

439
00:23:10,560 --> 00:23:13,679
Speaker 1: to remake stuff, right, But in this case, this is

440
00:23:13,680 --> 00:23:16,159
Speaker 1: gonna be an interesting one because I think I have

441
00:23:16,240 --> 00:23:18,440
Speaker 1: a little bit more of a nuanced opinion of this

442
00:23:18,480 --> 00:23:20,439
Speaker 1: remake than I did of the others, because the others

443
00:23:20,440 --> 00:23:22,840
Speaker 1: always like they garbage sort of.

444
00:23:23,040 --> 00:23:25,800
Speaker 2: It's cool that this time I think we are approaching

445
00:23:25,800 --> 00:23:29,080
Speaker 2: the remake in a different way than we have. I

446
00:23:29,160 --> 00:23:31,479
Speaker 2: think we tried to give the other to the benefit

447
00:23:31,560 --> 00:23:34,040
Speaker 2: of the doubt. But this one is like when you

448
00:23:34,040 --> 00:23:38,760
Speaker 2: remake a classic, I think there's a different vibe that

449
00:23:38,840 --> 00:23:41,280
Speaker 2: has to come along with that. And I'm gonna be

450
00:23:41,280 --> 00:23:43,440
Speaker 2: talking about the remake and I specifically want to talk

451
00:23:43,440 --> 00:23:46,520
Speaker 2: about the director's reasons for doing the remake and really

452
00:23:46,520 --> 00:23:50,639
Speaker 2: thinking about how do we consume remakes over time. So

453
00:23:50,720 --> 00:23:53,159
Speaker 2: I think there's a different, different vibe this week.

454
00:23:53,119 --> 00:23:56,720
Speaker 1: Definitely, and to that point. I think it's that this

455
00:23:56,920 --> 00:24:00,560
Speaker 1: was an intentional choice made by the director or kind

456
00:24:00,560 --> 00:24:02,800
Speaker 1: of like almost like an art project or something. I

457
00:24:02,800 --> 00:24:06,320
Speaker 1: don't want to reduce it down to that simple term,

458
00:24:06,440 --> 00:24:10,160
Speaker 1: but it's that thing of With the other two episodes

459
00:24:10,200 --> 00:24:14,200
Speaker 1: that we did, you definitely felt like market forces were involved,

460
00:24:14,200 --> 00:24:16,480
Speaker 1: like they were like, oh, we need to remake Point

461
00:24:16,560 --> 00:24:18,840
Speaker 1: Break because it's just like a cult movie and we

462
00:24:18,880 --> 00:24:20,280
Speaker 1: need to make a shit ton of money, and we're

463
00:24:20,280 --> 00:24:22,520
Speaker 1: gonna redo it and find somebody to do it. Whereas

464
00:24:22,560 --> 00:24:24,960
Speaker 1: this felt a little bit more deliberate. This felt a

465
00:24:25,000 --> 00:24:28,560
Speaker 1: little bit more like, you know, a famous director wants

466
00:24:28,600 --> 00:24:31,879
Speaker 1: to do take on this famous text, you know what

467
00:24:31,920 --> 00:24:33,639
Speaker 1: I mean. So I think it's gonna change it a

468
00:24:33,640 --> 00:24:37,040
Speaker 1: little bit this time. But I'm excited because, like you said,

469
00:24:37,080 --> 00:24:39,560
Speaker 1: you're doing the remake this time, I'm doing the original,

470
00:24:39,720 --> 00:24:41,840
Speaker 1: So I get to talk about the original finally, and

471
00:24:41,920 --> 00:24:42,600
Speaker 1: you get to fight.

472
00:24:42,640 --> 00:24:46,200
Speaker 2: You do, because you were tasked with watching the Julianne

473
00:24:46,280 --> 00:24:54,320
Speaker 2: Huff Footloose and the goddamn Gatorade commercial Point Break, you

474
00:24:54,359 --> 00:24:58,200
Speaker 2: should at least be able to do the classic film

475
00:24:58,800 --> 00:25:01,199
Speaker 2: that we are discussing. And I will do the remake

476
00:25:01,280 --> 00:25:03,560
Speaker 2: this time, like I owed that to you.

477
00:25:04,359 --> 00:25:07,960
Speaker 1: You're such a good friend. I really appreciate your friendship

478
00:25:08,200 --> 00:25:11,320
Speaker 1: because it was tough the last two days stuff.

479
00:25:11,520 --> 00:25:13,359
Speaker 2: I think you would have quit the pod if I'm like,

480
00:25:13,480 --> 00:25:16,119
Speaker 2: so you'll rest of the remake, you'd be like throwing,

481
00:25:16,440 --> 00:25:19,679
Speaker 2: like burning your mic, your your mic on the stove again.

482
00:25:20,040 --> 00:25:22,719
Speaker 1: God damn it. Well let's let's go for it. Then,

483
00:25:22,720 --> 00:25:23,360
Speaker 1: are you ready?

484
00:25:23,440 --> 00:25:24,040
Speaker 2: I'm ready?

485
00:25:24,160 --> 00:25:27,320
Speaker 1: Okay. So my movie for the theme of just because you

486
00:25:27,440 --> 00:25:31,840
Speaker 1: can doesn't mean you should is a movie from nineteen sixty.

487
00:25:32,520 --> 00:25:36,119
Speaker 1: It was written by Joseph Stefano, based on a book

488
00:25:36,440 --> 00:25:41,320
Speaker 1: of the same name by Robert Block, directed by Alfred Hitchcock,

489
00:25:41,400 --> 00:25:43,960
Speaker 1: and it's called Psycho Good Afternoon.

490
00:25:46,080 --> 00:25:51,800
Speaker 5: Here we have a quiet little motel talk to way

491
00:25:52,040 --> 00:25:58,679
Speaker 5: off the main highway and as you see, perfectly harmless looking.

492
00:25:59,000 --> 00:26:00,479
Speaker 1: Let me know what you think about this stand up.

493
00:26:00,760 --> 00:26:04,160
Speaker 1: So I feel like there's like not a really good

494
00:26:04,160 --> 00:26:06,320
Speaker 1: way to talk about this movie unless you spoil a

495
00:26:06,320 --> 00:26:06,919
Speaker 1: few things.

496
00:26:07,119 --> 00:26:09,680
Speaker 2: Of course, this is something I was interested in as well,

497
00:26:09,760 --> 00:26:12,280
Speaker 2: because I think this is one of those movies where,

498
00:26:12,520 --> 00:26:15,280
Speaker 2: even if you haven't seen it, it has been referenced

499
00:26:15,520 --> 00:26:18,840
Speaker 2: so thoroughly in pop culture that you already know what

500
00:26:18,880 --> 00:26:21,240
Speaker 2: it's about, and you already know all the beats and

501
00:26:21,280 --> 00:26:23,639
Speaker 2: the spoilers and everything. And we can't talk about the

502
00:26:23,640 --> 00:26:27,200
Speaker 2: movie without talking about it in a full way.

503
00:26:27,040 --> 00:26:29,760
Speaker 1: Correct, And I'm glad you feel that way, because I

504
00:26:29,800 --> 00:26:31,639
Speaker 1: am going to probably spoil a lot of this movie.

505
00:26:31,720 --> 00:26:34,080
Speaker 1: And if for some reason, you haven't seen the original

506
00:26:34,160 --> 00:26:37,119
Speaker 1: Psycho and you haven't watched TV or movies in the

507
00:26:37,160 --> 00:26:41,720
Speaker 1: past sixty years, then maybe this is not your episode.

508
00:26:41,720 --> 00:26:43,280
Speaker 1: Maybe just wait for next week.

509
00:26:44,040 --> 00:26:48,520
Speaker 2: If you've never seen a single episode of a Simpsons Halloween,

510
00:26:50,200 --> 00:26:52,080
Speaker 2: then you won't get this.

511
00:26:53,080 --> 00:26:56,760
Speaker 1: If you haven't seen any modern horror or horror since

512
00:26:56,840 --> 00:27:01,399
Speaker 1: nineteen sixty, then just wait for next week episode. Okay,

513
00:27:01,560 --> 00:27:04,000
Speaker 1: watch it, watch it, and then come back. Yeah, come back.

514
00:27:04,119 --> 00:27:04,399
Speaker 2: Okay.

515
00:27:04,440 --> 00:27:07,200
Speaker 1: So let me do like a quick one sentence synops.

516
00:27:07,520 --> 00:27:10,720
Speaker 1: A secretary goes on the run after stealing a giant

517
00:27:10,800 --> 00:27:14,560
Speaker 1: wad of cash from her job and meets a strange

518
00:27:14,640 --> 00:27:18,639
Speaker 1: young man working at a roadside motel that will alter

519
00:27:18,840 --> 00:27:20,760
Speaker 1: the course of her life.

520
00:27:20,960 --> 00:27:21,800
Speaker 2: Perfection.

521
00:27:22,359 --> 00:27:24,439
Speaker 1: Yeah, I mean, that's like you gotta do kind of

522
00:27:24,480 --> 00:27:28,919
Speaker 1: basic one sentence synopsis. But there's so much more, Yes,

523
00:27:29,000 --> 00:27:32,119
Speaker 1: so much more. So let me get some paperwork and

524
00:27:32,160 --> 00:27:35,760
Speaker 1: either way love it. So the book Psycho that this

525
00:27:36,000 --> 00:27:39,240
Speaker 1: screenplay was based off of was written in nineteen fifty

526
00:27:39,320 --> 00:27:43,280
Speaker 1: nine and was kind of sort of based on the

527
00:27:43,320 --> 00:27:48,040
Speaker 1: real crimes of ed Gean, who everyone probably knows a

528
00:27:48,119 --> 00:27:52,080
Speaker 1: famous murderer, so much is based off of his crimes

529
00:27:52,080 --> 00:27:55,000
Speaker 1: like Texas chainsaw masker, like you name it. But the

530
00:27:55,040 --> 00:27:58,680
Speaker 1: weirdest part is that so so ed Gean was arrested

531
00:27:59,280 --> 00:28:03,520
Speaker 1: near where Robert Block was living in Wisconsin when he

532
00:28:03,560 --> 00:28:06,520
Speaker 1: was arrested in the fifties, and while he was writing

533
00:28:06,560 --> 00:28:11,600
Speaker 1: the book Psycho. So the book that he was writing

534
00:28:11,640 --> 00:28:14,600
Speaker 1: and the real case apparently had like a lot of similarities.

535
00:28:14,720 --> 00:28:16,760
Speaker 1: So Robert Block was like, well, let me just kind

536
00:28:16,760 --> 00:28:19,159
Speaker 1: of throw in an edgeen thing or something like. So

537
00:28:19,200 --> 00:28:21,679
Speaker 1: it's sort of that thing where it's like the book

538
00:28:21,760 --> 00:28:24,320
Speaker 1: was written at the same time as that that case,

539
00:28:24,600 --> 00:28:29,119
Speaker 1: but wasn't, like, you know, completely based off of it.

540
00:28:29,280 --> 00:28:32,280
Speaker 1: So it's kind of like there's some like artistic license.

541
00:28:32,280 --> 00:28:35,040
Speaker 2: There was Robert Block ever a suspect because they're like, Yo,

542
00:28:35,200 --> 00:28:37,200
Speaker 2: this book you were writing out this ship for it

543
00:28:37,280 --> 00:28:37,920
Speaker 2: even happened.

544
00:28:37,960 --> 00:28:38,960
Speaker 4: What the hell, dude, I.

545
00:28:38,960 --> 00:28:41,360
Speaker 1: Don't what are you like a psychic writer. This is

546
00:28:41,360 --> 00:28:46,280
Speaker 1: its own movie. A psychic novelist sees a crime in

547
00:28:46,320 --> 00:28:49,400
Speaker 1: his mind, and then the crime happens, and then so like, look,

548
00:28:49,720 --> 00:28:52,480
Speaker 1: this is for your writer's room, like well, like table this.

549
00:28:52,600 --> 00:28:53,560
Speaker 1: We'll talk about this later.

550
00:28:53,720 --> 00:28:55,520
Speaker 2: We'll write this movie next week. Don't worry about it, you.

551
00:28:55,680 --> 00:28:58,680
Speaker 1: Mean, okay, this is this is what I think is

552
00:28:58,720 --> 00:29:02,960
Speaker 1: really interesting. So first of all, the director Albert Albert

553
00:29:03,640 --> 00:29:04,680
Speaker 1: the fuck let's.

554
00:29:04,480 --> 00:29:05,560
Speaker 4: Call him Albert Hitchcock.

555
00:29:05,600 --> 00:29:08,440
Speaker 2: The whole episode Albert hitch and just wait for, like

556
00:29:08,720 --> 00:29:13,520
Speaker 2: true film enthusiast minds to explode, like these goddamn ladies

557
00:29:13,560 --> 00:29:14,720
Speaker 2: don't even know his name.

558
00:29:15,160 --> 00:29:18,880
Speaker 1: The stupid bitches think they can do a film podcast.

559
00:29:19,160 --> 00:29:27,520
Speaker 6: Albert Heachcoke, Albert wrote Interaction Goes, Cycles with an Albert

560
00:29:27,560 --> 00:29:30,760
Speaker 6: Heitchcock wrote Cycles, directed Cycles It Goes.

561
00:29:32,080 --> 00:29:37,320
Speaker 1: So the director of this movie is quite obviously Albert Hitchcock.

562
00:29:37,520 --> 00:29:41,120
Speaker 3: Do they say, oh my god, what the.

563
00:29:41,040 --> 00:29:45,360
Speaker 1: Fuck Alfred Hitchcock, Let me go back. This is fucking

564
00:29:45,480 --> 00:29:48,160
Speaker 1: fucked up. So the director of this movie is quite

565
00:29:48,400 --> 00:29:49,280
Speaker 1: quite famous.

566
00:29:50,240 --> 00:29:50,840
Speaker 2: It's Albert.

567
00:29:51,120 --> 00:29:58,640
Speaker 1: His name is Albertlfred Hitchcock. Motherfucker. Yeah, it's because I

568
00:29:58,640 --> 00:30:03,520
Speaker 1: said Albert Brooks I'm fu I'm on acid. Okay. So

569
00:30:03,720 --> 00:30:06,240
Speaker 1: here's the interesting thing about this. First of all, like,

570
00:30:06,280 --> 00:30:08,200
Speaker 1: I'm not going to give you the whole thing about

571
00:30:08,360 --> 00:30:11,400
Speaker 1: Alfred Hitchcock, go and google him. Actually, I gotta say

572
00:30:11,520 --> 00:30:16,760
Speaker 1: the the Wikipedia entry for Psycho is huge, so a

573
00:30:16,800 --> 00:30:18,720
Speaker 1: lot of information can be found there about this movie.

574
00:30:18,760 --> 00:30:20,200
Speaker 1: I'm not going to go through it all, but there.

575
00:30:20,040 --> 00:30:23,160
Speaker 2: Have been volumes written about Alfred Hitchcock. Oh my god.

576
00:30:23,680 --> 00:30:24,959
Speaker 1: Yeah, we don't need to go into it.

577
00:30:25,040 --> 00:30:25,840
Speaker 2: You know who he is.

578
00:30:26,440 --> 00:30:29,120
Speaker 1: But the craziest part to me about this is that

579
00:30:29,520 --> 00:30:35,000
Speaker 1: Psycho was one of his later career movies. Like he

580
00:30:35,080 --> 00:30:38,920
Speaker 1: had already made like forty movies before he made Psycho,

581
00:30:39,000 --> 00:30:41,280
Speaker 1: which is kind of unreal if you think about it,

582
00:30:41,280 --> 00:30:43,960
Speaker 1: because this is one of the most iconic core movies

583
00:30:44,000 --> 00:30:48,160
Speaker 1: of all time and is probably his most famous movie. Right,

584
00:30:49,320 --> 00:30:53,000
Speaker 1: So it's just crazy how he had worked so much

585
00:30:53,080 --> 00:30:55,560
Speaker 1: already and then made this like movie that now is,

586
00:30:56,040 --> 00:30:58,080
Speaker 1: you know, one of his most famous movies, if not

587
00:30:58,120 --> 00:30:58,840
Speaker 1: his most famous.

588
00:30:59,640 --> 00:31:03,680
Speaker 2: This is why we don't stand a thirty under thirty list.

589
00:31:04,080 --> 00:31:07,000
Speaker 2: Give me some sixty over sixties exactly, give me an

590
00:31:07,040 --> 00:31:10,480
Speaker 2: Alfred Hitchcock making Psycho at the end of his career.

591
00:31:10,840 --> 00:31:13,520
Speaker 1: Yeah, exactly. I mean it's it's kind of it's kind

592
00:31:13,520 --> 00:31:15,720
Speaker 1: of amazing, Like I always forget that. I'm like, yeah,

593
00:31:15,760 --> 00:31:19,200
Speaker 1: this was like you know, later period Hitchcock. But this

594
00:31:19,320 --> 00:31:22,280
Speaker 1: movie is iconic for so many reasons. I mean, obviously

595
00:31:22,680 --> 00:31:25,840
Speaker 1: it's completely embedded within our popular culture at this point,

596
00:31:25,840 --> 00:31:30,760
Speaker 1: but also it kind of like moved the goalposts in

597
00:31:30,840 --> 00:31:34,600
Speaker 1: terms of like what kind of violence and sexuality you

598
00:31:34,600 --> 00:31:39,080
Speaker 1: could show in movies. Right, Yes, because you're still nineteen sixty,

599
00:31:39,160 --> 00:31:44,360
Speaker 1: you're still within the production code and the studio system.

