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

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Speaker 1: You Did. My name is Millie to Jericho Danielle Henderson,

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Speaker 1: and we were having a hot time here on the podcast,

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Speaker 1: we talk about film and whatnot. How is how's your life?

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Speaker 1: How's it going?

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Speaker 2: Everything's good, Everything's good. I've been really moving around a

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Speaker 2: lot this summer. And my cat sitter house slash house

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Speaker 2: sitter is so lovely just she's crucial to my life.

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Speaker 2: If I didn't have her in my life, I don't

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Speaker 2: think I'd be able to travel around as much because

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Speaker 2: she just rolls with everything so easily, and she treats

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Speaker 2: Carrot so well, and they're just so cute, and I

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Speaker 2: just love, love and appreciate her. And I also I'll

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Speaker 2: give you a couple of house updates. I guess I've

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Speaker 2: moved my bedroom. It gets so hot in here in

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Speaker 2: the summer, and I finally reached a point where I

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Speaker 2: was like, I could be sleeping in a cooler room.

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Speaker 2: Like there's a part of my house that's always at

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Speaker 2: least twenty degrees cooler than whatever it is outside. So

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Speaker 2: I kind of have like an upstairs like a winter

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Speaker 2: bedroom in a summer bedroom.

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Speaker 1: Wow, my own house. That's very fancy. That's very fancy.

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Speaker 2: I feel fancy and insane. And I just had to

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Speaker 2: do it though, because I was like passing out and

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Speaker 2: my actual bedroom it's so high in there, and I

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Speaker 2: can't have AC in my house unless I install HVAC,

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Speaker 2: which is so much money. And all the windows upstairs

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Speaker 2: in my house are skylights. So whoever built this house,

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Speaker 2: I'd like to fucking pummel, but I can't put in

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Speaker 2: like a window unit. And don't even talk to me

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Speaker 2: about floor unit swamp coolers, like, oh, I'm not doing that.

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Speaker 1: Is that a common thing in where you live? Like

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Speaker 1: nobody has AC?

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Speaker 2: No, it's common in old houses, I think, but it's

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Speaker 2: not common like throughout my area, which makes it even

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Speaker 2: more annoying. But I just I don't know. I just

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Speaker 2: kind of reached a point where, you know, I've lived

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Speaker 2: here for over two years now, which I can't believe,

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Speaker 2: and I just just recently decided, oh wait, I can

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Speaker 2: be comfortable in here, Like it's possible for me to

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Speaker 2: be comfortable in here, even though it's not done and

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Speaker 2: the renovations won't be done for a very long time.

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Speaker 2: There are parts of the house where I can be comfortable.

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Speaker 2: So I'm just kind of using those more and it

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Speaker 2: feels good.

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Speaker 1: Good, that's great.

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Speaker 2: Yeah, what else, I've just been moving around a lot,

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Speaker 2: like I went. So I just got back from another

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Speaker 2: trip to Montreal and that was great. I recommend flirting.

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Speaker 2: I met someone in Montreal the last time I was there,

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Speaker 2: and I went back to see him specifically.

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Speaker 1: Okay, so do you want to talk about this, like,

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Speaker 1: is it something you want to Like you don't want

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Speaker 1: to say his name.

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Speaker 3: Or anything, or you don't want to No, God, no,

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Speaker 3: the way people the way are listeners try to find

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Speaker 3: like my ex husband and like dig into our lives.

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Speaker 2: There's no way I'm ever mentioning his name.

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Speaker 1: Do I really though? I mean, that's the thing, so

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Speaker 1: they've had Okay, you've mentioned that before. That is wild

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Speaker 1: to me, like I would maybe I'm just lazy. I

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Speaker 1: think it's just I'm lazy. I don't want to do

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Speaker 1: any kind of Google search about anybody. No, I don't

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Speaker 1: even want to know the people that I actually know,

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Speaker 1: let alone strangers.

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Speaker 2: So thank you. I want everything to be a surprise.

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Speaker 2: I just don't have it in me to like harbor

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Speaker 2: information about people. Well, I just really tell you themselves.

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Speaker 1: Yes, it just is a slippery slope because then it

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Speaker 1: becomes this thing where you find something that you really

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Speaker 1: don't want to know and then you can't look at

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Speaker 1: them ever again. I mean, I won't go into this

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Speaker 1: too much, but I had a lot if my teen

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Speaker 1: years were spent being highly suspicious of someone I'm very

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Speaker 1: close to. Let's just say that. And I did a

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Speaker 1: lot of this, and this was pre internet folks, Like

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Speaker 1: this was like going through receipts and bills and stuff.

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Speaker 1: So I think that I'm just now in my adult life,

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Speaker 1: I don't want to be that paranoid about anybody. Like

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Speaker 1: I'm just like and I and I understand there are

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Speaker 1: times when you should be and and and maybe there's

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Speaker 1: a little bit of that, you know, if the time comes.

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Speaker 1: But generally, if I just met somebody, I'm like, I'm

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Speaker 1: just gonna like kind of give them the b of

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Speaker 1: the d for a little while. Yeah, and then if

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Speaker 1: something alarming naturally pops up, then I might go on

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Speaker 1: the internet dive. But I don't want to just like

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Speaker 1: meet somebody and then be like, Okay, here's the full

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Speaker 1: rundown that just seems like then I won't talk to anybody,

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Speaker 1: because everybody's got shit, right absolutely.

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Speaker 2: I mean if you pull them a picture of me

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Speaker 2: from high school, no one would date me right now, Like,

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Speaker 2: I don't need that shit like being emailed around.

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Speaker 1: Yeah, most most cool people were total goblins when they

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Speaker 1: were kids, and they only got better. So if you

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Speaker 1: go into anyone's past, that's super cool. They're gonna have

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Speaker 1: terrible jeans, terrible hair, you know, questionable like behaviors and

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Speaker 1: band affiliations and shit. I mean, it's just how it is, right,

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Speaker 1: didn't you date somebody that wrote a bad check or

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Speaker 1: like got arrested for something. Did you mention that once

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Speaker 1: at like or maybe it was that you went you

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Speaker 1: went on a ride with someone who found who you

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Speaker 1: later found out was a murderer or something like that.

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Speaker 2: Oh yeah, I absolutely dated a murderer. Oh, it was

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Speaker 2: not a bad check.

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Speaker 1: It's not a bad check at all.

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Speaker 2: I wish it was a bad check.

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Speaker 1: I don't know why I'm stuck on this bad check thing.

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Speaker 1: I don't know why.

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Speaker 2: You know you've been researching.

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Speaker 1: Yeah, I'm sure there's people under the age of twenty

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Speaker 1: five that don't even know what a check is. I guess.

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Speaker 1: So anyway, I knew that I knew that you had

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Speaker 1: like dated a murderer, like hung out with a murderer

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Speaker 1: or something like that.

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Speaker 2: Yeah, So you would think because of that that I

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Speaker 2: would be the kind of person who's like, yeah, let's

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Speaker 2: find that background around. But I basically when I was eighteen,

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Speaker 2: I met someone at Taco Bell. First first red flag.

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Speaker 2: I was at Taco Bell with my friend Tim after

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Speaker 2: a day at the mall, and it was the summer

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Speaker 2: before college, before we left for college, and we were

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Speaker 2: just hanging out, Like Tim and I were just hanging

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Speaker 2: out and went to fucking Taco Bell like we were eighteen,

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Speaker 2: and this guy in line was like listening to our conversation.

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Speaker 2: He was behind us in line, and he was like

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Speaker 2: you seem really cool and like you're really funny, and

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Speaker 2: you know, asked for my number and I was like, yeah,

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Speaker 2: sure whatever, because I had my own phone line, Like sure, oh,

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Speaker 2: my grandparents did that so that we wouldn't tie up

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Speaker 2: their phone line all day there was nothing and they're like,

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Speaker 2: oh and also you have to pay for it, so

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Speaker 2: it wasn't even a gift. It was like here's this phone,

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Speaker 2: if you want to use it, get a job and

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Speaker 2: I was like, all right, cool, I got.