600
00:31:44,720 --> 00:31:47,480
Speaker 1: You know, obviously that would be going away in a

601
00:31:47,520 --> 00:31:51,160
Speaker 1: few years like in the later sixties, but like you know,

602
00:31:51,520 --> 00:31:54,760
Speaker 1: at this time, you weren't showing this kind of stuff

603
00:31:54,880 --> 00:31:58,280
Speaker 1: yet really, and maybe in Europe they were doing that

604
00:31:58,360 --> 00:32:02,240
Speaker 1: kind of thing, but like definitely not these big studio

605
00:32:02,320 --> 00:32:06,040
Speaker 1: American pictures, right, So he really kind of changed the

606
00:32:06,120 --> 00:32:08,960
Speaker 1: game for all that. And you know, this is a movie,

607
00:32:09,120 --> 00:32:11,960
Speaker 1: along with Peeping Tom where a lot of people say

608
00:32:11,960 --> 00:32:14,959
Speaker 1: that these were kind of the first slasher movies. I know,

609
00:32:15,000 --> 00:32:17,440
Speaker 1: we talked about that when we talked about Black Christmas.

610
00:32:17,440 --> 00:32:21,120
Speaker 1: But you know, definitely like early early entries into what

611
00:32:21,240 --> 00:32:27,400
Speaker 1: would eventually become Slasher right exactly. But most interestingly to

612
00:32:27,600 --> 00:32:31,280
Speaker 1: me is that it was so it was very controversial

613
00:32:31,320 --> 00:32:34,640
Speaker 1: when it came out for so many reasons, but also

614
00:32:34,720 --> 00:32:38,280
Speaker 1: because it was one of the first times a toilet

615
00:32:38,640 --> 00:32:43,760
Speaker 1: was shown in a movie.

616
00:32:43,400 --> 00:32:46,400
Speaker 2: Like this is the kind of trivia I live for,

617
00:32:47,840 --> 00:32:52,120
Speaker 2: Like we can't offend your eyes with a toilet American audiences.

618
00:32:52,400 --> 00:32:54,960
Speaker 2: And then Alfred Hitchcock is like, but you go to sea.

619
00:32:54,800 --> 00:33:00,160
Speaker 1: Woe, like Paramount was scandalized, like they were like, I

620
00:33:00,200 --> 00:33:03,640
Speaker 1: cannot fucking believe you showed a toilet. That's disgusting.

621
00:33:03,960 --> 00:33:06,400
Speaker 2: Nobody took a fart, a shit, or a piss before

622
00:33:06,480 --> 00:33:10,920
Speaker 2: nineteen sixty. Listen, it was done behind fourteen closed doors.

623
00:33:11,120 --> 00:33:14,400
Speaker 2: Every bathroom was like the Winchester Mystery House. We don't

624
00:33:14,400 --> 00:33:16,160
Speaker 2: even want to know why you're going down that hallway.

625
00:33:16,400 --> 00:33:20,240
Speaker 1: Listen. Psycho walked so that goolies could run. Am I

626
00:33:20,320 --> 00:33:20,960
Speaker 1: right about that?

627
00:33:21,080 --> 00:33:23,600
Speaker 2: Thank you? Okay? Can we put that on a T shirt?

628
00:33:25,600 --> 00:33:30,480
Speaker 2: Psycho walks so that goolies could run, I mean coolies,

629
00:33:30,920 --> 00:33:32,840
Speaker 2: like we will have something coming out of that toilet

630
00:33:32,840 --> 00:33:37,600
Speaker 2: and eating your ass. A mere twenty years later, Alfred

631
00:33:37,680 --> 00:33:40,040
Speaker 2: has got kicked the door open and goolies just like

632
00:33:40,120 --> 00:33:42,800
Speaker 2: fucking there's some fireworks in there and went with.

633
00:33:42,840 --> 00:33:46,000
Speaker 6: It right behind them.

634
00:33:46,280 --> 00:33:48,440
Speaker 1: Oh my god. So I just think that that fact

635
00:33:48,520 --> 00:33:51,520
Speaker 1: is so fucked up and funny. But there's just really,

636
00:33:51,520 --> 00:33:53,480
Speaker 1: truly so many great things about this movie for me.

637
00:33:53,520 --> 00:33:57,280
Speaker 1: I mean, it's gorgeous. Black and white is gorgeous. I

638
00:33:57,280 --> 00:34:00,880
Speaker 1: think I saw, like the version that I just recently saw,

639
00:34:01,000 --> 00:34:03,160
Speaker 1: like when I was prepping for this episode. I think

640
00:34:03,160 --> 00:34:05,160
Speaker 1: it was like an ultra high death or something like that,

641
00:34:05,200 --> 00:34:08,960
Speaker 1: and I'm just sort of like, damn, like they really,

642
00:34:09,040 --> 00:34:12,120
Speaker 1: I mean, it looks incredible like the movie. Yes, yeah,

643
00:34:12,160 --> 00:34:15,160
Speaker 1: this movie looks great now that you know modern times

644
00:34:15,239 --> 00:34:18,880
Speaker 1: have you know, made it all HD and spiffy. But

645
00:34:19,360 --> 00:34:22,400
Speaker 1: the great Saal Bass of course, did the title sequence?

646
00:34:22,640 --> 00:34:26,160
Speaker 1: Iconic Bernard Herman. Come on, do I even have to

647
00:34:26,239 --> 00:34:31,560
Speaker 1: mention his score, his shower scene score that is now

648
00:34:31,680 --> 00:34:34,080
Speaker 1: embedded in all of our brains, and that's all we

649
00:34:34,120 --> 00:34:37,480
Speaker 1: think about when bad things happen. So, I mean, it's

650
00:34:37,760 --> 00:34:43,920
Speaker 1: an incredible movie. The cast, Oh my god, janitly Anthony Perkins,

651
00:34:43,960 --> 00:34:46,959
Speaker 1: more about him in just a second. You got yeah,

652
00:34:47,000 --> 00:34:50,560
Speaker 1: you got vera miles in there. John Gavin, the Craggy

653
00:34:50,640 --> 00:34:57,360
Speaker 1: Hot Royalty himself, Martin Balsam, who plays Arbagas. It's great.

654
00:34:57,600 --> 00:35:01,000
Speaker 1: So here's the thing. I'm gonna go through kind of

655
00:35:01,080 --> 00:35:03,080
Speaker 1: some of the beats of the film. Like I said,

656
00:35:03,160 --> 00:35:05,680
Speaker 1: gonna spoil maybe a couple things. Hopefully you guys won't

657
00:35:05,719 --> 00:35:08,640
Speaker 1: be mad at me. But and I have a lot

658
00:35:08,680 --> 00:35:10,600
Speaker 1: to say about Anthony Perkins. I will say it towards

659
00:35:10,640 --> 00:35:13,600
Speaker 1: the end, because he has had a fascinating life, Yes,

660
00:35:13,840 --> 00:35:16,160
Speaker 1: and I feel like there's a lot of stuff that

661
00:35:16,200 --> 00:35:19,320
Speaker 1: I think I would like to talk about in direct

662
00:35:19,360 --> 00:35:22,719
Speaker 1: reference to him, and also for this movie and sort

663
00:35:22,760 --> 00:35:26,120
Speaker 1: of his fame because he became this like super famous

664
00:35:26,120 --> 00:35:28,959
Speaker 1: person after this movie came out, which is always really

665
00:35:28,960 --> 00:35:32,120
Speaker 1: interesting when actors kind of go through that. But so

666
00:35:32,440 --> 00:35:36,839
Speaker 1: Janet Lee Jamie Lee Curtis's mother plays maryon Crane. All Right,

667
00:35:36,920 --> 00:35:39,279
Speaker 1: She's at the beginning of this film. She's having this

668
00:35:39,400 --> 00:35:42,600
Speaker 1: sexual affair with this guy named Sam Loomis, okay, who

669
00:35:42,640 --> 00:35:45,000
Speaker 1: is played by John Gavin, and they're going off to

670
00:35:45,080 --> 00:35:49,440
Speaker 1: these motels and having a little nookie on her lunch breaks.

671
00:35:50,280 --> 00:35:53,040
Speaker 1: She wants to get married, okay, and he sort of

672
00:35:53,040 --> 00:35:55,480
Speaker 1: does too, but he's like, I'm also broke because I

673
00:35:55,560 --> 00:35:58,560
Speaker 1: owe alimodi to my ex wife and like, yeah, apparently

674
00:35:58,600 --> 00:36:01,120
Speaker 1: my dad owes a lot of money and need to

675
00:36:01,120 --> 00:36:02,680
Speaker 1: give him money or something like that. I don't even

676
00:36:02,719 --> 00:36:03,600
Speaker 1: really know the story.

677
00:36:03,680 --> 00:36:06,439
Speaker 2: That's that fucked up family dynamic from from way back,

678
00:36:06,480 --> 00:36:08,880
Speaker 2: which I think a lot of people still try to perpetuate.

679
00:36:08,880 --> 00:36:10,640
Speaker 2: And I'm like, I'm not the one where they're like, oh,

680
00:36:10,680 --> 00:36:12,440
Speaker 2: my dad is broken, I have to help him out.

681
00:36:12,440 --> 00:36:17,919
Speaker 2: And I'm like, why he did that, Why he gambled away? Why?

682
00:36:18,440 --> 00:36:21,360
Speaker 1: Exactly? Yeah, No, it was It's kind of I was

683
00:36:21,440 --> 00:36:24,799
Speaker 1: kind of like this time really thinking about that, and

684
00:36:24,880 --> 00:36:26,680
Speaker 1: I was like, damn, he owes a lot of money

685
00:36:26,680 --> 00:36:27,800
Speaker 1: and it's because of his dad.

686
00:36:28,160 --> 00:36:30,400
Speaker 2: Okay, Yeah, it's just it's a fucked up reason to

687
00:36:30,400 --> 00:36:32,880
Speaker 2: put your own life on hold back then, but I

688
00:36:32,880 --> 00:36:34,279
Speaker 2: think a lot of people did it, and.

689
00:36:34,280 --> 00:36:36,799
Speaker 1: Also too, like just the notion because honestly, like the

690
00:36:37,000 --> 00:36:40,480
Speaker 1: entire her entire motivation for this movie rests on this

691
00:36:40,560 --> 00:36:44,200
Speaker 1: idea that he doesn't have any money, right exactly. So

692
00:36:44,480 --> 00:36:46,759
Speaker 1: it's the kind of thing where like a woman in

693
00:36:46,800 --> 00:36:49,000
Speaker 1: this era wouldn't marry a guy that didn't have money,

694
00:36:49,520 --> 00:36:53,120
Speaker 1: number one, But then number two, like it was also

695
00:36:53,320 --> 00:36:56,759
Speaker 1: like a stain on your record if you were divorced. Right. Yeah,

696
00:36:56,760 --> 00:37:00,560
Speaker 1: so the fact that he owes money in Alamo is

697
00:37:00,600 --> 00:37:01,640
Speaker 1: not great, right.

698
00:37:01,560 --> 00:37:03,359
Speaker 4: Exactly, he was.

699
00:37:03,400 --> 00:37:06,239
Speaker 2: He was the the like if TLC wrote a song

700
00:37:06,239 --> 00:37:07,480
Speaker 2: about him, he would be the scrub.

701
00:37:07,840 --> 00:37:10,880
Speaker 1: Yes, he would be a fucking scrub. Sorry to say.

702
00:37:11,239 --> 00:37:13,800
Speaker 2: The nineteen fifties and sixties he was the scrub.

703
00:37:13,960 --> 00:37:17,719
Speaker 1: Yes, he was a classic movie scrub. That'll be a

704
00:37:17,760 --> 00:37:23,520
Speaker 1: theme one day, I'm sure. So after their motel sessh,

705
00:37:23,600 --> 00:37:25,360
Speaker 1: they she goes back to work and she is a

706
00:37:25,400 --> 00:37:28,839
Speaker 1: secretary for this real estate guy. It's like a real

707
00:37:28,920 --> 00:37:32,680
Speaker 1: estate brokerage person. So she goes back to the office

708
00:37:33,239 --> 00:37:36,759
Speaker 1: and this like customer comes in who is apparently a

709
00:37:36,760 --> 00:37:40,759
Speaker 1: friend of her boss, and he's like this big money,

710
00:37:41,000 --> 00:37:43,080
Speaker 1: like Texan country kind of guy.

711
00:37:43,120 --> 00:37:45,520
Speaker 2: And he's like he's like your seventy Sam.

712
00:37:45,719 --> 00:37:49,160
Speaker 1: Yes, he's that like classic film character of like the

713
00:37:49,800 --> 00:37:54,240
Speaker 1: I'm an oil baron, but I'm just like a straight shooter,

714
00:37:54,680 --> 00:37:56,560
Speaker 1: am I right? Like he's like that kind of guy.

715
00:37:57,320 --> 00:38:02,640
Speaker 1: And he's like, I'm gonna plunk down forty thousand dollars

716
00:38:02,640 --> 00:38:05,600
Speaker 1: in cash for my daughter's house or something like that.

717
00:38:06,920 --> 00:38:09,640
Speaker 2: She's getting married, I'm buying her house. I'm doing it

718
00:38:09,640 --> 00:38:12,200
Speaker 2: with all of my illegal, untaxed cash, and you're just

719
00:38:12,239 --> 00:38:13,319
Speaker 2: gonna You're just gonna do it.

720
00:38:13,320 --> 00:38:14,239
Speaker 4: You're just gonna deal with it.

721
00:38:14,600 --> 00:38:16,799
Speaker 2: I love characters like that where they're just like your

722
00:38:16,840 --> 00:38:17,520
Speaker 2: problem now.

723
00:38:18,120 --> 00:38:20,959
Speaker 1: Yeah. And I also love in your movie later that

724
00:38:20,960 --> 00:38:24,640
Speaker 1: that amount is adjusted for inflation, and I'm like, dad Bagically,

725
00:38:24,960 --> 00:38:27,800
Speaker 1: forty k was a lot in nineteen sixty Okay.

726
00:38:28,480 --> 00:38:32,000
Speaker 2: So absolutely basically he plunks.

727
00:38:31,640 --> 00:38:33,560
Speaker 1: Down this money and the and the boss is like,

728
00:38:33,640 --> 00:38:35,759
Speaker 1: I don't want this cash in here, so Marian, take

729
00:38:35,840 --> 00:38:37,520
Speaker 1: this shit to the bank and we'll just deal with

730
00:38:37,560 --> 00:38:41,879
Speaker 1: it after the weekend. So she's like, okay, well I'm

731
00:38:41,880 --> 00:38:43,560
Speaker 1: gonna do that, and I'm gonna go home because I

732
00:38:43,600 --> 00:38:46,280
Speaker 1: have a headache. I'm a woman. I can't deal with headaches.

733
00:38:46,400 --> 00:38:48,400
Speaker 1: I need to be alone, you know.

734
00:38:48,440 --> 00:38:49,120
Speaker 2: In that very.

735
00:38:49,000 --> 00:38:52,640
Speaker 1: Classic like I have a headache, and therefore everyone's like,

736
00:38:53,000 --> 00:38:54,879
Speaker 1: you know, kind of worried about her.

737
00:38:55,200 --> 00:38:58,080
Speaker 2: It seems exactly like, oh no, is her head gonna explode?

738
00:38:58,560 --> 00:39:01,120
Speaker 1: Yeah, It's like I love that. I love that sort

739
00:39:01,160 --> 00:39:02,320
Speaker 1: of like old school notion.

740
00:39:02,640 --> 00:39:05,160
Speaker 2: I also think back then, like people would do anything

741
00:39:05,160 --> 00:39:07,160
Speaker 2: to keep a woman from talking about her period. So

742
00:39:07,239 --> 00:39:08,400
Speaker 2: she just like, I have a headache.

743
00:39:08,440 --> 00:39:11,160
Speaker 1: They're like, goddamn, let's end it right there. Don't talk

744
00:39:11,160 --> 00:39:12,840
Speaker 1: about that blood coming from her vagina.

745
00:39:12,880 --> 00:39:15,600
Speaker 2: Please, we don't give a shit about anything else happening

746
00:39:15,640 --> 00:39:17,239
Speaker 2: as long as it doesn't lead us down that road.

747
00:39:17,360 --> 00:39:20,280
Speaker 2: Discuss talk about your fucking period, disgusting beast.

748
00:39:20,560 --> 00:39:22,680
Speaker 1: So she's tasked with putting the money in the bank,

749
00:39:23,440 --> 00:39:28,120
Speaker 1: but instead she goes home, changes into her bad girl

750
00:39:28,239 --> 00:39:31,319
Speaker 1: bra and then runs away with the money so she

751
00:39:31,440 --> 00:39:34,440
Speaker 1: and Sam could eventually live in happiness. So that's what

752
00:39:34,480 --> 00:39:37,799
Speaker 1: she's doing for this dude. She's stealing money from her

753
00:39:37,880 --> 00:39:39,880
Speaker 1: work so that she can run away with him and

754
00:39:39,920 --> 00:39:43,240
Speaker 1: they can like pay pay off his debts, his dad's.

755
00:39:42,920 --> 00:39:45,279
Speaker 2: Debts, so that they can get a place to live.

756
00:39:45,600 --> 00:39:50,000
Speaker 1: Yeah, so's here's where the movie kind of really kicks in, right,

757
00:39:50,360 --> 00:39:54,920
Speaker 1: because she takes off in her car. She is driving

758
00:39:54,960 --> 00:39:57,920
Speaker 1: towards you know, I guess where Sam lives in California

759
00:39:58,040 --> 00:40:01,640
Speaker 1: because they originally start this in Phoenix, So she's driving

760
00:40:01,640 --> 00:40:06,200
Speaker 1: from Arizona to northern California. Is when when I gathered.

761
00:40:06,600 --> 00:40:09,920
Speaker 1: So basically immediately she gets stopped by a cop, and

762
00:40:10,080 --> 00:40:12,400
Speaker 1: you know, she's got to come up with some fucking

763
00:40:12,440 --> 00:40:16,800
Speaker 1: story because he's nosy as hell. And then she decides

764
00:40:16,880 --> 00:40:22,080
Speaker 1: to pull over at a used car lot so she

765
00:40:22,120 --> 00:40:25,279
Speaker 1: can switch her car out, and meanwhile she's trying to

766
00:40:25,280 --> 00:40:27,440
Speaker 1: do this shit while the cop just saw, you know,

767
00:40:27,840 --> 00:40:30,160
Speaker 1: shows up, like, oh, so you're selling a car now.

768
00:40:30,200 --> 00:40:32,000
Speaker 1: I don't know what you told me back there, but like,

769
00:40:32,520 --> 00:40:33,960
Speaker 1: I know you said you were sleeping on the side

770
00:40:33,960 --> 00:40:36,239
Speaker 1: of the road. That's really weird, and now you're trying

771
00:40:36,280 --> 00:40:38,840
Speaker 1: to sell your car. Okay, what's up with this? And

772
00:40:38,880 --> 00:40:42,400
Speaker 1: she's like her eyes. That's the one thing about Janetly

773
00:40:42,560 --> 00:40:46,480
Speaker 1: that's incredible is that she telegraphs all this fucking fear

774
00:40:46,560 --> 00:40:50,400
Speaker 1: through her eyes and she's like, holy shit. So basically,

775
00:40:50,440 --> 00:40:53,720
Speaker 1: you know, this is the beginning of like this whole

776
00:40:53,840 --> 00:40:58,040
Speaker 1: scenario where there's a stress of knowing that she stole

777
00:40:58,200 --> 00:41:00,799
Speaker 1: this money and all this stuff that she has to

778
00:41:00,800 --> 00:41:03,040
Speaker 1: do in order to avoid getting caught. It's just like

779
00:41:03,440 --> 00:41:07,440
Speaker 1: it's the suspense of the film. It's classic suspense, so great.

780
00:41:08,000 --> 00:41:11,120
Speaker 1: So after she switches her car out, she's rolling down

781
00:41:11,160 --> 00:41:14,880
Speaker 1: the road. It's raining, she's getting a little tired, and

782
00:41:14,920 --> 00:41:17,200
Speaker 1: then she sees a motel on the side of the road.

783
00:41:17,760 --> 00:41:21,000
Speaker 1: And guess what kind of motel it is. It's it's

784
00:41:21,000 --> 00:41:24,160
Speaker 1: one called the Baits Motel. And she meets the manager

785
00:41:24,160 --> 00:41:28,600
Speaker 1: of this hotel. His name is Norman Bates. Okay, now

786
00:41:28,840 --> 00:41:30,960
Speaker 1: I don't know how far I need to get into

787
00:41:31,040 --> 00:41:34,239
Speaker 1: the Norman Baits thing, because honestly, he's a He is

788
00:41:34,280 --> 00:41:39,279
Speaker 1: a classic horror character alongside Freddy Krueger and Jason for

789
00:41:39,520 --> 00:41:41,239
Speaker 1: he is. He's one of those. He's one of the

790
00:41:41,440 --> 00:41:44,680
Speaker 1: horror icons. The only thing you need to know is

791
00:41:44,719 --> 00:41:51,000
Speaker 1: that he's the original intense hot freak. Truly he is.

792
00:41:52,200 --> 00:41:57,399
Speaker 1: He laid the groundwork for every weird hot guy right.

793
00:41:58,000 --> 00:41:59,920
Speaker 4: You've ever had You owe to Anthony Perkins.

794
00:42:00,120 --> 00:42:05,919
Speaker 1: Yes, he fucking he walked so that your stupid ass

795
00:42:05,960 --> 00:42:08,040
Speaker 1: could run that machine.

796
00:42:07,719 --> 00:42:11,520
Speaker 2: Gun Kelly could run for fucking Pete Davidson in one

797
00:42:11,560 --> 00:42:12,920
Speaker 2: of those ghouls.

798
00:42:14,960 --> 00:42:17,200
Speaker 1: Here's the thing about Norman. So he this is his

799
00:42:17,320 --> 00:42:19,680
Speaker 1: family's motel. He lives at the top of the hill

800
00:42:19,719 --> 00:42:22,719
Speaker 1: with his elderly mother, who is also his BFF. He's

801
00:42:22,960 --> 00:42:26,160
Speaker 1: he's also into taxidermy, and he has no other friends

802
00:42:26,200 --> 00:42:28,600
Speaker 1: besides his mom. So you know what we're working with here.

803
00:42:28,800 --> 00:42:32,240
Speaker 2: They're just like eighty five red flags lining the path

804
00:42:32,320 --> 00:42:34,799
Speaker 2: to the motel driveway completely.

805
00:42:35,440 --> 00:42:37,160
Speaker 1: I mean, there needs to be a giant sign that's like,

806
00:42:37,239 --> 00:42:39,439
Speaker 1: don't stop here, even if this guy is kind of hot,

807
00:42:41,080 --> 00:42:43,920
Speaker 1: and you know, he he's all like, oh my god,

808
00:42:44,040 --> 00:42:46,840
Speaker 1: like I haven't seen anybody in forever. Let me help you,

809
00:42:47,120 --> 00:42:49,200
Speaker 1: help you out, let me get your bags, and you know,

810
00:42:49,239 --> 00:42:51,759
Speaker 1: he wants to chit chat with her because again he

811
00:42:51,880 --> 00:42:54,680
Speaker 1: just doesn't see anybody but his mom and his birds.

812
00:42:55,280 --> 00:42:58,280
Speaker 1: And she's like, yeah, yeah, okay, kid, cool, I'm tired.

813
00:42:58,320 --> 00:43:01,040
Speaker 1: I'm gonna go to bed, like I'm I'm leaving. Okay,

814
00:43:01,239 --> 00:43:02,080
Speaker 1: let me let me give you.

815
00:43:02,000 --> 00:43:03,719
Speaker 2: This alias real quick and get the hell out of here.

816
00:43:03,800 --> 00:43:08,000
Speaker 1: Yes, exactly. So she's in her room, she's like takes

817
00:43:08,040 --> 00:43:10,719
Speaker 1: the money that she stole and wraps up in a

818
00:43:10,760 --> 00:43:13,200
Speaker 1: newspaper and is like, you know, trying to like hide

819
00:43:13,200 --> 00:43:15,920
Speaker 1: her shit. And then she gets into the shower. And

820
00:43:16,000 --> 00:43:18,319
Speaker 1: I don't think I have to go real far into

821
00:43:18,360 --> 00:43:21,840
Speaker 1: this at all, because there's the shower scene, which is

822
00:43:21,840 --> 00:43:26,960
Speaker 1: probably the most famous thing about this movie, and I

823
00:43:26,960 --> 00:43:29,240
Speaker 1: mean there's an entire documentary about it.

824
00:43:29,280 --> 00:43:32,040
Speaker 2: For grind's sake, it might be the most famous scene

825
00:43:32,440 --> 00:43:33,240
Speaker 2: in any movie.

826
00:43:33,520 --> 00:43:36,600
Speaker 1: Correct, and I would say I would totally say that

827
00:43:36,640 --> 00:43:40,400
Speaker 1: as well. And there are so many facts about the

828
00:43:40,440 --> 00:43:43,160
Speaker 1: shower scene that are online, Like if you, like I said,

829
00:43:43,160 --> 00:43:47,520
Speaker 1: go to the Wikipedia article for Psycho literally like the

830
00:43:47,719 --> 00:43:50,279
Speaker 1: there's an entire section of this shower scene where it's

831
00:43:50,320 --> 00:43:52,719
Speaker 1: like people are going into my new details. I mean,

832
00:43:52,719 --> 00:43:55,560
Speaker 1: it's like crazy, like there's all this. You know, there

833
00:43:55,640 --> 00:43:59,080
Speaker 1: was like this rumor that Saul Bass directed in it secretly,

834
00:43:59,239 --> 00:44:02,240
Speaker 1: and I mean it's just like crazy. It's been picked apart,

835
00:44:02,360 --> 00:44:04,080
Speaker 1: is what I'm saying, and you should read all of

836
00:44:04,120 --> 00:44:07,279
Speaker 1: it because it's fascinating. But all I will say though,

837
00:44:07,320 --> 00:44:10,759
Speaker 1: is that this shit hits still to the st It

838
00:44:10,840 --> 00:44:13,839
Speaker 1: is chilling, to be honest, I mean, as much as

839
00:44:13,840 --> 00:44:16,719
Speaker 1: it's been parodied and shit, but like to me, like

840
00:44:16,920 --> 00:44:21,160
Speaker 1: the sound of it is crazy, Like I know, Like again,

841
00:44:21,160 --> 00:44:23,200
Speaker 1: if you go to the Wikipedia article, it'll tell you

842
00:44:23,239 --> 00:44:26,879
Speaker 1: that the sound that the knife makes as it's being

843
00:44:26,880 --> 00:44:31,719
Speaker 1: stabbed into Marian's body is like a melon being sliced.

844
00:44:31,760 --> 00:44:33,759
Speaker 1: And I'm like, to me, that shit fucks with me.

845
00:44:33,840 --> 00:44:37,359
Speaker 1: I'm like, wow, it's too real. Yeah, it's too real.

846
00:44:37,880 --> 00:44:41,320
Speaker 1: I mean in nineteen sixty this would have blown people's

847
00:44:41,360 --> 00:44:43,080
Speaker 1: fucking brains out. I mean it's and.

848
00:44:43,000 --> 00:44:45,040
Speaker 2: They don't even show that the slashes. They just show

849
00:44:45,080 --> 00:44:48,440
Speaker 2: the sound and the visual the close up visuals is

850
00:44:48,560 --> 00:44:50,520
Speaker 2: enough for you to be like, oh no.

851
00:44:50,640 --> 00:44:54,640
Speaker 1: Yeah, I mean it's the blood which apparently was chocolate syrup.

852
00:44:55,160 --> 00:44:57,800
Speaker 1: Because it's in black and white, it just looked better.

853
00:44:58,200 --> 00:45:00,520
Speaker 1: And just the whole everything about it, which she grabs

854
00:45:00,560 --> 00:45:02,879
Speaker 1: the shower curtain and then like the it rips off

855
00:45:02,880 --> 00:45:07,160
Speaker 1: of the rings. I mean, it's fucking terrifying. And you

856
00:45:07,200 --> 00:45:10,200
Speaker 1: know here when it gets right down to it. Another

857
00:45:10,200 --> 00:45:13,120
Speaker 1: thing about this movie being so revolutionary is that, I

858
00:45:13,120 --> 00:45:15,880
Speaker 1: mean the main character dies in the first half of

859
00:45:15,880 --> 00:45:19,440
Speaker 1: the movie, which was almost unheard of in this era.

860
00:45:19,760 --> 00:45:21,279
Speaker 2: That's what I wanted to ask you because I wasn't

861
00:45:21,320 --> 00:45:23,600
Speaker 2: able to figure to figure out too much info on it.

862
00:45:23,640 --> 00:45:25,359
Speaker 2: But wasn't this one of the first movies that did

863
00:45:25,360 --> 00:45:27,920
Speaker 2: that where it's like the main character that you're following

864
00:45:28,680 --> 00:45:30,840
Speaker 2: dies and the whole story changes after that.

865
00:45:31,120 --> 00:45:33,080
Speaker 1: Yeah, I mean, I would say this was definitely one

866
00:45:33,080 --> 00:45:35,120
Speaker 1: of the first. You know, there's always been kind of

867
00:45:35,160 --> 00:45:39,800
Speaker 1: like that plot of like somebody who tells you the beginning,

868
00:45:39,960 --> 00:45:41,920
Speaker 1: like you know, in The Wars they do that a

869
00:45:41,920 --> 00:45:43,680
Speaker 1: lot where it's like, well this ended up like this,

870
00:45:43,760 --> 00:45:45,440
Speaker 1: and let me tell you how it happened, and they

871
00:45:45,520 --> 00:45:48,839
Speaker 1: kind of go through it backwards or whatever. But for this,

872
00:45:49,440 --> 00:45:52,799
Speaker 1: and the craziest part is that Hitchcock used it as

873
00:45:52,840 --> 00:45:54,440
Speaker 1: part of the marketing of the film. I mean, he

874
00:45:54,520 --> 00:45:57,520
Speaker 1: was basically like a William Castle thing where he was like,

875
00:45:57,719 --> 00:45:59,520
Speaker 1: you're not allowed to come in after the movie starts,

876
00:45:59,520 --> 00:46:01,919
Speaker 1: because you're going to be able to like, we don't

877
00:46:01,920 --> 00:46:04,480
Speaker 1: want you walking in this movie, you know, late, because

878
00:46:04,480 --> 00:46:06,680
Speaker 1: something crazy happens, and so it was like a part

879
00:46:06,719 --> 00:46:09,160
Speaker 1: of the gimmick of the movie. So I think it was.

880
00:46:09,200 --> 00:46:10,440
Speaker 1: I think it was one of the first times that

881
00:46:10,480 --> 00:46:14,000
Speaker 1: had happened, and it made people really curious to see it.

882
00:46:14,080 --> 00:46:17,640
Speaker 1: And you know, honestly, like I said, it would have

883
00:46:17,680 --> 00:46:20,840
Speaker 1: been hard for me not to say all that. You know,

884
00:46:20,880 --> 00:46:23,680
Speaker 1: so I'm spoiling the movie insofar as it propels the

885
00:46:23,719 --> 00:46:25,960
Speaker 1: second half of the film. So there you go. But

886
00:46:26,560 --> 00:46:29,560
Speaker 1: so that happens, it's a huge pivotal scene. You know,

887
00:46:29,760 --> 00:46:34,200
Speaker 1: Norman comes down from the house and sees that, you know,

888
00:46:34,320 --> 00:46:38,160
Speaker 1: Marian is dead in the shower, and he believes it

889
00:46:38,160 --> 00:46:42,239
Speaker 1: to be his mom, right, and he started killing. Yeah,

890
00:46:42,440 --> 00:46:46,600
Speaker 1: starts having these conversations with his mother at in the house,

891
00:46:47,440 --> 00:46:50,920
Speaker 1: which you can hear that it's like they're debating, like

892
00:46:51,440 --> 00:46:53,760
Speaker 1: what have you done? I can't believe it. There's blood everywhere,

893
00:46:54,239 --> 00:46:57,600
Speaker 1: et cetera. So from this point on, the cavalry comes

894
00:46:58,200 --> 00:47:01,719
Speaker 1: in and Mary, his boss, figures out that she never

895
00:47:01,760 --> 00:47:05,360
Speaker 1: deposited the money. Her sister, who's played by Vera Miles,

896
00:47:05,440 --> 00:47:08,719
Speaker 1: is like, where's my sister? And then Sam's looking for

897
00:47:08,760 --> 00:47:11,440
Speaker 1: her too, and then you get arbag Ast who is

898
00:47:11,480 --> 00:47:15,359
Speaker 1: the private investigator on the case. They all sort of

899
00:47:15,400 --> 00:47:18,640
Speaker 1: come in at separate times but also together to kind

900
00:47:18,640 --> 00:47:21,360
Speaker 1: of figure out where she's been. And then they eventually

901
00:47:21,440 --> 00:47:25,160
Speaker 1: track her to the Bates Motel, where Norman starts having

902
00:47:25,160 --> 00:47:28,200
Speaker 1: to answer some questions. So we start finding out a

903
00:47:28,239 --> 00:47:31,160
Speaker 1: lot more about Norman and his mom. Well, there's a

904
00:47:31,200 --> 00:47:33,799
Speaker 1: lot of backstory that you find out about them, which

905
00:47:33,840 --> 00:47:38,719
Speaker 1: is that his father passed away, the mother got remarried

906
00:47:38,800 --> 00:47:41,759
Speaker 1: or had a new boyfriend. At one point, there was

907
00:47:41,800 --> 00:47:45,480
Speaker 1: some crazy kind of murder suicide situation with the two

908
00:47:45,520 --> 00:47:49,879
Speaker 1: of them. He found them dead, and it just goes

909
00:47:49,920 --> 00:47:52,840
Speaker 1: from there, and I mean, there's a point where I

910
00:47:52,880 --> 00:47:56,040
Speaker 1: want to spoil this. I feel like everybody knows it,

911
00:47:56,080 --> 00:47:58,000
Speaker 1: but I'm gonna say, yeah, everybody, just say it.