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Speaker 1: My own phone line at some point, so I shouldn't

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Speaker 1: be messing with you. I I think it truly was

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Speaker 1: the thing that was, like, my teenage daughter will not

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Speaker 1: stop talking on the phone. We have to have another

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Speaker 1: phone line in case someone chokes.

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Speaker 2: Absolutely o case somebody calls me to say that like

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Speaker 2: my mom died or like.

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Speaker 1: Whatever, like we have to be available if.

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Speaker 2: Your great grandma kicks it. But like, and it was

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Speaker 2: true because I would stay on the phone all night

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Speaker 2: with my friends and literally watch TV, like we turn

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Speaker 2: on Beverly Hills nine or two one zero, watch it

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Speaker 2: and talk to her in the commercials. Yeah, oh god,

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Speaker 2: I was destined to be a podcaster, like, no bones

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Speaker 2: about it. So yeah, I had my own phone line.

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Speaker 2: And he called, and he had a very unique name.

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Speaker 2: His first his first name was just a letter and

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Speaker 2: then his you know, the next couple of names like

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Speaker 2: we're very fancy, like so.

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Speaker 1: He Whitney Brown or something was that kind of.

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Speaker 2: The viler but without the period, without the period, Like

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Speaker 2: his first name was literally just the letter on his

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Speaker 2: birth certivocate. Like his parents were just like the letter

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Speaker 2: Z is your first name. We're calling you z. I

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Speaker 2: know the.

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Speaker 1: Red flags are.

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Speaker 2: It's like a fucking like like a crysto exhibit, like

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Speaker 2: just flags everyone draped around the Grand Canyon red flags.

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Speaker 2: So so I went out with this. He did call me,

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Speaker 2: and oh god, he was so corny too. He was cute.

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Speaker 2: He was cute, but corny, and he would like he

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Speaker 2: would leave, he would leave messages on my voicemail and

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Speaker 2: he'd be like, Oh, I wonder what kind of stitch

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Speaker 2: you're using to sew those wild oats? Because I was

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Speaker 2: like always out because it was summer and it was

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Speaker 2: before college, and I was like ew, but no one

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Speaker 2: had ever asked me out before. So I'm like, yeah,

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Speaker 2: I'm gonna I'll try it. I'll try to see what

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Speaker 2: it's like before I go to college and I'm a

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Speaker 2: real adult. And we went on just like two dates

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Speaker 2: and it was fine, but it just wasn't nothing clicked

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Speaker 2: and I was leaving, so I was like, all right, bye.

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Speaker 2: And then because his name was so unusual, I went

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Speaker 2: for years as an Internet user without looking him up,

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Speaker 2: but then I finally did because I'm like, oh, I

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Speaker 2: wonder what happened to that guy? The first guy to

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Speaker 2: ever asked me out, and so I looked him up

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Speaker 2: and he's fucking in prison for murdering his business partner. Wow,

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Speaker 2: like he shot his fucking business partner?

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Speaker 1: After did that happen? Then? When you knew him? Do

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Speaker 1: you know? Oh?

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Speaker 2: Years years? It was like like five or five to

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Speaker 2: eight years later.

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Speaker 1: Let's say, wow, do you know what y business he

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Speaker 1: was in? Just out of curiosity?

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Speaker 2: I do, but I ain't telling y'all because y'all are

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Speaker 2: fucking sleuth Like I I'll tell you, I'll tell it

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Speaker 2: to you, I'll text it to you, but or I'll

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Speaker 2: just tell you now and we can cut it.

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Speaker 1: He was, Oh, fuck, that's that's that's like a sexy

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Speaker 1: nineties erotic thriller.

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Speaker 2: In case actually, don't even kind of just beep it out,

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Speaker 2: just do like a mysterious beep.

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Speaker 1: Yeah. So that's the way people will be intrigued by

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Speaker 1: the idea that it was an erotic thriller based crime.

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Speaker 2: But it was fucking jarring to know that, so you

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Speaker 2: would think again, like because of that that I would

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Speaker 2: be the kind of person who's like, yeah, look up

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Speaker 2: everyone forever, but I kind of don't want to know

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Speaker 2: if I'm dating someone who's has the capability of murder

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Speaker 2: if they're not murdering when I'm with them.

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Speaker 1: Yeah. See, here's my thing about all this. I think

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Speaker 1: once you become hyper vigilant, that becomes a full time

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Speaker 1: job in and of itself. And I just at this

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Speaker 1: point in my life, I mean, listen, if something is

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Speaker 1: obviously terrible, like if they have, you know, something just

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Speaker 1: something that is just so blaringly obvious that you can't

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Speaker 1: help yourself. But like do the research. That's one thing.

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Speaker 1: But if it's just like somebody who kind of just

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Speaker 1: comes to the table and is like, you know, hey,

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Speaker 1: what's up? Dudes? Like I might want to have sex

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Speaker 1: with you, or I might want to date you, come

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Speaker 1: to Mantrie all fly here, fly to a different country

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Speaker 1: to do it.

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Speaker 2: I drove. I drove this time because I wanted a

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Speaker 2: little road trip.

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Speaker 1: Oh you drove. Okay, So that is actually not sex tourism.

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Speaker 1: That is a purposeful, a purposeful trip, an actual trip. Yeah.

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Speaker 1: I mean, if that's if that's the case, I don't

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Speaker 1: want to I don't know, because then if you just

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Speaker 1: stay paranoid about people, then you're like, I don't know,

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Speaker 1: takes the fun out of it, I guess, am I

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Speaker 1: being naive by saying it.

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Speaker 2: No, I think it takes the fun and romance out

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Speaker 2: of it. If I'm not joining a bank account with someone,

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Speaker 2: or like entering a legal fucking situation with them, then

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Speaker 2: I will count on them to tell me what I

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Speaker 2: need to know, and I will count on my own

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Speaker 2: instinct and intuition to find out what I need to know.

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Speaker 2: It's just so not sexy or romantic to like look

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Speaker 2: someone up in full before you even get a chance

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Speaker 2: to like spend time with them. Yes, I mean.

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Speaker 1: Because at the very beginning, everyone's telling fucking tales. Nobody

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Speaker 1: is being like true. I mean, everyone's just like embellishing

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Speaker 1: the beautiful parts of their story to make themselves seem attractive.

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Speaker 1: So let the storytelling part of the beginning happen. And

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Speaker 1: then when you're about to like marry or have kids

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Speaker 1: with someone, then go fucking hire a magnum p I

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Speaker 1: to go follow the person at that point. If it

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Speaker 1: becomes legal, if you have paperwork, like if you're signing

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Speaker 1: a fucking lease together, then maybe do a little research,

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Speaker 1: I guess.

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Speaker 2: But at the very beginning, for sure, like and you

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Speaker 2: know me, like I've got a lawyer, I've got fucking

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Speaker 2: business manager, Like I've got this shit on lock. No

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Speaker 2: one's letting me get into any kind of weird situation

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Speaker 2: without me being fully protected. So I'm finally just enjoyed

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Speaker 2: this part of it.

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Speaker 1: Give us his full name and his social Security numbers

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Speaker 1: right now. Ah yeah, listen, I'm stoked for you. Did

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Speaker 1: I mention that I mentioned that in a previous episode

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Speaker 1: when he brought this up. I'm stoked for you. I

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Speaker 1: think it's really cool, cool. I like this vibe for you. I,

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Speaker 1: on the other hand, am not in that vibe at all.