912
00:47:58,080 --> 00:47:58,480
Speaker 4: Yeah.

913
00:47:58,520 --> 00:48:01,560
Speaker 1: Well, as it is revealed at the end of the film,

914
00:48:02,120 --> 00:48:05,920
Speaker 1: Norman's mother is actually dead and he's been propping her

915
00:48:06,040 --> 00:48:10,560
Speaker 1: up in a chair in their house her corpse basically,

916
00:48:10,600 --> 00:48:15,000
Speaker 1: and he has been dressing like his mother and murdering people.

917
00:48:15,520 --> 00:48:20,040
Speaker 1: And you know, there's a lot of writing about that,

918
00:48:20,320 --> 00:48:24,120
Speaker 1: about his sort of like drag character, and like there's

919
00:48:24,160 --> 00:48:28,520
Speaker 1: a lot of like good grad level type writing about

920
00:48:28,520 --> 00:48:30,520
Speaker 1: that kind of stuff, which I encourage people to go

921
00:48:30,600 --> 00:48:34,160
Speaker 1: and read if you want. But that's pretty much the story.

922
00:48:34,760 --> 00:48:36,959
Speaker 1: And I was gonna tell you a little bit about

923
00:48:36,960 --> 00:48:40,240
Speaker 1: Anthony Perkins just because he's one of my favorite actors.

924
00:48:40,719 --> 00:48:42,840
Speaker 1: When I was when I first started at TCM, I

925
00:48:42,920 --> 00:48:45,960
Speaker 1: read the biography about him called Split Image that was

926
00:48:46,000 --> 00:48:49,640
Speaker 1: written by Charles Weinkoff, And I gotta tell you, if

927
00:48:49,680 --> 00:48:51,880
Speaker 1: you go to again, if you go to Wikipedia and

928
00:48:51,920 --> 00:48:55,400
Speaker 1: you look up Anthony Perkins, that entire biography is basically

929
00:48:55,440 --> 00:48:59,359
Speaker 1: that entry. Like it is very long and extensive, where

930
00:48:59,400 --> 00:49:01,880
Speaker 1: I was like, it's like I'm rereading the book. But

931
00:49:02,920 --> 00:49:06,880
Speaker 1: this movie made him a star. Okay, he started all

932
00:49:06,920 --> 00:49:10,080
Speaker 1: the sequels that were ever made about you know, Psycho one, two, three,

933
00:49:10,080 --> 00:49:12,200
Speaker 1: and four, the TV movie like whatever. He was in

934
00:49:12,239 --> 00:49:15,040
Speaker 1: all of them. But the saddest part for me is

935
00:49:15,080 --> 00:49:18,040
Speaker 1: that he experienced a lot of homophobia when he was

936
00:49:18,120 --> 00:49:23,120
Speaker 1: working in Hollywood. Basically he was gay. He was also

937
00:49:23,480 --> 00:49:30,680
Speaker 1: like a non traditional masculine guy, Like he was sensitive

938
00:49:31,080 --> 00:49:35,640
Speaker 1: and insecure and sort of like shy and very boyish.

939
00:49:36,200 --> 00:49:39,080
Speaker 1: And the studios wanted him to be a matine idol,

940
00:49:39,400 --> 00:49:41,680
Speaker 1: and they wanted him to be in movies with women,

941
00:49:41,840 --> 00:49:45,040
Speaker 1: and they did not want him to be gay at all.

942
00:49:45,200 --> 00:49:50,440
Speaker 1: And there's a great, great autobiography that Tab Hunter, the

943
00:49:50,440 --> 00:49:54,760
Speaker 1: actor Tab Hunter wrote Basically he and tab Hunter dated

944
00:49:55,280 --> 00:49:59,160
Speaker 1: and their relationship got torn apart by the studios, and

945
00:49:59,400 --> 00:50:01,960
Speaker 1: you know they I mean it was crazy. Apparently they

946
00:50:02,040 --> 00:50:04,759
Speaker 1: had hired like women to be their girlfriends and they

947
00:50:04,800 --> 00:50:06,960
Speaker 1: would you know, take press photos of the of all

948
00:50:06,960 --> 00:50:09,400
Speaker 1: of them going on double dates and then they would

949
00:50:09,400 --> 00:50:10,799
Speaker 1: go home together. I mean it was just kind of

950
00:50:10,800 --> 00:50:14,520
Speaker 1: this like open secret, but the studios really shut it down.

951
00:50:14,640 --> 00:50:17,000
Speaker 1: And and I think what ended up happening is Anthony

952
00:50:17,000 --> 00:50:20,799
Speaker 1: Perkins decided to buy out his contract at Paramount and

953
00:50:20,800 --> 00:50:23,720
Speaker 1: then he moved to Europe and made movies in Europe

954
00:50:23,719 --> 00:50:25,720
Speaker 1: for a while and came back in the late sixties

955
00:50:25,760 --> 00:50:28,399
Speaker 1: and that's when he started making you know, his later

956
00:50:28,640 --> 00:50:32,560
Speaker 1: kind of period stuff like Mahogany and Pretty Poison. But

957
00:50:33,160 --> 00:50:37,120
Speaker 1: it's sad because I think that that affected his entire life.

958
00:50:37,160 --> 00:50:40,680
Speaker 1: And I was reading both what tab Hunter wrote in

959
00:50:40,680 --> 00:50:43,480
Speaker 1: his autobiography, but also what was in the Mike Nichols

960
00:50:43,480 --> 00:50:47,240
Speaker 1: book that was written by Mark Harris, where it basically

961
00:50:47,360 --> 00:50:51,120
Speaker 1: says he went through the equivalent of gay conversion therapy

962
00:50:52,560 --> 00:50:57,560
Speaker 1: and he even had electro shock, yeah, to quote unquote

963
00:50:57,600 --> 00:51:01,320
Speaker 1: cure his gayness. And at the time that it was happening,

964
00:51:01,400 --> 00:51:05,600
Speaker 1: I think Anthony Perkins felt like being gay was hard

965
00:51:05,640 --> 00:51:07,360
Speaker 1: for him and it made his life hard. So we

966
00:51:07,480 --> 00:51:10,320
Speaker 1: just wanted to like get it out of him, I guess.

967
00:51:10,400 --> 00:51:13,640
Speaker 1: And that is extremely sad to me, of course.

968
00:51:13,640 --> 00:51:15,480
Speaker 2: And plus he was surrounded by people who were telling

969
00:51:15,520 --> 00:51:18,040
Speaker 2: him that that was possible and encouraging him to do

970
00:51:18,120 --> 00:51:20,720
Speaker 2: it and trying to break up his relationships and encourage

971
00:51:20,760 --> 00:51:21,799
Speaker 2: him to not be gay.

972
00:51:22,239 --> 00:51:26,120
Speaker 1: It's really sad because Anthony Perkins became an icon because

973
00:51:26,160 --> 00:51:29,520
Speaker 1: of this film, and I know that he was typecast

974
00:51:29,600 --> 00:51:32,000
Speaker 1: a lot After Psycho, he was in a lot of

975
00:51:32,080 --> 00:51:34,200
Speaker 1: like there are always try to put him in horror

976
00:51:34,200 --> 00:51:37,040
Speaker 1: films and whatnot, but like, he was such a great actor,

977
00:51:37,239 --> 00:51:39,319
Speaker 1: and it just is sad to me that he has

978
00:51:39,400 --> 00:51:43,400
Speaker 1: this insanely awesome legacy of like being Norman Bates and

979
00:51:43,440 --> 00:51:46,239
Speaker 1: being like this icon. But then he was he had

980
00:51:46,280 --> 00:51:48,360
Speaker 1: a lot of turmoil in his personal life and.

981
00:51:48,280 --> 00:51:52,040
Speaker 2: He didn't get like benefit from his own fame, yeah,

982
00:51:52,160 --> 00:51:54,600
Speaker 2: or get to enjoy his own fame, correct.

983
00:51:54,360 --> 00:51:56,320
Speaker 1: You know, I don't know. I mean, he's a great actor.

984
00:51:56,360 --> 00:51:59,920
Speaker 1: He obviously passed away. He died of the AIDS virus,

985
00:52:00,400 --> 00:52:03,200
Speaker 1: and I remember when that happened. Do you remember, like

986
00:52:03,239 --> 00:52:04,359
Speaker 1: when I was announcemember.

987
00:52:04,719 --> 00:52:07,040
Speaker 2: Yeah, And you.

988
00:52:07,000 --> 00:52:09,279
Speaker 1: Know, he's just he's like one of those figures in

989
00:52:09,320 --> 00:52:13,120
Speaker 1: Hollywood that it just I would actually, you know, love

990
00:52:13,200 --> 00:52:16,040
Speaker 1: to see some kind of movie about him or some

991
00:52:16,160 --> 00:52:18,920
Speaker 1: kind of documentary about him, because I think he's super fascinating.

992
00:52:18,960 --> 00:52:22,279
Speaker 1: But he is part of the legacy of Psycho, and

993
00:52:22,960 --> 00:52:26,040
Speaker 1: he's an interesting part of it to me, for my money,

994
00:52:26,080 --> 00:52:26,839
Speaker 1: he definitely is.

995
00:52:26,920 --> 00:52:27,000
Speaker 2: So.

996
00:52:27,560 --> 00:52:29,360
Speaker 1: But anyway, the you know, when it comes down to

997
00:52:29,400 --> 00:52:33,240
Speaker 1: its Psycho the film, everybody should see this movie because

998
00:52:33,239 --> 00:52:38,040
Speaker 1: it is it is the reference point for so many things.

999
00:52:38,640 --> 00:52:41,080
Speaker 2: Why would be surprised when you watch it you're like, oh, yeah,

1000
00:52:41,120 --> 00:52:43,160
Speaker 2: that also comes from this movie.

1001
00:52:43,480 --> 00:52:46,759
Speaker 1: Absolutely. I mean it's like there are horror movies in

1002
00:52:46,800 --> 00:52:50,120
Speaker 1: our history like Psycho, like The Shining, like where you

1003
00:52:50,200 --> 00:52:53,040
Speaker 1: see it over and over and over again in other

1004
00:52:53,239 --> 00:52:55,239
Speaker 1: horror movies, like even when you want to talk about

1005
00:52:55,320 --> 00:52:58,120
Speaker 1: Jordan Peele, like we did a few episodes ago, you

1006
00:52:58,160 --> 00:53:01,239
Speaker 1: can see Psycho in pretty much every horror movie. I mean,

1007
00:53:01,320 --> 00:53:05,279
Speaker 1: it's it's exactly totally amazing. And so it's one of

1008
00:53:05,280 --> 00:53:09,720
Speaker 1: those texts. It's like a foundational text that everybody should watch.

1009
00:53:10,280 --> 00:53:13,720
Speaker 1: So and now we have a remake to talk about.

1010
00:53:13,920 --> 00:53:18,240
Speaker 2: I love the original so much, and I'm very interested

1011
00:53:18,239 --> 00:53:19,360
Speaker 2: in talking about the remake.

1012
00:53:20,080 --> 00:53:21,319
Speaker 4: Let me just set it up for you.

1013
00:53:22,120 --> 00:53:25,480
Speaker 2: So my film for art just because you can doesn't

1014
00:53:25,520 --> 00:53:28,759
Speaker 2: mean you should Theme was released in nineteen ninety eight.

1015
00:53:29,440 --> 00:53:32,919
Speaker 2: It was directed by Gus Van Sant and again still

1016
00:53:32,920 --> 00:53:35,800
Speaker 2: written by Joseph Stevano, based on the book by Robert Block.

1017
00:53:36,200 --> 00:53:37,520
Speaker 4: It's Psycho Surprise.

1018
00:53:37,800 --> 00:53:40,200
Speaker 5: It's not as if she were a maniac or a

1019
00:53:40,280 --> 00:53:40,919
Speaker 5: raving thing.

1020
00:53:41,200 --> 00:53:44,120
Speaker 2: She just it was a little mad.

1021
00:53:44,160 --> 00:53:48,520
Speaker 5: Sometimes we all go a Little Mad Sometimes, haven't You?

1022
00:53:49,000 --> 00:53:51,640
Speaker 2: And I didn't do a one sentence synopsis speak for

1023
00:53:51,680 --> 00:53:55,480
Speaker 2: one reason this movie. What is interesting about this remake

1024
00:53:55,719 --> 00:53:59,560
Speaker 2: is that it is a shot four shot remake, meaning

1025
00:53:59,680 --> 00:54:02,080
Speaker 2: every single beat of the film, from the way the

1026
00:54:02,120 --> 00:54:05,920
Speaker 2: cop leans into Marion's window, the way she packs her suitcase,

1027
00:54:06,440 --> 00:54:10,480
Speaker 2: every single scene is a shot for shot remake. It's

1028
00:54:10,560 --> 00:54:14,120
Speaker 2: just in color and updated the actors with new actors

1029
00:54:14,120 --> 00:54:19,680
Speaker 2: and a new director. So the cast is wild. Vince

1030
00:54:19,760 --> 00:54:23,960
Speaker 2: Vaughan plays Norman Bates and Hayge plays Marian Crane. Julian

1031
00:54:23,960 --> 00:54:28,040
Speaker 2: Moore plays her sister, Lilah. Vigl Mortensen plays Sam Loomis,

1032
00:54:28,560 --> 00:54:33,359
Speaker 2: and William H. Macy plays arbagas the private eye. There's

1033
00:54:33,360 --> 00:54:37,200
Speaker 2: a young Robert Forrester in there towards the end, a

1034
00:54:37,239 --> 00:54:44,520
Speaker 2: young Philip Baker Hall. I know, because I'm like, wait

1035
00:54:44,520 --> 00:54:48,200
Speaker 2: a minute, I'm saying young because like ten years.

1036
00:54:48,120 --> 00:54:49,760
Speaker 4: Later they were ancient.

1037
00:54:50,200 --> 00:54:55,480
Speaker 1: He was born sixty seven years old. That's fine.

1038
00:54:55,840 --> 00:54:59,399
Speaker 2: But yeah, so this cast is something I definitely want

1039
00:54:59,400 --> 00:55:04,160
Speaker 2: to talk about because yes, I overall, I don't think

1040
00:55:04,200 --> 00:55:07,120
Speaker 2: this is a terrible remake in terms of the scope

1041
00:55:07,120 --> 00:55:09,480
Speaker 2: of what it was trying to do, which was remake

1042
00:55:09,600 --> 00:55:12,800
Speaker 2: the movie shot by shot and kind of pay homage

1043
00:55:12,840 --> 00:55:15,719
Speaker 2: to the film by updating the film, So in that

1044
00:55:15,800 --> 00:55:20,440
Speaker 2: way it wasn't bad. My three main problems with this movie. One,

1045
00:55:21,320 --> 00:55:24,440
Speaker 2: during the scene where Norman is looking through the people

1046
00:55:25,120 --> 00:55:29,520
Speaker 2: into Marion's room as she's getting changed before she gets

1047
00:55:29,560 --> 00:55:33,600
Speaker 2: into the shower, in true Gus van Sand's style, he

1048
00:55:33,640 --> 00:55:36,120
Speaker 2: doesn't just look like he does in the original movie.

1049
00:55:36,440 --> 00:55:40,720
Speaker 2: You hear him masturbating, and that bothered me a lot.

1050
00:55:40,840 --> 00:55:43,520
Speaker 2: And I don't and it's not because I'm prudish. It

1051
00:55:43,680 --> 00:55:45,840
Speaker 2: bothered me because I'm like, wait a minute, this is

1052
00:55:45,920 --> 00:55:49,600
Speaker 2: too modern, an up an update, and it took the

1053
00:55:49,640 --> 00:55:52,720
Speaker 2: creepiness factor to a different place. Like in the original

1054
00:55:52,719 --> 00:55:55,040
Speaker 2: when he's looking through the peepole, You're like, I don't

1055
00:55:55,080 --> 00:55:55,880
Speaker 2: know what's gonna happen.

1056
00:55:55,960 --> 00:55:57,000
Speaker 4: Is he just kind of a weirdo?

1057
00:55:57,120 --> 00:56:02,879
Speaker 2: Is it? But when once you hear the disturbation, you're like, oh, like, yeah,

1058
00:56:02,880 --> 00:56:05,000
Speaker 2: this guy's a total gross creep.

1059
00:56:05,239 --> 00:56:05,479
Speaker 1: Yes.

1060
00:56:05,800 --> 00:56:07,560
Speaker 4: So that took me out of it completely.

1061
00:56:07,800 --> 00:56:08,040
Speaker 1: Yeah.

1062
00:56:08,280 --> 00:56:10,880
Speaker 2: The other two things that bothered me about this movie

1063
00:56:11,040 --> 00:56:12,520
Speaker 2: are Vince Vaughn and an hash.

1064
00:56:13,120 --> 00:56:16,640
Speaker 1: Thank you, thank you those notes.

1065
00:56:17,600 --> 00:56:21,560
Speaker 2: I mean, truly, what is fucking happening here, who in

1066
00:56:21,600 --> 00:56:25,400
Speaker 2: their right mind thought And again, I know it's nineteen

1067
00:56:25,480 --> 00:56:27,480
Speaker 2: ninety eight. I know this is post Swingers, Like, I

1068
00:56:27,600 --> 00:56:30,880
Speaker 2: get it, but I don't think we needed to see

1069
00:56:30,920 --> 00:56:32,920
Speaker 2: this movie with those stars.

1070
00:56:33,160 --> 00:56:34,440
Speaker 4: They don't have the chemistry.

1071
00:56:35,160 --> 00:56:41,440
Speaker 2: Vince Vaughn is not anywhere near creepy enough or delightful

1072
00:56:41,560 --> 00:56:44,440
Speaker 2: enough to play the Norman Bays character.

1073
00:56:44,600 --> 00:56:45,600
Speaker 4: In my role, he took it.

1074
00:56:45,560 --> 00:56:48,600
Speaker 2: To a very different place because even you know, he

1075
00:56:48,640 --> 00:56:51,200
Speaker 2: does that weird giggle where he's like, like, he does

1076
00:56:51,200 --> 00:56:53,399
Speaker 2: this weird giggle in every movie.

1077
00:56:53,600 --> 00:56:55,080
Speaker 4: It might be how we actually last.

1078
00:56:55,160 --> 00:56:57,880
Speaker 2: I don't know, but that's what he was doing to

1079
00:56:57,920 --> 00:57:01,000
Speaker 2: punctuate the creepiness instead of acting the way that Anthony

1080
00:57:01,160 --> 00:57:05,160
Speaker 2: Perkins did. Anthony Perkins was very charming. I thought as

1081
00:57:05,200 --> 00:57:08,920
Speaker 2: Norman Bates, you know, pre murder, he was very charming

1082
00:57:09,440 --> 00:57:12,120
Speaker 2: and effusive and kind of shy. He played all these

1083
00:57:12,120 --> 00:57:15,600
Speaker 2: different layers of what a guy who works in the

1084
00:57:15,600 --> 00:57:17,720
Speaker 2: desert and lives with his mom would kind of be like,

1085
00:57:17,960 --> 00:57:23,400
Speaker 2: which was not necessarily instantly murderous. And Vince Vaughn does

1086
00:57:23,480 --> 00:57:25,560
Speaker 2: not give me that at all. Instantly, I'm like, this

1087
00:57:25,600 --> 00:57:28,880
Speaker 2: guy's a goddamn murder and freak, like he just played

1088
00:57:28,920 --> 00:57:29,800
Speaker 2: it so weird.

1089
00:57:30,240 --> 00:57:35,440
Speaker 1: Yeah. I was really really trying to divorce what I

1090
00:57:35,480 --> 00:57:39,400
Speaker 1: feel about Vince Vaughan now, because you know, obviously we

1091
00:57:39,440 --> 00:57:41,520
Speaker 1: have seen him in so many comedy films, Like you know,

1092
00:57:41,560 --> 00:57:45,240
Speaker 1: I was trying to remember, you know, like, oh, he's

1093
00:57:45,320 --> 00:57:49,560
Speaker 1: not the dodgeball guy. He's trying to be a serious

1094
00:57:49,800 --> 00:57:54,320
Speaker 1: a serious psychopath, not a funny psychopath. But I still think,

1095
00:57:54,400 --> 00:57:58,080
Speaker 1: in spite of me mentally doing that, I just couldn't

1096
00:57:58,120 --> 00:58:02,160
Speaker 1: see it. Like I think it's because I want to

1097
00:58:02,200 --> 00:58:04,240
Speaker 1: go back to the Anthony Perkins thing. I think Anthony

1098
00:58:04,280 --> 00:58:10,280
Speaker 1: Perkins felt more like a wounded sort of boyish character

1099
00:58:10,600 --> 00:58:13,840
Speaker 1: to me, like and part of like what you have

1100
00:58:13,920 --> 00:58:16,360
Speaker 1: to do when you watch the original Psycho is you

1101
00:58:16,400 --> 00:58:19,200
Speaker 1: have to kind of understand Norman Bates as a person

1102
00:58:19,240 --> 00:58:24,120
Speaker 1: who is like troubled and has this like troubled relationship

1103
00:58:24,160 --> 00:58:26,400
Speaker 1: with this mother, and he has to come off as

1104
00:58:26,480 --> 00:58:29,560
Speaker 1: weird and quirky and kind of I don't know, unsure

1105
00:58:29,600 --> 00:58:31,880
Speaker 1: of himself, as if maybe that's the best way to

1106
00:58:31,960 --> 00:58:34,880
Speaker 1: describe it. I don't get that from from Vince Vaughn.

1107
00:58:34,880 --> 00:58:37,080
Speaker 1: I feel like Vince Vaughan, I mean, he definitely had

1108
00:58:37,120 --> 00:58:40,320
Speaker 1: the height to be Norman Bates, but he also was

1109
00:58:40,400 --> 00:58:43,680
Speaker 1: kind of like too hot is that weird to say?

1110
00:58:43,840 --> 00:58:47,920
Speaker 1: Like he's like he was like a high, a hunky guy,

1111
00:58:48,720 --> 00:58:52,440
Speaker 1: less weird dude with his birds and more kind of

1112
00:58:52,520 --> 00:58:55,280
Speaker 1: like I don't know, like maybe a straight up ed geen,

1113
00:58:55,480 --> 00:58:58,880
Speaker 1: Like maybe he is just truly ed geen. But he didn't.

1114
00:58:59,480 --> 00:59:03,400
Speaker 1: He didn't make me feel sort of sorry for him,

1115
00:59:03,400 --> 00:59:06,760
Speaker 1: and in that way that I do with the original act, right.

1116
00:59:06,800 --> 00:59:09,200
Speaker 2: That is the exact point is that I didn't feel

1117
00:59:09,240 --> 00:59:10,280
Speaker 2: for him at all.

1118
00:59:11,160 --> 00:59:12,680
Speaker 4: I did not feel for and.

1119
00:59:12,680 --> 00:59:16,640
Speaker 2: For some reason Anthony Perkins, I really was. There was

1120
00:59:16,640 --> 00:59:19,760
Speaker 2: a tenderness there that you're like, oh, this guy, you know,

1121
00:59:19,800 --> 00:59:21,880
Speaker 2: like his life and with I don't know, Vince Fawn

1122
00:59:22,000 --> 00:59:24,000
Speaker 2: just didn't do it for me. And that was part

1123
00:59:24,000 --> 00:59:26,320
Speaker 2: of my issue with the remake is that if you're

1124
00:59:26,360 --> 00:59:28,160
Speaker 2: going to do a shot for shot remake, I think

1125
00:59:28,160 --> 00:59:31,080
Speaker 2: you have to be really careful about who you're putting

1126
00:59:31,080 --> 00:59:34,880
Speaker 2: in these roles. And the height thing also kind of

1127
00:59:34,880 --> 00:59:37,840
Speaker 2: threw me because look, Anthony Perkins was six foot two,

1128
00:59:38,800 --> 00:59:43,640
Speaker 2: Vince Vaughn is six foot five. He instantly looks insane

1129
00:59:43,640 --> 00:59:46,080
Speaker 2: next to anyone he's acting with because actors are pretty

1130
00:59:46,080 --> 00:59:49,880
Speaker 2: famously kind of short people on the shorter side, so

1131
00:59:50,080 --> 00:59:53,400
Speaker 2: in every scene he looks wild next to everyone anyway,

1132
00:59:54,040 --> 00:59:57,919
Speaker 2: but he's six foot five. But I'm like, when he's

1133
00:59:57,960 --> 00:59:59,480
Speaker 2: in the wig and the dress at the end, I'm

1134
00:59:59,480 --> 01:00:03,480
Speaker 2: like this, yeah, No, there's just like when he comes

1135
01:00:03,520 --> 01:00:05,920
Speaker 2: in the door dressed as Norman's mother, You're like his

1136
01:00:06,040 --> 01:00:08,200
Speaker 2: head like poking over the side of the top of

1137
01:00:08,240 --> 01:00:13,080
Speaker 2: this shower round, Like it's just too much. The physicality

1138
01:00:13,120 --> 01:00:14,280
Speaker 2: of it is too much for me.

1139
01:00:14,520 --> 01:00:18,120
Speaker 1: They wouldn't in the colonial times of when this spooky

1140
01:00:18,160 --> 01:00:22,280
Speaker 1: house was built. His six or five guys weren't running

1141
01:00:22,320 --> 01:00:25,919
Speaker 1: around like they didn't make those houses for guys that tall.

1142
01:00:26,000 --> 01:00:26,920
Speaker 1: Let's get serious.

1143
01:00:27,240 --> 01:00:29,280
Speaker 2: He couldn't even get up and down the staircase because

1144
01:00:29,320 --> 01:00:31,680
Speaker 2: he'd go up the staircase and there'd be another staircase

1145
01:00:31,760 --> 01:00:34,120
Speaker 2: like angle on top of it, and he'd be all

1146
01:00:34,160 --> 01:00:35,960
Speaker 2: he would have a hunch, let's put it that way,

1147
01:00:36,000 --> 01:00:37,040
Speaker 2: he would have a hump back.

1148
01:00:37,840 --> 01:00:40,640
Speaker 1: Hey, if they did that, I think I would have

1149
01:00:40,680 --> 01:00:41,960
Speaker 1: bought it. He was too.

1150
01:00:41,760 --> 01:00:46,160
Speaker 3: Hot, too tall and too hot, and the laugh, the

1151
01:00:46,280 --> 01:00:50,800
Speaker 3: laugh threw me. The laugh was absurd, so that just

1152
01:00:50,880 --> 01:00:53,960
Speaker 3: instantly I thought, Eh, I don't need this, and hash

1153
01:00:54,080 --> 01:00:54,560
Speaker 3: is another one.

1154
01:00:54,680 --> 01:00:57,160
Speaker 2: There's something about their chemistry that doesn't work for me.

1155
01:00:57,840 --> 01:01:02,440
Speaker 2: So with Anthony Perkins and Janet Lee, they had a

1156
01:01:02,520 --> 01:01:05,280
Speaker 2: chemistry that was so tense that it kind of again

1157
01:01:05,400 --> 01:01:07,720
Speaker 2: like made those scenes pop. Like you said, Janet Lee

1158
01:01:07,840 --> 01:01:12,080
Speaker 2: was very evocative and kind of really x and telegraphs

1159
01:01:12,080 --> 01:01:14,120
Speaker 2: things with her eyes and her facial expressions in a

1160
01:01:14,120 --> 01:01:17,360
Speaker 2: way that really heighten that tension between them. Yeah, and

1161
01:01:17,400 --> 01:01:20,800
Speaker 2: with Anne Haitian Vince Vaughan, I just wasn't feeling it.

1162
01:01:21,280 --> 01:01:23,040
Speaker 2: I just wasn't feeling their chemistry.

1163
01:01:23,160 --> 01:01:27,920
Speaker 1: I totally agree. I feel like she was definitely not

1164
01:01:28,160 --> 01:01:30,760
Speaker 1: the right person for this. Like, part of what I

1165
01:01:30,760 --> 01:01:33,720
Speaker 1: think is interesting about the chemistry between Norman Bates and

1166
01:01:33,800 --> 01:01:37,240
Speaker 1: Marian is that she seems and maybe this is because

1167
01:01:37,280 --> 01:01:43,520
Speaker 1: he's so emotionally stunted, but like she seems older than him,

1168
01:01:43,520 --> 01:01:47,280
Speaker 1: and she seemed more like motherly towards him. Yes, right,

1169
01:01:48,000 --> 01:01:51,320
Speaker 1: that is the chemistry that you need to like really

1170
01:01:51,720 --> 01:01:55,400
Speaker 1: process who Norman is as a character, and that why

1171
01:01:55,480 --> 01:01:59,520
Speaker 1: he would be kind of obsessed with his mother, right exactly,

1172
01:01:59,680 --> 01:02:03,000
Speaker 1: So in that I was watching those moments really intensely

1173
01:02:03,040 --> 01:02:05,080
Speaker 1: because I was like, what is what is off about

1174
01:02:05,080 --> 01:02:08,160
Speaker 1: this that I'm not I'm not buying this. And I

1175
01:02:08,200 --> 01:02:10,400
Speaker 1: just don't think that Anne Haysh felt like she was.

1176
01:02:10,840 --> 01:02:14,680
Speaker 1: She didn't feel maternal towards him at all. She seemed

1177
01:02:14,760 --> 01:02:17,120
Speaker 1: kind of like scared of him. And I think it

1178
01:02:17,160 --> 01:02:20,760
Speaker 1: maybe is like the physical like difference in their height,

1179
01:02:20,840 --> 01:02:24,320
Speaker 1: but she just didn't seem like I don't know, she

1180
01:02:24,400 --> 01:02:26,200
Speaker 1: just wasn't that character for me at all.

1181
01:02:26,800 --> 01:02:28,960
Speaker 2: And yeah, there was no worry. There was no worry.

1182
01:02:29,000 --> 01:02:30,640
Speaker 2: She was like, well, I'm going to bad bye, And

1183
01:02:30,680 --> 01:02:32,760
Speaker 2: I'm like, oh, like she's not creeped out by him

1184
01:02:32,760 --> 01:02:35,920
Speaker 2: at all, right, right or motherly or yeah, like there

1185
01:02:35,960 --> 01:02:38,680
Speaker 2: was nothing. There was really no chemistry there.

1186
01:02:38,680 --> 01:02:41,280
Speaker 1: Right, Because you have to, like, like I said, I'm

1187
01:02:41,280 --> 01:02:43,200
Speaker 1: not trying to maybe put too much. I don't want

1188
01:02:43,200 --> 01:02:46,200
Speaker 1: to put too much emphasis on Nora and Bates as

1189
01:02:46,200 --> 01:02:48,200
Speaker 1: a as a character, but I'm just saying that in

1190
01:02:48,240 --> 01:02:51,760
Speaker 1: the context of the film, everything that you learn about

1191
01:02:51,840 --> 01:02:56,040
Speaker 1: him is coming from their interaction, right, because then you

1192
01:02:56,040 --> 01:02:57,920
Speaker 1: don't understand what his deal is for the rest of

1193
01:02:57,960 --> 01:03:01,000
Speaker 1: the film until you have see them sit down together

1194
01:03:01,040 --> 01:03:04,320
Speaker 1: in the parlor and they're having those conversations and it

1195
01:03:04,440 --> 01:03:07,800
Speaker 1: just felt kind of flat, did not feel very very

1196
01:03:07,800 --> 01:03:10,400
Speaker 1: emotional to me, And you know, I had to. I

1197
01:03:10,440 --> 01:03:12,120
Speaker 1: hate to say it, but I just felt like they

1198
01:03:12,160 --> 01:03:14,400
Speaker 1: were they were both miscasts in my opinion.

1199
01:03:14,800 --> 01:03:16,880
Speaker 4: Yeah, no, I completely agree with you.

1200
01:03:16,960 --> 01:03:20,360
Speaker 2: And I think the other thing that bothered me about

1201
01:03:20,400 --> 01:03:22,479
Speaker 2: in terms of the casting or why I didn't really

1202
01:03:22,480 --> 01:03:25,480
Speaker 2: love and Haitian this role and why I thought this

1203
01:03:25,520 --> 01:03:29,080
Speaker 2: remake was a little clunky in this way, when the

1204
01:03:29,120 --> 01:03:33,240
Speaker 2: shower scene happens in this updated version, Gus Van Sant

1205
01:03:33,240 --> 01:03:36,320
Speaker 2: makes the choice to show the slashes on the body,

1206
01:03:36,760 --> 01:03:40,240
Speaker 2: which was different. But when I tell you that, when

1207
01:03:40,240 --> 01:03:43,959
Speaker 2: Anne Haysh grabs that curtain and falls over, you see

1208
01:03:43,960 --> 01:03:48,480
Speaker 2: her whole butthole, Like she falls over the tub asshole

1209
01:03:48,640 --> 01:03:53,520
Speaker 2: up And I'm like, again, we don't need it. But

1210
01:03:54,000 --> 01:03:57,480
Speaker 2: when you have Gus Van Sander directing a drugstore cowboy

1211
01:03:57,560 --> 01:04:00,560
Speaker 2: my own private Idaho, Gus Van Sant, you're gonna see butthole.

1212
01:04:00,600 --> 01:04:04,080
Speaker 1: You're saying, butthole, Let's let's get serious. Yeah that like.

1213
01:04:04,120 --> 01:04:07,720
Speaker 2: Janetly would never Janetly would never show you her behole.

1214
01:04:07,960 --> 01:04:09,760
Speaker 1: Yeah, I mean there was doubts on whether or not

1215
01:04:10,120 --> 01:04:14,480
Speaker 1: I mean again, go to the extensive Wikipedia article about Psycho,

1216
01:04:15,480 --> 01:04:18,560
Speaker 1: but there there was doubts of whether or not the

1217
01:04:19,160 --> 01:04:21,800
Speaker 1: person in the shower was actually Janet Lee. That's how

1218
01:04:22,320 --> 01:04:25,120
Speaker 1: you know that, basically that there was a body double,

1219
01:04:25,240 --> 01:04:27,120
Speaker 1: and she claimed that she was actually in the shower

1220
01:04:27,240 --> 01:04:28,840
Speaker 1: the entire time, and you know, it's just it's kind

1221
01:04:28,840 --> 01:04:31,720
Speaker 1: of one of those like legends of the film. But

1222
01:04:31,760 --> 01:04:35,240
Speaker 1: that's how much we couldn't know, Like we didn't know

1223
01:04:35,320 --> 01:04:39,640
Speaker 1: whereas in this this version, you see Anne Haysh's butthole

1224
01:04:39,680 --> 01:04:41,240
Speaker 1: and you're like, that is her butthole, that is her,

1225
01:04:42,680 --> 01:04:47,560
Speaker 1: that is her. Weide there, that's all there.