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Speaker 1: I'm essentially just I told myself the other day, like

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Speaker 1: I'm I'm basically a horny nun in terms of like

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Speaker 1: this is my vibe, Like I'm not dating. I'm like

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Speaker 1: a nun, meaning it's like I've I've taken a vow

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Speaker 1: of celibacy, but I can still dream. I still hang

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Speaker 1: a firefighter calendar in my house. Like That's how I am.

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Speaker 1: I'm a horny nun and I'm comfortable with it until

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Speaker 1: one day, you know, maybe something changes. But in the meantime,

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Speaker 1: I love hearing other people like the stories are great.

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Speaker 2: So the thing to keep in mind is that I

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Speaker 2: was single for a decade. It's a choice for me

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Speaker 2: to re engage. And when you're ready, you're ready. Yeah,

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Speaker 2: and if you're not ever ready, that's fucking fine. Your

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Speaker 2: life will still be awesome and we'll move forward. So

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Speaker 2: that's and who knows what's gonna happen, Like I still,

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Speaker 2: I mean, you never know anything that's gonna happen. I

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Speaker 2: just feel like part of my own healing and growth

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Speaker 2: and health has been just not shutting off any parts

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Speaker 2: of myself actively and just kind of being open to

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Speaker 2: the world.

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Speaker 1: So no, that's that's a good and I and despite

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Speaker 1: the fact that I call myself a horny nun, anything

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Speaker 1: is possible, Like I'm not I've und locked the door

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Speaker 1: or anything. It's just the idea of, yeah, I'm like

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Speaker 1: in a mode where I'm focusing on something and dating

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Speaker 1: is not like something that I'm really like pursuing as

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Speaker 1: like an activity in that way, like right, not pat

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Speaker 1: on the pavement and I'm this Listen, I don't want

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Speaker 1: to go through the taxonomy of singleness because there's there's

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Speaker 1: there's levels to the shit, right, So totally you could

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Speaker 1: be not dating, but then you could accidentally fuck your

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Speaker 1: neighbor if you have too much wine with them or something,

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Speaker 1: you know what I mean. Like, that's not dating. That's

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Speaker 1: just like you could be single but then fly to

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Speaker 1: another country and get on tender and fuck somebody. That's

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Speaker 1: absolutely anything. I think that the level of commitment is

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Speaker 1: what distinguishes the levels, right, And at this point, you

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Speaker 1: found someone you like. You found somebody who like enough

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Speaker 1: to drive there to them multiple hours, and that's great.

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Speaker 2: And I'm still having fun and thinking I'm still single.

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Speaker 2: I'm just trying it out. I'm just trying it out,

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Speaker 2: and I kind of like that. That's kind of my

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Speaker 2: mo in general, is like not to date eight hundred

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Speaker 2: people at once, but just to find someone that I

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Speaker 2: can hang with and see what happens. Yeah, so that's

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Speaker 2: what I'm doing, and we'll see what happens.

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Speaker 1: Well, live in the mo, see what happens. Like, Yeah,

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Speaker 1: the worst that could happen is that you get murdered

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Speaker 1: by your business partner, which is me.

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Speaker 2: I guess.

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Speaker 1: So wait a second, that didn't work out the way

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Speaker 1: I thought. Ah it fucking is. Oh my god, I

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Speaker 1: say this episode back. If some ship happens like this,

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Speaker 1: don't let this be. Don't let this be the proof.

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Speaker 2: This is evidence. If anything happens to be Chick Millie's

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Speaker 2: flight records.

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Speaker 1: I will not have a fucking in depth the Cut

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Speaker 1: article about the podcaster that murdered her her co host

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Speaker 1: in Montreal. I've never even been to Montreal. It's not me.

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Speaker 1: I didn't do it.

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Speaker 2: Shit, Oh no, no, oh god, that's just killing me. Like,

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Speaker 2: I guess that would be me, your business heart, Yes,

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Speaker 2: it would, you know.

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Speaker 1: I started to tossed it out and then I was like, oh,

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Speaker 1: wait a second.

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Speaker 2: You talked yourself right into an admission of possible guilt.

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Speaker 2: You talked yourself into a fucking lineup.

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Speaker 1: I think I've talked about that on my on the

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Speaker 1: podcast before, about being guilty of a crime I did

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Speaker 1: not commit. Yeah, so.

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Speaker 2: It's a self fulfilling prophecy. Well, I'll tell you what

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Speaker 2: I'm doing right now as we get ready to talk

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Speaker 2: about these movies. I'm out here with no bra and

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Speaker 2: no pants. I'm feeling real loose fancy for you. Guys

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Speaker 2: can't even tell because it's all from the neck up. Yeah,

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Speaker 2: but it's hot. We're recording it. It's hot, and we're

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Speaker 2: talking about hot movies. So I'm playing it real loose.

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Speaker 1: Yeah, I haven't even showered today, so sweet, I know.

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Speaker 1: We're just getting funky, just hot dirt bags.

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Speaker 2: Ready to talk about some fucking films.

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Speaker 1: That's right. So we are in week three of our

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Speaker 1: Hot Festival, if you will, which is that we're doing

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Speaker 1: movies that either have the word hot in the title

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Speaker 1: or about, or have something to do with heats, conducting

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Speaker 1: heat in some way, ovens, microwaves, sou beeed, any kind

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Speaker 1: of any kind of preparation involving heat. Who do and

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Speaker 1: previously we did last week we did it was a

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Speaker 1: quite an episode with Hot Pursuit and what hot American summer.

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Speaker 1: And this week we're kind of taking it back to

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Speaker 1: the old school, wouldn't you say.

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Speaker 2: Oh, yeah, they love they love some heat. Back in

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Speaker 2: the day, they did.

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Speaker 1: And I love that we're doing this because it's like

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Speaker 1: there's kind of like mini themes within the larger theme,

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Speaker 1: because you know, like last week it was kind of

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Speaker 1: like what horny eighties types of comedies, and then now

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Speaker 1: we're doing a couple of real classics that have the

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Speaker 1: word hot in the title. So yeah, I'm excited to

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Speaker 1: talk about these films. I I had seen your film

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Speaker 1: Semi recently.

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Speaker 2: And you're going first, so you have to talk about

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Speaker 2: your movie so much. But let's please please tell these

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Speaker 2: folks what your film is.

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Speaker 1: Okay, So my movie is from nineteen fifty eight. The

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Speaker 1: screenplay was written by Irving Ravich and Harriet Frank Junior.

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Speaker 1: It was based on stories by William Faulkner. The movie

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Speaker 1: was directed by Bartin Writt, and it's called The Long

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Speaker 1: Hot Summer. No no sense pretending girls don't think about sex,

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Speaker 1: though I do.

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Speaker 3: Nothing special about being Thanks for soyvir love life.

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Speaker 1: I am about that. I'm gonna say something that I

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Speaker 1: say a lot on this podcast. This one's gonna be

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Speaker 1: a barn burner, folks. Literally literally, this movie is literally

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Speaker 1: about a barn burner. So, okay, just a couple of

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Speaker 1: like little historical things before we get into the film.

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Speaker 1: So this the film was based on a couple of

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Speaker 1: like different William Faulkner stories, and they kind of borrowed

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Speaker 1: bits and pieces from all of them. But it was

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Speaker 1: also influenced by Cat on a Hot Tin Roof by

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Speaker 1: Tennessee Williams. Something that I think will be fairly obvious

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Speaker 1: if you watch the film for even like five minutes,

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Speaker 1: right Because here's the thing about The Long Hot Summer.

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Speaker 1: I've seen this movie so many times. This movie is

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Speaker 1: up there as maybe the most stereotypically sultry Southern drama

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Speaker 1: from the nineteen fifties, right, because, honestly, if you look

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Speaker 1: at it, beats per minut. You have all the tropes

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Speaker 1: of these movies. Right. You've got like attractive, mysterious drifters

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Speaker 1: played by Paul Newman, obviously not the last time he

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Speaker 1: would play this character. You've got horny single ladies, big

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00:21:01,640 --> 00:21:06,720
Speaker 1: scary dads that run an entire town. You've got coded

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Speaker 1: gay storylines. Someone has a nerdy friend named Agnes like

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Speaker 1: Lee Remick.