1226
01:04:47,720 --> 01:04:50,480
Speaker 2: Pan from from butthole the side move to face and

1227
01:04:50,520 --> 01:04:53,640
Speaker 2: you can't deny that it's an hash and it's like,

1228
01:04:53,720 --> 01:04:56,720
Speaker 2: all right, like that's a that's an artistic choice.

1229
01:04:56,760 --> 01:04:58,120
Speaker 4: But I just don't think we need it.

1230
01:04:58,160 --> 01:05:00,200
Speaker 2: I think if you're doing shot for shot remake and

1231
01:05:00,240 --> 01:05:03,520
Speaker 2: you're taking some artistic license and putting your own stamp

1232
01:05:03,560 --> 01:05:05,840
Speaker 2: on it, I get that, like that urged want to

1233
01:05:05,880 --> 01:05:08,000
Speaker 2: do that, but I don't think it honors the film.

1234
01:05:08,680 --> 01:05:10,720
Speaker 2: And you know, again, maybe it makes me a prude,

1235
01:05:10,760 --> 01:05:12,720
Speaker 2: I don't know, but I just felt like that whole

1236
01:05:12,760 --> 01:05:18,560
Speaker 2: scene felt much more more seedy and sialatious to me, yeah.

1237
01:05:18,240 --> 01:05:19,440
Speaker 4: Than the first.

1238
01:05:19,920 --> 01:05:25,520
Speaker 2: The original Psycho the Shower scene was scary. This Psycho

1239
01:05:25,840 --> 01:05:30,280
Speaker 2: the Shower scene was like again very very silicious, and

1240
01:05:30,320 --> 01:05:33,280
Speaker 2: so it was just kind of a different, different.

1241
01:05:32,960 --> 01:05:33,560
Speaker 4: Feeling for me.

1242
01:05:33,800 --> 01:05:35,919
Speaker 1: Yeah, and I know that you're not a fan of Gore,

1243
01:05:36,160 --> 01:05:38,280
Speaker 1: so I mean, and I will say that it does

1244
01:05:38,320 --> 01:05:41,240
Speaker 1: feel more gory and like there was actually the part

1245
01:05:41,280 --> 01:05:44,320
Speaker 1: too where I don't think this happens in the original.

1246
01:05:44,520 --> 01:05:47,960
Speaker 1: Should I should actually check when the Norman Bay's character

1247
01:05:48,080 --> 01:05:53,160
Speaker 1: comes into the bathroom initially and he sees her body

1248
01:05:53,200 --> 01:05:56,080
Speaker 1: there in the remake, I really noticed it this time

1249
01:05:56,080 --> 01:05:58,320
Speaker 1: where he basically like steps over her and her arm

1250
01:05:58,520 --> 01:06:01,080
Speaker 1: just like like he holds the shower curtain in her

1251
01:06:01,160 --> 01:06:04,720
Speaker 1: arms just like flop dangling, and he like it just

1252
01:06:04,800 --> 01:06:07,000
Speaker 1: kind of flops around as he's like stepping around her.

1253
01:06:07,040 --> 01:06:09,280
Speaker 1: And I was like, that's fucking gruesome.

1254
01:06:09,320 --> 01:06:13,320
Speaker 2: It's gnarly, yeah, gnarly yeah, narlely as fuck. So yeah,

1255
01:06:13,360 --> 01:06:15,480
Speaker 2: that those those few things bothered me. I thought the

1256
01:06:15,480 --> 01:06:18,480
Speaker 2: casting was off. I did appreciate that, you know, they

1257
01:06:18,560 --> 01:06:21,400
Speaker 2: kept the solid bast titles, they kept the music, the score.

1258
01:06:21,800 --> 01:06:25,840
Speaker 2: Danny Elfman actually did the updated version of the score.

1259
01:06:25,640 --> 01:06:26,600
Speaker 4: For this film.

1260
01:06:26,800 --> 01:06:29,520
Speaker 2: A lot of it works because it's similar, but there's

1261
01:06:29,560 --> 01:06:31,440
Speaker 2: also again the small things bothered me.

1262
01:06:31,480 --> 01:06:32,400
Speaker 4: The casting was wrong.

1263
01:06:32,760 --> 01:06:35,240
Speaker 2: I didn't need to see Anni, he's his butthole. And

1264
01:06:35,480 --> 01:06:39,640
Speaker 2: even the even the house was not as creepy like

1265
01:06:39,680 --> 01:06:42,560
Speaker 2: the house in the original had the softs and the

1266
01:06:43,080 --> 01:06:46,080
Speaker 2: you know that kind of old old timey Victorian house

1267
01:06:46,200 --> 01:06:49,240
Speaker 2: look like a Victorian dollhouse look, and this house was

1268
01:06:49,280 --> 01:06:51,600
Speaker 2: just like, here's a house on a hill in a desert. Yeah.

1269
01:06:52,520 --> 01:06:54,480
Speaker 1: I wanted to I wanted to ask you about that too,

1270
01:06:54,560 --> 01:06:57,240
Speaker 1: because the one thing that I actually did appreciate about

1271
01:06:57,280 --> 01:06:59,960
Speaker 1: the film was that it sort of like really play

1272
01:07:00,200 --> 01:07:04,440
Speaker 1: up the desert miss of it, yes, which I actually

1273
01:07:04,520 --> 01:07:06,480
Speaker 1: kind of dug like, I was like, oh, this is

1274
01:07:06,560 --> 01:07:11,560
Speaker 1: kind of cool. The motel, I mean, the motel, the

1275
01:07:11,560 --> 01:07:14,760
Speaker 1: Bates Motel in Gus Van Sants movie is definitely more

1276
01:07:14,800 --> 01:07:18,280
Speaker 1: of like a Harry Dean Stanton hotel. It's like, got

1277
01:07:18,280 --> 01:07:20,640
Speaker 1: the fucking shitty couch out in the back, and it

1278
01:07:20,680 --> 01:07:25,160
Speaker 1: was like Neon, it's a very like, you know, sort

1279
01:07:25,200 --> 01:07:28,960
Speaker 1: of more updated Lynchian David Lynchian kind of vibe to

1280
01:07:29,000 --> 01:07:32,560
Speaker 1: the motel, which I think makes it creepier and it

1281
01:07:32,800 --> 01:07:36,080
Speaker 1: reminds you that she is in the middle of nowhere,

1282
01:07:36,160 --> 01:07:39,040
Speaker 1: because that's what I think that the first movie doesn't

1283
01:07:39,560 --> 01:07:43,200
Speaker 1: telegraph as much, is that she's supposed to be on

1284
01:07:44,000 --> 01:07:46,680
Speaker 1: the They moved the highway, so this motel is fucking

1285
01:07:46,760 --> 01:07:48,439
Speaker 1: out of the way and nobody knows it's there.

1286
01:07:48,880 --> 01:07:51,040
Speaker 2: Yeah, and nobody's coming by anymore.

1287
01:07:50,760 --> 01:07:53,800
Speaker 1: Exactly, And then you're like, that's why it's easy for

1288
01:07:53,840 --> 01:07:56,240
Speaker 1: this guy to be coming up here and killing people

1289
01:07:56,240 --> 01:07:58,720
Speaker 1: and putting their fucking cars in the swamp because nobody

1290
01:07:58,760 --> 01:08:02,160
Speaker 1: will know. But they they really make the sense of that.

1291
01:08:02,760 --> 01:08:06,480
Speaker 1: The isolation in the remake, which I appreciate, I agree completely.

1292
01:08:06,720 --> 01:08:08,640
Speaker 2: Yeah, the actual.

1293
01:08:09,760 --> 01:08:12,520
Speaker 4: The feeling of this movie is much more isolated, much.

1294
01:08:12,400 --> 01:08:17,679
Speaker 2: More terrifying, and it's terrifying. Maybe that's where this remake

1295
01:08:17,840 --> 01:08:21,960
Speaker 2: succeeds is that it's terrifying because in a modern sense,

1296
01:08:22,160 --> 01:08:24,320
Speaker 2: there would be more things around this hotel.

1297
01:08:25,000 --> 01:08:27,200
Speaker 4: So to see nothing, you're like, oh, this.

1298
01:08:27,200 --> 01:08:29,599
Speaker 2: Really is There's no chain mall, there's no strip malls,

1299
01:08:29,640 --> 01:08:32,720
Speaker 2: there's no you know, there's no chain restaurants, there's no

1300
01:08:33,320 --> 01:08:36,320
Speaker 2: there's nothing that signifies that life is happening, which in

1301
01:08:36,360 --> 01:08:39,639
Speaker 2: a modern day sense is almost impossible to find places

1302
01:08:39,680 --> 01:08:41,800
Speaker 2: like that. So yeah, it really did feel like a

1303
01:08:41,880 --> 01:08:44,479
Speaker 2: much more isolated movie and I like that.

1304
01:08:45,000 --> 01:08:48,840
Speaker 1: Yeah, I also liked I think it's probably related to this,

1305
01:08:49,040 --> 01:08:54,040
Speaker 1: but the Sam Loomis character, where Vigo Mortensen's kind of

1306
01:08:54,080 --> 01:09:00,599
Speaker 1: just like cowpunk la guy. I was like, Okay, this

1307
01:09:00,680 --> 01:09:04,160
Speaker 1: is an interesting turn, because you know, in the original

1308
01:09:04,200 --> 01:09:07,120
Speaker 1: Sam Loomis he's just kind of like a generic fucking

1309
01:09:07,360 --> 01:09:12,200
Speaker 1: like you know, Jack Lemony, Don Drapery kind of office guy,

1310
01:09:12,320 --> 01:09:16,639
Speaker 1: whereas Bigel Mortenson's character is wearing like a straw cowboy hat.

1311
01:09:16,720 --> 01:09:23,960
Speaker 2: He has like the sideburns that Timothy Oliphant had and go, yeah.

1312
01:09:22,160 --> 01:09:23,360
Speaker 4: He loves Timothy Oliphant.

1313
01:09:23,400 --> 01:09:28,120
Speaker 1: Cidebern definitely late nineties sideburns there.

1314
01:09:30,439 --> 01:09:33,840
Speaker 2: And I looked up so gus Han sand was on

1315
01:09:34,040 --> 01:09:38,759
Speaker 2: an episode of Mark Maron's podcast WTF What the Fuck?

1316
01:09:39,439 --> 01:09:44,400
Speaker 2: And I'm very reluctant to invoke his name because he

1317
01:09:45,240 --> 01:09:47,360
Speaker 2: For those who don't know, I think I've spoken about

1318
01:09:47,400 --> 01:09:50,719
Speaker 2: this briefly, but I do a list of enemies every year.

1319
01:09:51,120 --> 01:09:52,880
Speaker 2: Mark Maron used to be my neighbor when I lived

1320
01:09:52,880 --> 01:09:54,599
Speaker 2: in New York, and he has been on my list

1321
01:09:54,600 --> 01:09:56,320
Speaker 2: of enemies for like fifteen years.

1322
01:09:57,600 --> 01:10:02,439
Speaker 1: Yes, I knew that, but I love anytime you mentioned that.

1323
01:10:03,280 --> 01:10:06,080
Speaker 2: Like just a casual My list of enemies is meant

1324
01:10:06,080 --> 01:10:09,320
Speaker 2: to be motivational, very casual, like I want my life.

1325
01:10:09,360 --> 01:10:11,240
Speaker 2: I want to do better than these folks in my life,

1326
01:10:11,840 --> 01:10:14,280
Speaker 2: just because I think that they're not good people. I

1327
01:10:14,360 --> 01:10:15,840
Speaker 2: just want to be a better person than these people.

1328
01:10:15,840 --> 01:10:18,120
Speaker 2: That's what my list of enemies usually is. And I

1329
01:10:18,120 --> 01:10:20,200
Speaker 2: don't reveal it to anyone, and it's I limit it

1330
01:10:20,240 --> 01:10:20,960
Speaker 2: to five people.

1331
01:10:21,320 --> 01:10:23,719
Speaker 4: But he has been on it for about fifteen years straight.

1332
01:10:24,120 --> 01:10:26,599
Speaker 1: Wow. Wow, So I'm.

1333
01:10:26,400 --> 01:10:30,479
Speaker 2: Invoking this podcast against my own will and better judgment

1334
01:10:31,000 --> 01:10:33,160
Speaker 2: and don't be snitched tagging Mark Maron. He doesn't give

1335
01:10:33,160 --> 01:10:34,280
Speaker 2: a shit. No, he doesn't care.

1336
01:10:34,400 --> 01:10:37,519
Speaker 1: Yes, but so.

1337
01:10:37,560 --> 01:10:40,600
Speaker 2: Gus van Sant was on an episode of WTF in

1338
01:10:40,680 --> 01:10:46,040
Speaker 2: twenty eighteen, and Collider dot Com posted some of the

1339
01:10:46,080 --> 01:10:51,360
Speaker 2: transcript from that episode where Gus Vansant explains why he

1340
01:10:51,400 --> 01:10:53,960
Speaker 2: did the remake and it's kind of interesting and I

1341
01:10:54,000 --> 01:10:55,400
Speaker 2: want to talk to you about this a little bit

1342
01:10:55,479 --> 01:10:58,800
Speaker 2: because I won't read the whole thing, I'll read parts

1343
01:10:58,800 --> 01:10:59,040
Speaker 2: of it.

1344
01:11:00,400 --> 01:11:04,320
Speaker 4: But he originally, he seems to have originally.

1345
01:11:03,800 --> 01:11:07,040
Speaker 2: Wanted to make this remake because he was upset that

1346
01:11:07,120 --> 01:11:10,640
Speaker 2: Hollywood wasn't really making a lot of original.

1347
01:11:10,160 --> 01:11:11,400
Speaker 4: Movies at that point in time.

1348
01:11:12,400 --> 01:11:15,080
Speaker 2: And so he said, and I quote, there's a whole

1349
01:11:15,160 --> 01:11:17,479
Speaker 2: reason behind it. I think the process of doing it

1350
01:11:17,520 --> 01:11:20,800
Speaker 2: was the learning. It wasn't necessarily the result. It wasn't

1351
01:11:20,840 --> 01:11:24,000
Speaker 2: really about learning about Hitchcock. It was more that during

1352
01:11:24,040 --> 01:11:27,599
Speaker 2: the nineties, the joke about the executives was that they

1353
01:11:27,600 --> 01:11:30,280
Speaker 2: would rather make a sequel than they would an original

1354
01:11:30,320 --> 01:11:32,400
Speaker 2: piece because there was less risk.

1355
01:11:33,000 --> 01:11:34,280
Speaker 4: They would rather continue a.

1356
01:11:34,320 --> 01:11:37,080
Speaker 2: Story that's already known in the public, and they were

1357
01:11:37,120 --> 01:11:40,360
Speaker 2: really searching for some way to do that. Now they've

1358
01:11:40,400 --> 01:11:42,320
Speaker 2: found out that comics is the way to do that,

1359
01:11:42,680 --> 01:11:44,800
Speaker 2: but back in the nineties, they hadn't found that yet.

1360
01:11:45,320 --> 01:11:48,160
Speaker 2: Oh yeah. So that's part of the reason that he

1361
01:11:48,200 --> 01:11:50,800
Speaker 2: made it is that it was a kind of like

1362
01:11:50,840 --> 01:11:53,599
Speaker 2: a really like bitchy kind of pushback about like, well,

1363
01:11:53,600 --> 01:11:56,160
Speaker 2: you don't like to make original films, so I'll just

1364
01:11:56,200 --> 01:11:57,559
Speaker 2: give you more of the same, but I'll do it

1365
01:11:57,640 --> 01:12:02,080
Speaker 2: my way, yeah, which was kind of a weird artistic impulse,

1366
01:12:02,720 --> 01:12:03,120
Speaker 2: I think.

1367
01:12:03,560 --> 01:12:05,760
Speaker 1: And I gotta be honest, and this is the thing

1368
01:12:05,800 --> 01:12:10,240
Speaker 1: that so I saw this when it came out obviously

1369
01:12:10,920 --> 01:12:15,360
Speaker 1: and was basically like, why did that happen? Okay, and

1370
01:12:16,120 --> 01:12:18,880
Speaker 1: have not seen it since saw it in the movie theater.