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Speaker 2: Is there a man who still lives with his mom?

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Speaker 2: Way passed way past that time when that was okay

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Speaker 2: or acceptable back then.

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Speaker 1: Yes, people are wearing summer suits like it's it is

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Speaker 1: one of like Long Hot Summer is stereotypically fifties Southern Gothic.

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Speaker 2: Right.

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Speaker 1: But the other thing about The Long Hot Summer too,

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Speaker 1: was that it was essentially a collection of sort of

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Speaker 1: the best and the brightest from the Actor Studio in

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Speaker 1: New York City, which, if you didn't know, was the

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Speaker 1: place where actors in the nineteen fifties were learning the

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Speaker 1: method style. It's where we got the show inside the

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Speaker 1: Actor Studio with James Lipton. I don't know if anybody

405
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Speaker 1: realizes that back when Bravo was just a simple arts

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00:22:02,160 --> 00:22:08,120
Speaker 1: network and it wasn't like Lisa vander Pump incorporated right

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Speaker 1: pre Housewives Bravos.

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00:22:10,760 --> 00:22:13,080
Speaker 2: Before it was just people screaming at each other on

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Speaker 2: the ocean, screaming at each other in a Hampton summerhouse,

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00:22:15,640 --> 00:22:17,920
Speaker 2: screaming at each other in Beverly Hill, screaming at each

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Speaker 2: other in Atlanta, screaming at each other in Dubai, screaming

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Speaker 2: at each other in Orange County.

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Speaker 1: Yes, that was Those were the simple days basically when

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Speaker 1: they first started inside the Actors Studio. But Martin Writt,

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Speaker 1: the director, came from there, as did Paul Newman, Joanne

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Speaker 1: woodwardly Remick. These are all everybody in the movie is

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Speaker 1: from the Actors Studio. But there was someone in the

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Speaker 1: cast who was not part of the Actors Studio and

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Speaker 1: sort of famously wasn't. It's a man named Orson fucking.

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Speaker 2: Wells Jesus hell Christ. We have to talk about him.

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Speaker 1: Oh, we will talk about him so much, y'all. Will

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00:23:00,760 --> 00:23:05,280
Speaker 1: hate us. So from what I read and what I've

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Speaker 1: understood over the years, Orson hated the whole method thing,

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Speaker 1: right because he was an old school Hollywood type of guy,

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Speaker 1: right he and on top of that, as we know

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Speaker 1: him now, especially in his later years, he was definitely

427
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Speaker 1: a get off my lawn type of dude, right, totally.

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Speaker 1: He fucking eviscerated everybody, like everyone in Hollywood. He was

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Speaker 1: a real crank.

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Speaker 2: He was not there to make friends, right.

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Speaker 1: And there was a lot of stories that came out

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Speaker 1: both when the movie came out and you know later

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Speaker 1: over the years where Orson and Martin Ritt, the director,

434
00:23:46,720 --> 00:23:49,600
Speaker 1: they fought a lot while making this movie. And it

435
00:23:49,640 --> 00:23:52,640
Speaker 1: was a lot of different types of issues. But there

436
00:23:52,720 --> 00:23:55,960
Speaker 1: was this one that I think is super interesting, which

437
00:23:55,960 --> 00:23:59,560
Speaker 1: is that you will notice if you watch this movie

438
00:24:00,040 --> 00:24:09,000
Speaker 1: at Orson Wells is pretty much incomprehensible. Like I've heard

439
00:24:09,200 --> 00:24:12,440
Speaker 1: many bad Southern accents in my day, both in real

440
00:24:12,480 --> 00:24:16,840
Speaker 1: life and in film, the level to which his accent

441
00:24:17,240 --> 00:24:24,600
Speaker 1: is so outrageous has never been clocked by humankind. I mean,

442
00:24:24,640 --> 00:24:28,399
Speaker 1: it's just so. It is the one time where I'm like,

443
00:24:29,480 --> 00:24:31,359
Speaker 1: I don't think I could watch this movie if I

444
00:24:31,359 --> 00:24:33,480
Speaker 1: don't if I can't have subtitles like.

445
00:24:35,520 --> 00:24:38,920
Speaker 2: It is. What's also amazing is that his accent is

446
00:24:38,960 --> 00:24:41,880
Speaker 2: so bad and he just overcommensates for it by being

447
00:24:41,920 --> 00:24:47,679
Speaker 2: incredibly loud. Yes, he's just so fucking bombastic in this movie.

448
00:24:48,160 --> 00:24:52,879
Speaker 1: Yes, and I here's here's what I think is interesting, though, Like,

449
00:24:53,920 --> 00:24:58,000
Speaker 1: so the rumor as to why, because certainly you're like,

450
00:24:58,560 --> 00:25:01,600
Speaker 1: certainly somebody along the process of making this almost like

451
00:25:02,040 --> 00:25:05,080
Speaker 1: we can't understand this dude. Certainly like Paul Newman or

452
00:25:05,200 --> 00:25:08,679
Speaker 1: Joanne Wood was like, what is he even saying to me?

453
00:25:10,000 --> 00:25:16,119
Speaker 1: But the rumor is that he was doing that because

454
00:25:16,160 --> 00:25:18,800
Speaker 1: he was making fun of the method style because he

455
00:25:18,840 --> 00:25:23,200
Speaker 1: hated it so much, and he was basically making fun

456
00:25:23,240 --> 00:25:26,320
Speaker 1: of like the Brandos and the James Deans who were

457
00:25:26,359 --> 00:25:27,840
Speaker 1: just mumbling through their lines.

458
00:25:28,840 --> 00:25:32,520
Speaker 2: Oh my god, that is fucking spiteful at a level

459
00:25:32,520 --> 00:25:35,480
Speaker 2: I have not yet encountered in my personal life.

460
00:25:35,680 --> 00:25:38,840
Speaker 1: Listen, if Orson Wells were alive today, he would be

461
00:25:38,960 --> 00:25:44,320
Speaker 1: a shit post king, like he just trolls and trolls

462
00:25:44,359 --> 00:25:44,920
Speaker 1: and trolls.

463
00:25:45,720 --> 00:25:52,760
Speaker 2: If he was alive today, Desmois would fold. We wouldn't

464
00:25:52,800 --> 00:25:55,560
Speaker 2: need it. We wouldn't need it. We'd go right to

465
00:25:55,680 --> 00:25:57,359
Speaker 2: Orson Wells blog, right to the source.

466
00:25:57,600 --> 00:25:59,879
Speaker 1: Yeah, there would be no blind items. He'd be like, no,

467
00:26:00,359 --> 00:26:03,440
Speaker 1: I experience this myself, and I'm telling you right now.

468
00:26:03,480 --> 00:26:06,359
Speaker 2: And I'm gonna tell names. Bitch. Radley Cooper said this

469
00:26:06,440 --> 00:26:10,480
Speaker 2: to my face, and we're not gonna tiptoe around who

470
00:26:10,480 --> 00:26:12,160
Speaker 2: it was or who we think it was. I'll tell

471
00:26:12,160 --> 00:26:12,760
Speaker 2: you the deets.

472
00:26:13,000 --> 00:26:15,840
Speaker 1: Yeah, exactly. Well and like and so that to me

473
00:26:16,000 --> 00:26:20,600
Speaker 1: is so funny because I'm like, he kind of sabotaged

474
00:26:20,720 --> 00:26:23,439
Speaker 1: this movie if you think about it, But it also

475
00:26:23,960 --> 00:26:27,239
Speaker 1: makes it funny and memorable to me. Like, I'm just like,

476
00:26:27,640 --> 00:26:31,359
Speaker 1: no one can understand him. His face is melting off

477
00:26:31,480 --> 00:26:35,320
Speaker 1: in every scene. He's definitely wearing a fake nose. I mean,

478
00:26:35,320 --> 00:26:37,240
Speaker 1: that's like kind of a thing that he did. He

479
00:26:37,280 --> 00:26:38,880
Speaker 1: wore fake noses apparently.