1371
01:12:19,920 --> 01:12:23,839
Speaker 1: Now having seen it again, being much older and wiser,

1372
01:12:23,880 --> 01:12:27,640
Speaker 1: hopefully now I kind of understand it more. Like I

1373
01:12:27,760 --> 01:12:31,840
Speaker 1: understand it more as this is sort of like a

1374
01:12:31,880 --> 01:12:34,640
Speaker 1: thought experiment, to use a phrase that I use a

1375
01:12:34,680 --> 01:12:39,400
Speaker 1: lot on this podcast, and I can actually respect that,

1376
01:12:39,479 --> 01:12:42,800
Speaker 1: Like I can actually respect a director like Gus Van

1377
01:12:42,920 --> 01:12:47,799
Speaker 1: Sant who is very creative, very original, going and taking

1378
01:12:47,840 --> 01:12:51,960
Speaker 1: this classic text and sort of being like, well, I'm

1379
01:12:51,960 --> 01:12:54,360
Speaker 1: gonna do things my way, and not even to do

1380
01:12:54,400 --> 01:12:57,439
Speaker 1: it in a completely bold daring like he could have

1381
01:12:57,479 --> 01:13:00,840
Speaker 1: done an entire gay version of Psycho, which is kind

1382
01:13:00,880 --> 01:13:03,840
Speaker 1: of like what they would actually do now, right, is

1383
01:13:03,880 --> 01:13:05,559
Speaker 1: that they would just be like, let's take an entire

1384
01:13:05,560 --> 01:13:08,000
Speaker 1: film and just change all the variables about it, and

1385
01:13:08,640 --> 01:13:11,040
Speaker 1: you know, this time, it'sactly it all. It's just gonna

1386
01:13:11,040 --> 01:13:14,160
Speaker 1: start dogs or whatever. But he didn't even do that.

1387
01:13:14,960 --> 01:13:17,360
Speaker 1: He just took the original thing, did it shot by shot,

1388
01:13:17,439 --> 01:13:19,680
Speaker 1: and then just changed a couple of things about it,

1389
01:13:19,720 --> 01:13:23,160
Speaker 1: which I think is actually more of like a it's

1390
01:13:23,240 --> 01:13:25,880
Speaker 1: just more unexpected and sort of in a in a

1391
01:13:25,920 --> 01:13:29,000
Speaker 1: way like it is kind of a bigger statement to

1392
01:13:29,120 --> 01:13:31,280
Speaker 1: make for him, right.

1393
01:13:31,439 --> 01:13:32,439
Speaker 4: Yeah, and it is.

1394
01:13:32,479 --> 01:13:34,639
Speaker 2: It's it's definitely a bigger statement, but it's also kind

1395
01:13:34,680 --> 01:13:37,760
Speaker 2: of a fuck you statement, right, And it's like an

1396
01:13:37,760 --> 01:13:41,160
Speaker 2: inside joke that worked for him, you know, So I

1397
01:13:41,200 --> 01:13:44,639
Speaker 2: think that it's it's it's cool, I guess. I guess

1398
01:13:44,680 --> 01:13:46,960
Speaker 2: what I'm trying to say is that there's a part

1399
01:13:46,960 --> 01:13:49,439
Speaker 2: of me that feels like it's very cool that he

1400
01:13:49,479 --> 01:13:52,000
Speaker 2: did a shot by shot remake, made it his own,

1401
01:13:52,560 --> 01:13:53,439
Speaker 2: put his stamp on it.

1402
01:13:53,479 --> 01:13:54,639
Speaker 4: He's an incredible director.

1403
01:13:54,800 --> 01:13:57,280
Speaker 2: I love pretty much every movie of his that I've seen,

1404
01:13:58,000 --> 01:14:01,120
Speaker 2: and I appreciate that part of it. But just knowing

1405
01:14:01,160 --> 01:14:03,639
Speaker 2: that it was so the look of it, the way

1406
01:14:03,640 --> 01:14:06,040
Speaker 2: that it was done, the execution of it, I'm not

1407
01:14:06,080 --> 01:14:09,880
Speaker 2: having a problem with his vision there. But what I

1408
01:14:09,880 --> 01:14:12,479
Speaker 2: think is bothering me is that, like knowing that for

1409
01:14:12,560 --> 01:14:13,960
Speaker 2: him it was just kind of a fuck you to

1410
01:14:14,000 --> 01:14:16,600
Speaker 2: the executives, I'm like, well, then you didn't need to

1411
01:14:16,600 --> 01:14:18,240
Speaker 2: waste your time or money doing that. Like that's just

1412
01:14:18,240 --> 01:14:20,360
Speaker 2: to me like the height of white male privilege in

1413
01:14:20,400 --> 01:14:23,080
Speaker 2: some ways where they're like, I'm a very famous director,

1414
01:14:23,120 --> 01:14:23,479
Speaker 2: I can do.

1415
01:14:23,439 --> 01:14:24,439
Speaker 4: Whatever the fuck I want.

1416
01:14:24,800 --> 01:14:27,320
Speaker 2: My movie, Goodwill Hunting was just nominated for an Oscar,

1417
01:14:27,400 --> 01:14:29,759
Speaker 2: So I know you want me to do your movie,

1418
01:14:29,840 --> 01:14:31,040
Speaker 2: so you would to be able to say that you

1419
01:14:31,080 --> 01:14:34,000
Speaker 2: have me on the on the docket. Sure, And I'm

1420
01:14:34,000 --> 01:14:35,679
Speaker 2: gonna do whatever the fuck I want. And I'm gonna

1421
01:14:35,680 --> 01:14:39,920
Speaker 2: do Psycho and show Anne haesious beehole, and I'm gonna.

1422
01:14:39,720 --> 01:14:41,880
Speaker 1: Make Norman Bates fucking hunky and hot.

1423
01:14:42,400 --> 01:14:45,919
Speaker 2: I'm gonna make Norman Bates a hot six what five weirdo.

1424
01:14:47,360 --> 01:14:49,120
Speaker 2: And so I'm like that that to me is what

1425
01:14:49,160 --> 01:14:50,760
Speaker 2: I think. What bothers me about it is it didn't

1426
01:14:50,800 --> 01:14:53,040
Speaker 2: need to be done because he's a better director than that.

1427
01:14:53,320 --> 01:14:56,400
Speaker 1: Yeah, yeah, yeah, And there was a there's a couple

1428
01:14:56,400 --> 01:14:59,840
Speaker 1: of things too that like you were like, okay, he

1429
01:15:00,160 --> 01:15:03,960
Speaker 1: putting his stamp on it, Like him showing the flashes

1430
01:15:04,640 --> 01:15:08,080
Speaker 1: during the violence parts, Like did you notice that, like

1431
01:15:08,120 --> 01:15:11,760
Speaker 1: basically like him showing the scenes of like the animal flash.

1432
01:15:11,800 --> 01:15:14,000
Speaker 1: It flashed to an animal, it flashes to like some

1433
01:15:14,200 --> 01:15:18,800
Speaker 1: kind of woman with a master yeah, which is you know,

1434
01:15:18,880 --> 01:15:23,200
Speaker 1: obviously his stamp. And I just kept thinking like, Okay,

1435
01:15:24,040 --> 01:15:26,080
Speaker 1: I don't know what I think about this type of thing,

1436
01:15:26,720 --> 01:15:29,559
Speaker 1: but it is, you know, it is kind of like

1437
01:15:29,640 --> 01:15:33,240
Speaker 1: it it's the ultimate in that sort of like thought experiment,

1438
01:15:33,400 --> 01:15:36,880
Speaker 1: in that art appreciation mode where you're like, Okay, what

1439
01:15:36,960 --> 01:15:40,360
Speaker 1: do we think about somebody taking the original movie pretty

1440
01:15:40,400 --> 01:15:45,160
Speaker 1: much shot by shot, original dialogue and then just kind

1441
01:15:45,160 --> 01:15:49,360
Speaker 1: of tweaking it in these very specific ways? What does

1442
01:15:49,400 --> 01:15:53,479
Speaker 1: that do to the original text? And that to me

1443
01:15:53,680 --> 01:15:56,000
Speaker 1: was always like what I was looking at it as

1444
01:15:56,280 --> 01:15:58,559
Speaker 1: versus it being this more of a well, it's just

1445
01:15:58,560 --> 01:16:00,559
Speaker 1: a big fuck you, and it does doesn't even really

1446
01:16:00,640 --> 01:16:02,519
Speaker 1: matter what I did. It's just like, you know, the

1447
01:16:02,560 --> 01:16:05,000
Speaker 1: idea that I just said fuck you Hollywood or.

1448
01:16:04,920 --> 01:16:07,760
Speaker 2: Whatever exactly, you know, exactly.

1449
01:16:08,280 --> 01:16:10,760
Speaker 1: It's just a different way of seeing it, knowing that,

1450
01:16:10,960 --> 01:16:14,320
Speaker 1: whereas before I was just literally taking like said like

1451
01:16:14,560 --> 01:16:16,400
Speaker 1: it was like one of those like side by side

1452
01:16:16,479 --> 01:16:18,840
Speaker 1: video games where you look at the picture on the

1453
01:16:18,920 --> 01:16:20,160
Speaker 1: left and be like, what's different?

1454
01:16:21,040 --> 01:16:21,240
Speaker 2: You know?

1455
01:16:21,680 --> 01:16:24,559
Speaker 1: But I honestly, I gotta say, I mean, like I

1456
01:16:24,560 --> 01:16:26,560
Speaker 1: said before, I did not hate it. Like when I

1457
01:16:26,720 --> 01:16:28,840
Speaker 1: when I first saw it, I thought, God, this is weird.

1458
01:16:28,880 --> 01:16:31,000
Speaker 1: But then I now I watch it again and I'm like,

1459
01:16:31,320 --> 01:16:35,320
Speaker 1: didn't hate this at all. I love so Juliette Moore's character.

1460
01:16:35,800 --> 01:16:37,200
Speaker 1: I wasn't sure if you're gonna talk about this.

1461
01:16:38,080 --> 01:16:38,519
Speaker 2: She is.

1462
01:16:40,120 --> 01:16:44,000
Speaker 1: Literally wearing a walkman when you first or first introduced

1463
01:16:44,000 --> 01:16:49,240
Speaker 1: to her. There's a moment where, again we're gonna spoil this,

1464
01:16:50,120 --> 01:16:53,280
Speaker 1: so at the end of the film where Vice Vaughn

1465
01:16:53,479 --> 01:16:57,919
Speaker 1: six foot five ass comes in duckin in the doorway

1466
01:16:58,400 --> 01:17:02,519
Speaker 1: in the wig, and then he has the showdown with

1467
01:17:03,360 --> 01:17:07,599
Speaker 1: Julian Yeah, the Lyla character and Sam character. Sam comes

1468
01:17:07,640 --> 01:17:11,320
Speaker 1: in wrestles him to the ground. Now in the remake,

1469
01:17:11,360 --> 01:17:13,640
Speaker 1: that's played out a little bit more than it is

1470
01:17:13,680 --> 01:17:17,400
Speaker 1: in the in the original. But the thing that's interesting

1471
01:17:17,479 --> 01:17:21,439
Speaker 1: to me is that in the remake, Sam wrestles him

1472
01:17:21,439 --> 01:17:27,200
Speaker 1: to the ground and then Lilah kicks him, which doesn't

1473
01:17:27,280 --> 01:17:32,320
Speaker 1: happen in the first film. So she sort of participates in,

1474
01:17:33,080 --> 01:17:37,200
Speaker 1: you know, subduing Norman, which I think is kind of awesome.

1475
01:17:37,560 --> 01:17:39,200
Speaker 1: And there was a moment where I was like, I wish,

1476
01:17:39,320 --> 01:17:41,439
Speaker 1: I wish Vera Miles would have kicked his ass a

1477
01:17:41,479 --> 01:17:45,440
Speaker 1: little bit, you know, like and it kind of reminds

1478
01:17:45,479 --> 01:17:47,639
Speaker 1: you in that way that like, oh, yeah, these women

1479
01:17:47,800 --> 01:17:50,519
Speaker 1: in the in these older films, they were just waiting

1480
01:17:50,560 --> 01:17:53,599
Speaker 1: for the guy to come along and save him from the.

1481
01:17:53,520 --> 01:17:55,040
Speaker 2: Back guy exactly.

1482
01:17:55,320 --> 01:17:58,240
Speaker 1: Whereas julian Moore is like, fuck it, I'm getting in

1483
01:17:58,280 --> 01:17:59,960
Speaker 1: there and I'm fucking kicking this dude the thing.

1484
01:18:01,000 --> 01:18:03,400
Speaker 2: Well, and that's how the world had changed up till

1485
01:18:03,439 --> 01:18:05,360
Speaker 2: that point, Like we started to see more women in

1486
01:18:05,439 --> 01:18:08,240
Speaker 2: action movies and in these roles where they were not

1487
01:18:08,360 --> 01:18:11,720
Speaker 2: just passive, and it would have made it would have

1488
01:18:12,000 --> 01:18:13,600
Speaker 2: not made sense that she had just sat there and

1489
01:18:13,680 --> 01:18:16,880
Speaker 2: let Sam save her. Yeah, you know, just knowing the

1490
01:18:17,479 --> 01:18:20,280
Speaker 2: and the character was so much more brash, Like I

1491
01:18:20,280 --> 01:18:22,439
Speaker 2: think that the Via character in the original is so

1492
01:18:22,720 --> 01:18:23,800
Speaker 2: punk rock and so like.

1493
01:18:23,800 --> 01:18:25,400
Speaker 4: I'm doing it. I don't care what you say. I'm

1494
01:18:25,439 --> 01:18:27,479
Speaker 4: going up there. I'm going to that hotel. Like she's

1495
01:18:27,680 --> 01:18:28,520
Speaker 4: very independent.

1496
01:18:29,240 --> 01:18:34,040
Speaker 2: Julianne Moore's version of Lyla is very much like like

1497
01:18:34,280 --> 01:18:36,720
Speaker 2: I used to run a radio station.

1498
01:18:36,520 --> 01:18:39,080
Speaker 4: In the jungle for fun, Like she had that kind

1499
01:18:39,120 --> 01:18:39,679
Speaker 4: of energy.

1500
01:18:40,360 --> 01:18:43,120
Speaker 6: Yeah, so she's not having it.

1501
01:18:43,160 --> 01:18:45,760
Speaker 4: And I think that that slight change was a smart one.

1502
01:18:45,960 --> 01:18:47,639
Speaker 2: Yeah for sure, I do too.

1503
01:18:48,439 --> 01:18:51,479
Speaker 1: So, yeah, there was that little adjustment that I thought

1504
01:18:51,520 --> 01:18:55,000
Speaker 1: was actually really cool. But yeah, it is. It's interesting

1505
01:18:55,080 --> 01:18:58,439
Speaker 1: to me just this this whole thing, And like I said,

1506
01:18:58,439 --> 01:19:01,280
Speaker 1: like before when we were talking about out just setting

1507
01:19:01,320 --> 01:19:04,200
Speaker 1: up this episode. This isn't it easy one to be

1508
01:19:04,320 --> 01:19:07,200
Speaker 1: like this one just blows and we just get to

1509
01:19:07,200 --> 01:19:07,840
Speaker 1: make fun of it.

1510
01:19:07,920 --> 01:19:09,040
Speaker 2: This is a little bit.

1511
01:19:08,840 --> 01:19:13,960
Speaker 1: More nuanced, and I actually appreciate that. I like having

1512
01:19:14,000 --> 01:19:15,599
Speaker 1: to think about it a little bit more.

1513
01:19:15,680 --> 01:19:17,479
Speaker 2: You know, I do too, I do too, And I

1514
01:19:17,479 --> 01:19:20,760
Speaker 2: think again, it's because Van Santen made the decision to

1515
01:19:20,800 --> 01:19:25,639
Speaker 2: do to do the film the original film justice by

1516
01:19:25,720 --> 01:19:29,280
Speaker 2: keeping keeping it shot for shot. And the other thing

1517
01:19:29,320 --> 01:19:31,240
Speaker 2: that's important I think to know about this remake is

1518
01:19:31,280 --> 01:19:34,160
Speaker 2: that it fucking bombed, Like, it did not do well

1519
01:19:34,240 --> 01:19:34,639
Speaker 2: in the.

1520
01:19:34,560 --> 01:19:35,559
Speaker 4: Box office at all.

1521
01:19:36,080 --> 01:19:40,240
Speaker 2: So on that same Collider article that again was taken

1522
01:19:40,280 --> 01:19:44,840
Speaker 2: from the Mark Maron podcast, he says, so it didn't work,

1523
01:19:44,960 --> 01:19:47,040
Speaker 2: but the idea was whether or not you could remake

1524
01:19:47,080 --> 01:19:49,760
Speaker 2: something and it would repeat the box office. That was

1525
01:19:49,760 --> 01:19:53,040
Speaker 2: a sort of weird science experiment. It's more important now,

1526
01:19:53,080 --> 01:19:56,720
Speaker 2: I think, because people like yourself will ask questions about it.

1527
01:19:56,720 --> 01:19:59,680
Speaker 2: It's more alive now than it was back when it

1528
01:19:59,680 --> 01:20:02,720
Speaker 2: failed old just with the art world or with the

1529
01:20:02,760 --> 01:20:07,599
Speaker 2: modern world. So the fact that it's like that this

1530
01:20:07,720 --> 01:20:12,240
Speaker 2: remake has legs or is having a different perspective reading

1531
01:20:12,400 --> 01:20:15,960
Speaker 2: on it now, I think is an interesting one. And

1532
01:20:16,000 --> 01:20:19,040
Speaker 2: I wonder how much of that is just that the

1533
01:20:19,120 --> 01:20:21,599
Speaker 2: way the world has progressed, we kind of have more

1534
01:20:21,600 --> 01:20:23,920
Speaker 2: of a language and we have more of a way

1535
01:20:23,960 --> 01:20:27,080
Speaker 2: to appreciate films like this and remakes like this totally

1536
01:20:27,800 --> 01:20:30,120
Speaker 2: or how much of it is that over time people

1537
01:20:30,160 --> 01:20:33,720
Speaker 2: calm down and just realize it's not that bad. Like

1538
01:20:33,760 --> 01:20:35,800
Speaker 2: there's always that knee jerk reaction of like I hate

1539
01:20:35,840 --> 01:20:38,479
Speaker 2: it because it's not the original, But then maybe people

1540
01:20:38,520 --> 01:20:39,320
Speaker 2: calm down.

1541
01:20:39,320 --> 01:20:43,439
Speaker 1: One hundred percent. That is perfect, because that is I

1542
01:20:43,479 --> 01:20:46,840
Speaker 1: think a lot of what happens when you have these

1543
01:20:46,880 --> 01:20:52,000
Speaker 1: sort of like reevaluations of older films, right and this

1544
01:20:52,040 --> 01:20:56,800
Speaker 1: is happening literally every second right now, because everybody is

1545
01:20:56,840 --> 01:21:03,720
Speaker 1: sort of reevaluating history and movies, television shows, characters like

1546
01:21:04,160 --> 01:21:08,000
Speaker 1: songs like what are these old things mean in this

1547
01:21:08,120 --> 01:21:11,479
Speaker 1: more modern context? And we're doing it sort of twice,

1548
01:21:11,560 --> 01:21:13,960
Speaker 1: I mean, with the original Psycho but also this remake,

1549
01:21:14,600 --> 01:21:19,240
Speaker 1: and I totally agree. I think time really is the

1550
01:21:19,280 --> 01:21:21,960
Speaker 1: great salv or something to a lot of stuff where

1551
01:21:21,960 --> 01:21:24,439
Speaker 1: you just have to wait it out and see what

1552
01:21:24,520 --> 01:21:27,280
Speaker 1: happens in twenty years or so. When people are like

1553
01:21:28,040 --> 01:21:32,719
Speaker 1: not as pissed off and also sort of in another zone,

1554
01:21:32,800 --> 01:21:35,920
Speaker 1: in another framework, because I gotta tell you, like, I

1555
01:21:36,000 --> 01:21:38,479
Speaker 1: was one of those people in ninety eight when I

1556
01:21:38,520 --> 01:21:41,280
Speaker 1: saw this in college, being like I mean, I was

1557
01:21:41,600 --> 01:21:44,599
Speaker 1: very new to the cinophile scene, so I was very

1558
01:21:44,680 --> 01:21:48,720
Speaker 1: much like, who is fucking doing this? Who is taking Hitchcock?

1559
01:21:48,880 --> 01:21:53,240
Speaker 1: And I'm like, very much I'm less precious about that generally,

1560
01:21:53,280 --> 01:21:54,720
Speaker 1: but also about Hitchcock, like I'm like.

1561
01:21:54,640 --> 01:21:55,080
Speaker 3: Who cares?

1562
01:21:55,280 --> 01:21:58,160
Speaker 1: Right? But he is. But also Gus van Sant sort

1563
01:21:58,200 --> 01:22:02,400
Speaker 1: of having his own knowing what he really thought while

1564
01:22:02,400 --> 01:22:05,000
Speaker 1: he was doing it or his reasons for doing it,

1565
01:22:05,280 --> 01:22:09,040
Speaker 1: which weren't clear to me in ninety eight. But now yeah,

1566
01:22:09,200 --> 01:22:12,520
Speaker 1: because of you know, him being able to discuss those things.

1567
01:22:12,479 --> 01:22:17,240
Speaker 2: We are rocketing towards the future where at some point

1568
01:22:17,920 --> 01:22:21,800
Speaker 2: someone is going to make the argument that Ernest goes

1569
01:22:21,800 --> 01:22:24,160
Speaker 2: to camp should be cannon, like that is just where

1570
01:22:24,160 --> 01:22:25,760
Speaker 2: we're going as.

1571
01:22:25,720 --> 01:22:27,320
Speaker 4: People reevaluate things.

1572
01:22:27,360 --> 01:22:30,559
Speaker 2: So I think that time helps people calm down, for sure,

1573
01:22:30,640 --> 01:22:33,040
Speaker 2: but it also creates a level of absurdity where then

1574
01:22:33,160 --> 01:22:37,639
Speaker 2: everything becomes important for some reason. And I'm just glad,

1575
01:22:37,720 --> 01:22:41,360
Speaker 2: I'm glad to know that Van Sant wasn't being terribly

1576
01:22:41,360 --> 01:22:43,960
Speaker 2: precious about this himself that he was kind of doing

1577
01:22:44,000 --> 01:22:45,640
Speaker 2: it as a fuck you. He was kind of like

1578
01:22:46,000 --> 01:22:47,920
Speaker 2: doing it as a thought experiment, see if it could

1579
01:22:47,960 --> 01:22:51,080
Speaker 2: be done. But then the thing that bothers me about

1580
01:22:51,080 --> 01:22:53,559
Speaker 2: that again is like, I want to see everyone have

1581
01:22:53,640 --> 01:22:57,160
Speaker 2: the chance to do that, not just like privileged white

1582
01:22:57,200 --> 01:22:59,879
Speaker 2: men who are nominated for Academy Awards exactly.

1583
01:23:00,080 --> 01:23:02,360
Speaker 1: And I'm also curious, man nan Ney to go down.

1584
01:23:02,720 --> 01:23:05,320
Speaker 1: I should have went down this hole before we press

1585
01:23:05,360 --> 01:23:09,559
Speaker 1: record today, But I'm curious as to what Vince Vaughn

1586
01:23:09,600 --> 01:23:13,720
Speaker 1: and Anne Haysh thought about, you know, playing these extremely

1587
01:23:13,800 --> 01:23:18,040
Speaker 1: famous roles and what they thought of it, especially knowing

1588
01:23:18,080 --> 01:23:21,400
Speaker 1: that it bombs so badly, Like because I was sitting

1589
01:23:21,439 --> 01:23:24,519
Speaker 1: here thinking like, oh, Vince Vaughn is probably sitting around

1590
01:23:24,840 --> 01:23:28,639
Speaker 1: on his pile of money, but also going, oh, remember

1591
01:23:28,680 --> 01:23:35,439
Speaker 1: what I fucking played Norman Bates, right, and Andy Corns?

1592
01:23:35,640 --> 01:23:37,000
Speaker 1: I was eating candy corns.

1593
01:23:38,439 --> 01:23:41,719
Speaker 2: He did, to his credit, he did eat the candy

1594
01:23:41,800 --> 01:23:44,400
Speaker 2: in exactly the same weird way that Anthony Perkins did,

1595
01:23:44,400 --> 01:23:47,800
Speaker 2: which I thought was cool. Yeah, the hand motion that

1596
01:23:47,880 --> 01:23:50,360
Speaker 2: he flipped into that he nailed.

1597
01:23:50,120 --> 01:23:53,200
Speaker 1: Yeah, completely, you got it perfect you got.

1598
01:23:53,040 --> 01:23:54,439
Speaker 4: It, n you got it.

1599
01:23:54,479 --> 01:23:56,880
Speaker 2: But yeah, I think that he is just sitting on

1600
01:23:56,960 --> 01:24:00,880
Speaker 2: his pile of money, like he said. And now that

1601
01:24:00,920 --> 01:24:03,479
Speaker 2: we also have things like that TV show Baits Motel

1602
01:24:03,560 --> 01:24:04,960
Speaker 2: where people are doing.

1603
01:24:04,720 --> 01:24:06,920
Speaker 4: A dark reimagining of a dark movie.

1604
01:24:07,400 --> 01:24:10,240
Speaker 2: Yes, you know, there's just lots of ways to feel

1605
01:24:10,240 --> 01:24:12,680
Speaker 2: like I think he'd. I think everyone involved in this

1606
01:24:12,680 --> 01:24:15,080
Speaker 2: should feel fine about doing it. But yeah, I think

1607
01:24:15,080 --> 01:24:17,439
Speaker 2: that it's it's not like the blemish on their record

1608
01:24:17,439 --> 01:24:20,160
Speaker 2: that it might have once been. Yeah, now that we're

1609
01:24:20,200 --> 01:24:23,800
Speaker 2: reevaluating things a little and seeing different remakes and looking

1610
01:24:23,840 --> 01:24:24,559
Speaker 2: at them a little more.

1611
01:24:24,439 --> 01:24:27,200
Speaker 1: Closely, while we say it's like we always say on

1612
01:24:27,240 --> 01:24:29,160
Speaker 1: this podcast, got to rewatch movies.

1613
01:24:29,880 --> 01:24:31,200
Speaker 4: Sorry, gotta go back.

1614
01:24:31,280 --> 01:24:35,160
Speaker 1: Even if you yeah fucking hated it and you told yourself,

1615
01:24:35,200 --> 01:24:38,400
Speaker 1: I'll never see that piece of shit again, watch it again,

1616
01:24:38,920 --> 01:24:40,880
Speaker 1: because twenty years will go by and I'll be like,

1617
01:24:40,920 --> 01:24:43,000
Speaker 1: you know what, why was I so crunk about that?

1618
01:24:43,439 --> 01:24:44,800
Speaker 2: Like, yeah, why was I so mad?

1619
01:24:45,080 --> 01:24:48,280
Speaker 1: Yeah, it's actually like not as bad as I thought.

1620
01:24:48,400 --> 01:24:51,000
Speaker 2: So, although I will say that the remakeup Point Break

1621
01:24:51,000 --> 01:24:53,000
Speaker 2: will bother me until I'm in my grave.

1622
01:24:52,800 --> 01:24:58,840
Speaker 1: I will never ever see that again. Ah, I will

1623
01:24:58,880 --> 01:25:05,720
Speaker 1: never I can't do another fireside body chat. Can't do it.

1624
01:25:07,000 --> 01:25:09,080
Speaker 2: But you know what you can do. You can tell

1625
01:25:09,280 --> 01:25:12,000
Speaker 2: these fine folks what our movies are for next week.

1626
01:25:12,240 --> 01:25:17,439
Speaker 7: Our movies for next week are The Transporter from two

1627
01:25:17,479 --> 01:25:23,120
Speaker 7: thousand and two and Crank two High Voltage from two

1628
01:25:23,120 --> 01:25:23,880
Speaker 7: thousand and nine.

1629
01:25:24,840 --> 01:25:30,920
Speaker 2: Okay, let's just say right off the bat that these

1630
01:25:30,960 --> 01:25:32,920
Speaker 2: movies are not going to be for everyone, So do

1631
01:25:32,960 --> 01:25:34,960
Speaker 2: a little homework first and decide if you want to

1632
01:25:35,000 --> 01:25:35,479
Speaker 2: watch them.

1633
01:25:36,240 --> 01:25:42,080
Speaker 1: Yeah. I would extensively google things before I committed. Wow,

1634
01:25:42,240 --> 01:25:47,400
Speaker 1: this episode was great. I had a great time rewatching

1635
01:25:47,800 --> 01:25:50,640
Speaker 1: the cycle remake. I had a great time chatting with

1636
01:25:50,680 --> 01:25:53,280
Speaker 1: you about it. And hey, if you want, if you

1637
01:25:53,320 --> 01:25:55,120
Speaker 1: want to email us and you want to give us

1638
01:25:55,120 --> 01:25:57,920
Speaker 1: your thoughts, please do so at I Saw what you

1639
01:25:57,920 --> 01:25:59,840
Speaker 1: did pot at gmail dot com.

1640
01:25:59,600 --> 01:26:01,840
Speaker 4: And you can also find us on our social media.

1641
01:26:02,360 --> 01:26:05,120
Speaker 2: We are at I saw pod on Instagram and Twitter.

1642
01:26:05,520 --> 01:26:08,040
Speaker 2: We also have I Saw what you Did merch in

1643
01:26:08,120 --> 01:26:09,679
Speaker 2: the Exactly Right shop.

1644
01:26:09,920 --> 01:26:12,400
Speaker 4: If you go to exactly Rightmedia.

1645
01:26:12,000 --> 01:26:17,519
Speaker 2: Dot com slash all Podcasts shop, you can find our

1646
01:26:17,560 --> 01:26:19,240
Speaker 2: goods and whares.

1647
01:26:19,040 --> 01:26:22,080
Speaker 1: And hey, if you want more, if you just want

1648
01:26:22,080 --> 01:26:26,240
Speaker 1: more of us, please come over to stitch your premium.

1649
01:26:26,439 --> 01:26:29,120
Speaker 1: We got a whole bunch of bonus episodes for you.

1650
01:26:29,520 --> 01:26:31,599
Speaker 1: We talk a lot of shit, We have a lot

1651
01:26:31,640 --> 01:26:35,000
Speaker 1: of laughs. Use the promo code saw if you want

1652
01:26:35,000 --> 01:26:38,320
Speaker 1: a free month of it. Please we have so much

1653
01:26:38,320 --> 01:26:40,000
Speaker 1: fun on the bonus. Come join us.

1654
01:26:40,040 --> 01:26:42,919
Speaker 2: We read your letters to you, so you want to

1655
01:26:42,960 --> 01:26:44,479
Speaker 2: see how we are reacting to you.

1656
01:26:45,000 --> 01:26:47,679
Speaker 1: Yes, to you and your weird parents.

1657
01:26:52,640 --> 01:26:53,240
Speaker 2: I love it.

1658
01:26:53,400 --> 01:26:55,839
Speaker 4: Well, this was a fucking blast.

1659
01:26:56,240 --> 01:26:58,600
Speaker 2: I love it. I'm gonna go read that Anthony Perkins,

1660
01:26:58,640 --> 01:27:02,680
Speaker 2: that Tap Hunter autobiat yes, because I'm riveted.

1661
01:27:02,320 --> 01:27:03,400
Speaker 4: Now, so I want to read that.

1662
01:27:03,640 --> 01:27:08,360
Speaker 1: Yeah. And honestly, if you want to just google pictures.

1663
01:27:08,840 --> 01:27:10,840
Speaker 1: There are pictures of the two of them on these

1664
01:27:10,880 --> 01:27:15,960
Speaker 1: like fake dates, so strange, but also you're like tab

1665
01:27:16,080 --> 01:27:19,760
Speaker 1: Hunter and Anthony Perkins dating is like the hottest thing

1666
01:27:19,800 --> 01:27:23,679
Speaker 1: I've ever heard of my life. Couldn't get any hotter

1667
01:27:23,720 --> 01:27:24,360
Speaker 1: if you tried.

1668
01:27:26,640 --> 01:27:27,559
Speaker 2: I Eat.

1669
01:27:28,080 --> 01:27:29,200
Speaker 4: That's what that band is named after.

1670
01:27:29,280 --> 01:27:31,000
Speaker 2: Right, they saw a picture of Anthony Perkins and tab

1671
01:27:31,080 --> 01:27:32,759
Speaker 2: Hunter and they're like hot hot eat.

1672
01:27:32,960 --> 01:27:35,439
Speaker 1: Well, it was a blast. Danielle. As always, thank you

1673
01:27:35,479 --> 01:27:39,040
Speaker 1: so much for doing this podcast and for your insights

1674
01:27:39,160 --> 01:27:43,519
Speaker 1: and your intelligence and your wonderfulness. Thank you for allowing

1675
01:27:43,560 --> 01:27:47,720
Speaker 1: me to tackle the the original. I really appreciate it.

1676
01:27:48,120 --> 01:27:52,160
Speaker 2: Oh any, you've done your due diligence with this category,

1677
01:27:52,240 --> 01:27:52,880
Speaker 2: with this theme.

1678
01:27:53,479 --> 01:27:55,519
Speaker 4: I'm happy to do it. You deserve it.

1679
01:27:56,240 --> 01:27:56,599
Speaker 7: Thanks.

1680
01:27:56,640 --> 01:27:57,639
Speaker 4: We'll see you next week.

1681
01:27:58,120 --> 01:27:58,719
Speaker 1: Okay, bye.

1682
01:28:05,600 --> 01:28:07,920
Speaker 2: This has been an exactly right production. Our producer is

1683
01:28:07,960 --> 01:28:11,479
Speaker 2: Alexis Samrosi. Our engineer is Ryo Baum. Our theme song

1684
01:28:11,520 --> 01:28:15,160
Speaker 2: is by Tom Bryfogel, artwork by Garrett Ross. Our executive

1685
01:28:15,200 --> 01:28:18,360
Speaker 2: producers are Georgia hard Start, Karen Kilgareth and Danielle Kramer.

1686
01:28:18,600 --> 01:28:20,960
Speaker 2: You can follow us on Instagram and Twitter at I

1687
01:28:21,040 --> 01:28:23,439
Speaker 2: Saw Pod. You can email us at I Saw What

1688
01:28:23,520 --> 01:28:26,360
Speaker 2: You Did Pod at gmail, and please don't forget to listen,

1689
01:28:26,479 --> 01:28:29,879
Speaker 2: Subscribe and leave us a review on Apple Podcasts, Stitcher,

1690
01:28:30,080 --> 01:28:31,439
Speaker 2: or wherever you listen