480
00:26:39,560 --> 00:26:44,520
Speaker 2: Uh, I bet you, like Crispin Glover has a cabinet

481
00:26:44,520 --> 00:26:47,880
Speaker 2: of Orson Welles's fake noses. Like somebody has those noses.

482
00:26:48,119 --> 00:26:52,280
Speaker 1: Oh look, if anybody wants to sell those noses to

483
00:26:52,359 --> 00:26:54,720
Speaker 1: a private collector, please get in touch with us. That

484
00:26:54,800 --> 00:26:57,600
Speaker 1: I saw she did not at gmail dot com And

485
00:26:57,640 --> 00:27:02,920
Speaker 1: by us, she means Millie. I would I would put

486
00:27:02,960 --> 00:27:05,760
Speaker 1: that shit behind glass, there would be an alarm, like

487
00:27:06,680 --> 00:27:11,040
Speaker 1: I would take good care of them. But you know,

488
00:27:11,320 --> 00:27:13,879
Speaker 1: but Martin Writt, I think, because Orson was such a

489
00:27:13,880 --> 00:27:17,399
Speaker 1: crank that people thought Martin Writt was like kind of

490
00:27:17,440 --> 00:27:20,919
Speaker 1: a genius for being able to like handle Orson, And

491
00:27:20,960 --> 00:27:23,240
Speaker 1: who knows if that actually happened. I mean, that's the thing.

492
00:27:23,280 --> 00:27:25,119
Speaker 1: It's like it's some little TVD on whether or not

493
00:27:25,240 --> 00:27:27,960
Speaker 1: Orson was quote unquote handled by anybody in this movie

494
00:27:28,200 --> 00:27:31,399
Speaker 1: because he's so wild. But you know, there was like

495
00:27:31,480 --> 00:27:34,159
Speaker 1: a lot of back and forth, you know, sort of

496
00:27:34,240 --> 00:27:37,040
Speaker 1: during the production after the movie came out and then

497
00:27:37,080 --> 00:27:41,640
Speaker 1: now where there was sort of an apology tour going

498
00:27:41,640 --> 00:27:43,840
Speaker 1: on between the two of them in a way. I

499
00:27:43,880 --> 00:27:46,760
Speaker 1: know Orson was basically what is the line that he

500
00:27:46,880 --> 00:27:49,679
Speaker 1: said that I had to look up because I was like,

501
00:27:49,720 --> 00:27:51,879
Speaker 1: I don't think I actually know what this means. But

502
00:27:51,960 --> 00:27:54,399
Speaker 1: he said that I read somewhere that he said that

503
00:27:54,440 --> 00:28:01,080
Speaker 1: everybody on the set was monkey shining? Is that a

504
00:28:01,280 --> 00:28:08,160
Speaker 1: term that he accused everybody on set of monkey shines?

505
00:28:09,080 --> 00:28:12,480
Speaker 1: And that is apparently a quote from him? The fuck

506
00:28:12,600 --> 00:28:16,760
Speaker 1: is he? And I'm like, what is a monkey shine?

507
00:28:20,200 --> 00:28:22,800
Speaker 2: Oh? My isess where Stephen King got it.

508
00:28:22,800 --> 00:28:25,239
Speaker 1: It might have been, it says, I'm looking it up

509
00:28:25,280 --> 00:28:27,680
Speaker 1: on the In the dictionary, it says mischievous or playful

510
00:28:27,720 --> 00:28:29,360
Speaker 1: activities pranks.

511
00:28:29,920 --> 00:28:32,560
Speaker 2: So I just that fell out of favor.

512
00:28:35,160 --> 00:28:38,680
Speaker 1: Yeah, but imagine Orson Wells being like these cast members

513
00:28:38,720 --> 00:28:46,120
Speaker 1: from are all pulling monkey shines. He's the crankiest old

514
00:28:46,240 --> 00:28:47,560
Speaker 1: man on that set.

515
00:28:47,720 --> 00:28:50,840
Speaker 2: Oh my god, you've got hot ass Joanne Woodward and

516
00:28:50,880 --> 00:28:54,200
Speaker 2: Paul Newman just trying to get get it on and yeah,

517
00:28:54,320 --> 00:28:56,760
Speaker 2: oh my god. And he's just looking around his mean

518
00:28:56,840 --> 00:28:59,440
Speaker 2: mugging in the background, just Horson Bell's peeking out from

519
00:28:59,480 --> 00:29:01,720
Speaker 2: the bushes, be like his monkey shining today.

520
00:29:02,480 --> 00:29:07,720
Speaker 1: Yes, So, okay, speaking of the etymologies of words, okay,

521
00:29:08,680 --> 00:29:11,440
Speaker 1: I so, as I alluded to at the top right,

522
00:29:11,480 --> 00:29:15,560
Speaker 1: the Long Hot Summer is ceentered around this mysterious drifter

523
00:29:15,680 --> 00:29:18,880
Speaker 1: named Ben Quick, who was played by Paul Newman. At

524
00:29:18,880 --> 00:29:20,960
Speaker 1: the beginning of the film, he's kicked out of town

525
00:29:21,000 --> 00:29:24,760
Speaker 1: for being a barn burner. Okay, And I wanted to

526
00:29:24,760 --> 00:29:28,000
Speaker 1: look this up too, because I'm like, do I even

527
00:29:28,000 --> 00:29:29,600
Speaker 1: know what a barn burner is? Even though I have

528
00:29:29,640 --> 00:29:32,280
Speaker 1: said it pretty much every episode for about a year.

529
00:29:32,320 --> 00:29:35,040
Speaker 1: And a half, and so I looked up barn burner

530
00:29:35,080 --> 00:29:37,640
Speaker 1: just because I was curious, And as it always does,

531
00:29:37,680 --> 00:29:41,480
Speaker 1: it leads back to something political from the eighteen hundreds, essentially,

532
00:29:42,040 --> 00:29:45,160
Speaker 1: and it's essentially there were So I was, as I

533
00:29:45,160 --> 00:29:50,600
Speaker 1: was reading on Wikipedia. There were these two opposing groups

534
00:29:50,640 --> 00:29:53,200
Speaker 1: in New York in the Democratic Party in the mid

535
00:29:53,280 --> 00:29:56,240
Speaker 1: nineteenth century, and they were called the barn Burners and

536
00:29:56,280 --> 00:30:00,920
Speaker 1: the Hunkers of the Hunkers. So i'll I'll read a

537
00:30:01,000 --> 00:30:04,680
Speaker 1: quote from Wikipedia. It says the main issue dividing the

538
00:30:04,720 --> 00:30:08,560
Speaker 1: two factions was that of slavery, the barn Burners being

539
00:30:08,640 --> 00:30:13,040
Speaker 1: the anti slavery faction. While this division occurred within the

540
00:30:13,080 --> 00:30:16,840
Speaker 1: context of New York politics, it reflected the national divisions

541
00:30:16,880 --> 00:30:20,280
Speaker 1: in the US in the years preceding the Civil War.

542
00:30:20,920 --> 00:30:24,239
Speaker 1: So the barn Burners were the radical faction. And the

543
00:30:24,440 --> 00:30:28,520
Speaker 1: term barn burning was derived from a folk tale about

544
00:30:28,520 --> 00:30:32,080
Speaker 1: a Dutch farmer who burned down his own barn in

545
00:30:32,200 --> 00:30:36,360
Speaker 1: order to get rid of rats. Extreme and then extreme yes,

546
00:30:36,760 --> 00:30:40,280
Speaker 1: And then in the case of this of this political thing,

547
00:30:40,680 --> 00:30:42,960
Speaker 1: it was applied to men who were thought to be

548
00:30:43,040 --> 00:30:47,080
Speaker 1: willing to destroy all banks and corporations in order to

549
00:30:47,280 --> 00:30:48,920
Speaker 1: root out their abuses.

550
00:30:49,480 --> 00:30:52,800
Speaker 2: Okay, another way of saying they're getting rid of the rats.

551
00:30:52,920 --> 00:30:59,320
Speaker 1: Yeah, so maybe in another scenario, Ben Quick would kind

552
00:30:59,320 --> 00:31:01,440
Speaker 1: of be rap for being a barn burner.

553
00:31:03,160 --> 00:31:05,280
Speaker 2: Not in this movie, but in general years.

554
00:31:05,440 --> 00:31:08,520
Speaker 1: Yeah, I would be like, yo, Ben ben Quick is

555
00:31:09,040 --> 00:31:12,880
Speaker 1: burning down a bank. He's very occupy Wall Street or

556
00:31:12,920 --> 00:31:13,520
Speaker 1: something like.

557
00:31:14,480 --> 00:31:17,160
Speaker 2: I Also, I think even in this film, he's kind

558
00:31:17,160 --> 00:31:19,440
Speaker 2: of rad because he's so bitchy, Like I just love

559
00:31:19,440 --> 00:31:23,080
Speaker 2: a bitchy barn burn He's like, I don't like you,

560
00:31:23,160 --> 00:31:25,480
Speaker 2: and then he burns their fucking livelihood to the ground.

561
00:31:25,520 --> 00:31:28,360
Speaker 2: Like that is supreme spite bitchiness.

562
00:31:28,640 --> 00:31:33,920
Speaker 1: We love a BBB, A bitchy barn burner triple b's

563
00:31:34,120 --> 00:31:34,800
Speaker 1: I love him.

564
00:31:35,520 --> 00:31:37,680
Speaker 2: I love it. He's so bitchy because like, and when

565
00:31:37,760 --> 00:31:39,640
Speaker 2: the movie opens, he's basically standing in front of a

566
00:31:39,680 --> 00:31:41,440
Speaker 2: judge and he's like, yes, so what I did it?

567
00:31:41,520 --> 00:31:43,840
Speaker 2: And this other guy's like apoplectic, like he burned my

568
00:31:43,920 --> 00:31:46,360
Speaker 2: fucking barn and he's like, yes, so what. Yeah, I'm

569
00:31:46,400 --> 00:31:48,360
Speaker 2: bitchy being the barn burner. What the fuck you gonna

570
00:31:48,360 --> 00:31:48,800
Speaker 2: do about it?

571
00:31:48,840 --> 00:31:52,840
Speaker 1: But and yeah, and he is public enemy number one

572
00:31:52,920 --> 00:31:55,920
Speaker 1: for this shit, right because they actually at the very

573
00:31:55,920 --> 00:31:58,240
Speaker 1: beginning of the movie, they're like, get out of here,

574
00:31:58,280 --> 00:32:00,720
Speaker 1: barn Burner. And then he has to like leave town, right,

575
00:32:01,360 --> 00:32:04,440
Speaker 1: he gets a lift into another town, and and then

576
00:32:04,480 --> 00:32:08,680
Speaker 1: and the new town is called Frenchman's Bend, Mississippi, which

577
00:32:08,880 --> 00:32:12,040
Speaker 1: I've been to Mississippi for like five minutes. I have

578
00:32:12,120 --> 00:32:16,200
Speaker 1: not I have not stayed there. I was always scared

579
00:32:16,240 --> 00:32:19,000
Speaker 1: of Mississippi. I'm sorry, folks like you know, just being

580
00:32:19,000 --> 00:32:22,360
Speaker 1: from the South, it was the kind of thing was like, oh,

581
00:32:22,360 --> 00:32:25,840
Speaker 1: you're driving in New Orleans, really keep it cute in

582
00:32:25,880 --> 00:32:29,080
Speaker 1: Mississippi because you don't want to get stopped by cops

583
00:32:29,120 --> 00:32:32,520
Speaker 1: there or something. That's that's been my history with Mississippi.

584
00:32:32,560 --> 00:32:35,400
Speaker 1: But if you live there, I'm sure it's lovely. So

585
00:32:35,560 --> 00:32:38,840
Speaker 1: Ben Quick gets gets to Frenchman's Bend and he and

586
00:32:38,880 --> 00:32:41,920
Speaker 1: he gets picked up in this Cadillac or whatever by

587
00:32:42,200 --> 00:32:49,280
Speaker 1: women named Eula and Clara, which is the most southern

588
00:32:49,280 --> 00:32:52,280
Speaker 1: thing I've ever heard. Eula who is played by Lee

589
00:32:52,360 --> 00:32:55,560
Speaker 1: Remick and Clara, who is played by Joanne Woodward. Now

590
00:32:56,520 --> 00:32:59,080
Speaker 1: he finds out pretty quickly that that these two women

591
00:32:59,120 --> 00:33:03,400
Speaker 1: are part of this named the Varners, and they pretty

592
00:33:03,440 --> 00:33:07,239
Speaker 1: much own Frenchman's band. Okay, so Yula is married to

593
00:33:07,360 --> 00:33:13,200
Speaker 1: Clara's brother Jody, who has played by Anthony Franciosa, mister

594
00:33:13,360 --> 00:33:18,880
Speaker 1: Shelley Winters himself, and Clara is the single daughter of

595
00:33:19,000 --> 00:33:21,760
Speaker 1: will Varner, who is kind of the patriarch of this family,

596
00:33:21,800 --> 00:33:26,400
Speaker 1: and of course he is played by Orson Wells. Okay, Now,

597
00:33:26,960 --> 00:33:35,760
Speaker 1: just generally, Will Varner is stock scary Southern Gothic dad.

598
00:33:36,400 --> 00:33:40,400
Speaker 1: You know, he is ruthless at work and at play.

599
00:33:40,480 --> 00:33:44,000
Speaker 1: He is obsessed with carrying on his family lineage of

600
00:33:44,080 --> 00:33:47,000
Speaker 1: strong men. Basically he doesn't I guess he doesn't really

601
00:33:47,040 --> 00:33:51,640
Speaker 1: care about anything else but having strong men in his family.

602
00:33:51,960 --> 00:33:53,840
Speaker 1: And he basically hates his kids.

603
00:33:54,520 --> 00:33:57,840
Speaker 2: Yeah, he's a misogynist and a prick, yes, and.

604
00:33:58,080 --> 00:34:01,080
Speaker 1: This really plagues the two of them. Jody, you know,

605
00:34:01,320 --> 00:34:05,280
Speaker 1: he's just completely like eviscerated by his father all the time.

606
00:34:05,800 --> 00:34:10,640
Speaker 1: And essentially Clara is put out to pasture because she's

607
00:34:10,800 --> 00:34:14,759
Speaker 1: single at twenty three or something something insane like that. Right,

608
00:34:15,320 --> 00:34:18,440
Speaker 1: So you've got this scenario, and you know Ben Quick

609
00:34:18,480 --> 00:34:21,600
Speaker 1: comes to town. He starts making waves immediately. He's you know,

610
00:34:21,680 --> 00:34:26,319
Speaker 1: got this reputation for burning shit down. And when it

611
00:34:26,320 --> 00:34:28,400
Speaker 1: comes down to it. He's like a survival guy, like

612
00:34:28,440 --> 00:34:32,560
Speaker 1: he he he's canny and he's shrewd, and you know,

613
00:34:32,840 --> 00:34:35,840
Speaker 1: of course, over time, Wolvarter starts taking a liking to

614
00:34:35,920 --> 00:34:38,319
Speaker 1: him and starts giving him work in his store, and

615
00:34:38,520 --> 00:34:43,759
Speaker 1: eventually ben Quick makes it into the house, as one

616
00:34:43,800 --> 00:34:48,440
Speaker 1: of the characters says so perfectly, and then kind of

617
00:34:48,480 --> 00:34:52,760
Speaker 1: sets his sights on winning over Clara because ben Quick

618
00:34:52,800 --> 00:34:56,840
Speaker 1: loves a challenge, and Clara is giving him that challenge

619
00:34:56,840 --> 00:34:57,359
Speaker 1: big time.

620
00:34:57,960 --> 00:35:00,480
Speaker 2: Well, because her dad was basically like, you're gonna marry

621
00:35:01,040 --> 00:35:04,640
Speaker 2: this dude, or you're gonna marry fucking Richard, or you're

622
00:35:04,640 --> 00:35:08,560
Speaker 2: gonna marry Alan, right, but she he basically told her

623
00:35:08,560 --> 00:35:11,200
Speaker 2: at one point, you're gonna marry one of these two dudes.

624
00:35:11,400 --> 00:35:13,719
Speaker 2: And then later he tells ben Quick, Oh, yeah, by

625
00:35:13,760 --> 00:35:16,200
Speaker 2: the way, I kind of offered you up to my daughter. Yeah,

626
00:35:16,200 --> 00:35:17,279
Speaker 2: so make that work.

627
00:35:18,200 --> 00:35:21,880
Speaker 1: Yeah. Will Garner wants grandkids so badly that he's like

628
00:35:21,960 --> 00:35:26,160
Speaker 1: trying to pawn his daughter off to anyone who will

629
00:35:26,400 --> 00:35:29,399
Speaker 1: take her. Right, And the thing about Clara is that

630
00:35:29,440 --> 00:35:32,560
Speaker 1: she's so smart and independent and she wants the best

631
00:35:32,640 --> 00:35:35,279
Speaker 1: of everything, and like you know, joe Anne Woodward in

632
00:35:35,320 --> 00:35:39,640
Speaker 1: this movie is so perfect because she kind of really

633
00:35:39,760 --> 00:35:43,799
Speaker 1: represents that character. Like, like knowing that what we know

634
00:35:43,840 --> 00:35:47,239
Speaker 1: about joe Anne Woodward now after watching the Ethan Hawk

635
00:35:47,320 --> 00:35:51,880
Speaker 1: documentary on HBO Max, you know, she embodies this woman.

636
00:35:51,960 --> 00:35:54,480
Speaker 1: She's just kind of like a firecracker. She's a teacher,

637
00:35:54,600 --> 00:35:58,840
Speaker 1: she's smart, she's got integrity, and she's like, fuck my

638
00:35:58,960 --> 00:36:02,440
Speaker 1: dad for making you know. He wants me to like

639
00:36:02,680 --> 00:36:04,920
Speaker 1: just basically be a wife and a mom and I

640
00:36:04,960 --> 00:36:08,120
Speaker 1: want more than that, right, But she has been in

641
00:36:08,160 --> 00:36:12,040
Speaker 1: this really weird, chaste relationship with this guy Alan, who

642
00:36:12,160 --> 00:36:16,200
Speaker 1: was played by Richard Anderson, and he is essentially the

643
00:36:16,239 --> 00:36:19,600
Speaker 1: coded gay character, right because he is not available to

644
00:36:19,680 --> 00:36:22,880
Speaker 1: Clara in any way. And what I mean by that

645
00:36:23,080 --> 00:36:26,440
Speaker 1: is that he's always sick. His mother controls his life

646
00:36:26,520 --> 00:36:30,160
Speaker 1: and he has not put one fucking move on her in.

647
00:36:30,160 --> 00:36:32,840
Speaker 2: Like fuel likes, yeah, like six years they've been together

648
00:36:32,880 --> 00:36:36,360
Speaker 2: and he's like nah. And also his mom is the

649
00:36:36,400 --> 00:36:39,080
Speaker 2: kind of mom who his mom brings him warm milk

650
00:36:39,840 --> 00:36:42,800
Speaker 2: during the hot summer to make him feel better. So

651
00:36:42,800 --> 00:36:44,520
Speaker 2: I'm like, oh, she's trying to keep you sick.

652
00:36:44,920 --> 00:36:46,200
Speaker 1: Yeah, yeah, yeah, I mean this is.

653
00:36:46,160 --> 00:36:47,719
Speaker 2: Some flowers in the attic shit like she might as

654
00:36:47,719 --> 00:36:49,520
Speaker 2: well be giving you arsenic, giving you a fucking glass

655
00:36:49,520 --> 00:36:51,760
Speaker 2: of warm milk during this sweaty ass summer.

656
00:36:52,000 --> 00:36:55,399
Speaker 1: Oh yeah, she's pulling some fucking like. She's good. She's

657
00:36:55,440 --> 00:36:58,520
Speaker 1: pulling some mommy dead and dars like in forcing him

658
00:36:58,520 --> 00:37:03,040
Speaker 1: to have diarrhea with this warm milk, Oh good, disgusting.

659
00:37:03,120 --> 00:37:08,279
Speaker 1: But here's the thing about Clara and Ben. Right, So,

660
00:37:08,760 --> 00:37:12,520
Speaker 1: Clara knows that her dad is forcing her to get

661
00:37:12,520 --> 00:37:16,200
Speaker 1: with Ben, and she's actually attracted to Ben, but she

662
00:37:16,280 --> 00:37:19,080
Speaker 1: just doesn't really like this whole arrangement. She thinks it's

663
00:37:19,080 --> 00:37:21,719
Speaker 1: too weird that Ben is too much in bed with

664
00:37:21,760 --> 00:37:24,759
Speaker 1: her father, and you know, he's kind of has this

665
00:37:24,840 --> 00:37:29,719
Speaker 1: cockiness that she doesn't really appreciate. Right, But here's the thing.

666
00:37:29,800 --> 00:37:32,759
Speaker 1: She's horny for him, and in a perfect world she

667
00:37:32,840 --> 00:37:35,000
Speaker 1: could fuck him and not marry him. But I guess

668
00:37:35,040 --> 00:37:37,799
Speaker 1: it's the nineteen fifties and we don't let women do that,

669
00:37:39,040 --> 00:37:41,200
Speaker 1: you know, But I will say to that point, they

670
00:37:41,200 --> 00:37:45,800
Speaker 1: do have a makeout scene, which hilariously ends when Clara

671
00:37:45,840 --> 00:37:49,400
Speaker 1: screams out bud Burger right in his face, Like she

672
00:37:49,560 --> 00:37:50,200
Speaker 1: just comes.

673
00:37:50,000 --> 00:37:51,560
Speaker 2: To and is like, oh wait, I'm making out with

674
00:37:51,600 --> 00:37:54,000
Speaker 2: someone who could literally light my life on fire.

675
00:37:54,480 --> 00:37:57,879
Speaker 1: Yeah, so that's my next move is that if I'm

676
00:37:57,880 --> 00:37:59,440
Speaker 1: the next time i'm making out with someone, I'm just

677
00:37:59,480 --> 00:38:01,960
Speaker 1: gonna like pay and then scream out barn burner right

678
00:38:01,960 --> 00:38:06,480
Speaker 1: in their face. Maybe should try that next time you're

679
00:38:06,520 --> 00:38:08,000
Speaker 1: in Montreal, Daniel, I'll.

680
00:38:07,840 --> 00:38:09,360
Speaker 2: Give it a shut. I'll give it a shut.

681
00:38:09,640 --> 00:38:12,359
Speaker 1: So anyway, the rest of this film continues with these

682
00:38:12,600 --> 00:38:16,120
Speaker 1: very highly dramatic Southern Gothic storylines, right because it's like

683
00:38:16,520 --> 00:38:20,080
Speaker 1: Jody is essentially being cooked by his own father and

684
00:38:20,120 --> 00:38:24,600
Speaker 1: then he tries to kill him by burning him alive. Right,

685
00:38:25,200 --> 00:38:29,640
Speaker 1: Will is also being jocked by his mistress named Minnie

686
00:38:29,640 --> 00:38:33,080
Speaker 1: Little John and she's played by Angela Lansbury. I think

687
00:38:33,280 --> 00:38:36,280
Speaker 1: y'all know who she is. And then, like I said,

688
00:38:36,480 --> 00:38:40,719
Speaker 1: the entire time Orson Wells is insane. His makeup is melting,

689
00:38:40,840 --> 00:38:43,920
Speaker 1: his nose is falling off, He's driving this jeep around

690
00:38:43,960 --> 00:38:46,359
Speaker 1: town and he's nearly crashing into cars. I mean, it's

691
00:38:46,440 --> 00:38:50,640
Speaker 1: just like, you know, he's a madman. The movie I

692
00:38:50,640 --> 00:38:53,719
Speaker 1: think is most memorable is that you know everybody knows now.

693
00:38:53,760 --> 00:38:56,279
Speaker 1: Like I said after watching the Ethan Hawk documentary about

694
00:38:56,280 --> 00:38:59,759
Speaker 1: Paul Newman, and Joeanne Woodward. You know, this movie is

695
00:39:00,040 --> 00:39:03,680
Speaker 1: actually was maybe they're kind of coming out party in

696
00:39:03,719 --> 00:39:07,000
Speaker 1: a weird way, because when they started filming The Long

697
00:39:07,000 --> 00:39:09,759
Speaker 1: Hot Summer, Paul Newman was still technically married to his

698
00:39:09,800 --> 00:39:14,600
Speaker 1: first wife, right, but as we know now, him and

699
00:39:14,680 --> 00:39:19,160
Speaker 1: Joanne Woodward were definitely having an affair even you know,

700
00:39:19,280 --> 00:39:23,799
Speaker 1: before the movie had even filmed. And they actually did

701
00:39:23,840 --> 00:39:28,000
Speaker 1: get married though before the film was released, but when

702
00:39:28,040 --> 00:39:30,959
Speaker 1: they were filming it, it was kind of this known

703
00:39:31,040 --> 00:39:33,239
Speaker 1: secret that they had been together for a while, and

704
00:39:33,280 --> 00:39:35,600
Speaker 1: then they there are stories of them kind of like

705
00:39:36,440 --> 00:39:39,000
Speaker 1: running off together to do it and like kind of

706
00:39:39,239 --> 00:39:42,040
Speaker 1: you know, they were kind of just like in full

707
00:39:42,160 --> 00:39:45,640
Speaker 1: bloom as a couple in this movie, So you know,

708
00:39:45,840 --> 00:39:48,040
Speaker 1: when you watch it, you're kind of watching the like

709
00:39:48,120 --> 00:39:52,040
Speaker 1: beginning stages of this relationship that lasted for what over

710
00:39:52,080 --> 00:39:53,480
Speaker 1: fifty years or something?

711
00:39:54,040 --> 00:39:58,239
Speaker 2: Yeah, yeah, a long time, very long time. And they

712
00:39:58,920 --> 00:40:00,800
Speaker 2: I don't know, they kind of have I like watching

713
00:40:00,880 --> 00:40:05,600
Speaker 2: them on on screen together, they do have a kind

714
00:40:05,640 --> 00:40:09,000
Speaker 2: of magnetic quality to them.

715
00:40:08,800 --> 00:40:13,000
Speaker 1: Well, and like, the thing that I think is really

716
00:40:13,000 --> 00:40:19,040
Speaker 1: interesting about this movie in particular is that the characters

717
00:40:19,080 --> 00:40:25,360
Speaker 1: that they play, you know, I'm not saying completely mimic

718
00:40:25,480 --> 00:40:28,239
Speaker 1: who they were as people. But I think what I

719
00:40:28,280 --> 00:40:31,200
Speaker 1: loved about that Ethan Hawk documentary and in talking about

720
00:40:31,200 --> 00:40:37,080
Speaker 1: their relationship, was that the idea that Joanne Woodward was

721
00:40:38,200 --> 00:40:42,239
Speaker 1: like she just had this security in herself that was

722
00:40:42,320 --> 00:40:47,000
Speaker 1: very attractive to Paul Newman, right, And I think in

723
00:40:47,040 --> 00:40:51,279
Speaker 1: this film that's like her character too, and everything that

724
00:40:51,320 --> 00:40:54,320
Speaker 1: I had read about them, and also in watching the documentary,

725
00:40:54,320 --> 00:40:56,600
Speaker 1: I think that's kind of how she was in real life.

726
00:40:56,640 --> 00:40:59,680
Speaker 1: Like I love the stories where they talk about how

727
00:40:59,680 --> 00:41:03,120
Speaker 1: she like made her own dresses for the Oscars and

728
00:41:03,640 --> 00:41:06,600
Speaker 1: she would knit on talk shows and stuff. She just

729
00:41:06,719 --> 00:41:10,640
Speaker 1: was like she was unaffected by being famous and being

730
00:41:11,520 --> 00:41:12,840
Speaker 1: you know. And I think a lot of that was

731
00:41:12,840 --> 00:41:15,120
Speaker 1: that she had won an Oscar so early in her

732
00:41:15,160 --> 00:41:19,360
Speaker 1: career that after that she's just like, well, okay, like cool,

733
00:41:19,840 --> 00:41:22,000
Speaker 1: like IM now I'm just you know, living my life.

734
00:41:22,080 --> 00:41:26,760
Speaker 1: And I feel like Paul Newman maybe was a little

735
00:41:26,920 --> 00:41:30,640
Speaker 1: less secure in his in his self and was drawn

736
00:41:30,760 --> 00:41:33,799
Speaker 1: to her because of that. And I feel like this

737
00:41:33,960 --> 00:41:36,480
Speaker 1: movie kind of, like I said, it kind of mirrors

738
00:41:36,560 --> 00:41:39,719
Speaker 1: that dynamic a little bit. So it's kind of cool

739
00:41:39,760 --> 00:41:43,400
Speaker 1: to watch to see them together. But yeah, that's my

740
00:41:43,520 --> 00:41:46,280
Speaker 1: movie for this week. I've seen it so many times

741
00:41:46,320 --> 00:41:51,960
Speaker 1: i've lost count. Yeah, it's it's it's a fun summer movie.

742
00:41:52,880 --> 00:41:54,880
Speaker 2: It's such a great pick for this week. There's so

743
00:41:54,920 --> 00:41:58,400
Speaker 2: many good scenes, and you know, Paul Newman is really

744
00:41:58,440 --> 00:42:01,479
Speaker 2: sexing it up as much as possible. There's one point

745
00:42:01,520 --> 00:42:03,799
Speaker 2: where I think it's right before they make out, where

746
00:42:03,800 --> 00:42:07,000
Speaker 2: he's talking about meat or the world is meat, and

747
00:42:07,040 --> 00:42:09,040
Speaker 2: I swear to God. At one point he says, sometimes

748
00:42:09,080 --> 00:42:13,239
Speaker 2: you have to eat it raw, and I'm like, sir, sir,

749
00:42:14,640 --> 00:42:16,600
Speaker 2: I don't know what those apties. You can't say that

750
00:42:16,640 --> 00:42:19,319
Speaker 2: with those abs. Yeah, keep those words out your mouth.

751
00:42:19,680 --> 00:42:22,320
Speaker 2: Even in the fucking fifties, you know exactly what you're doing.

752
00:42:23,920 --> 00:42:26,600
Speaker 2: Keep it locked up, eat it raw. And I was like,

753
00:42:26,640 --> 00:42:28,920
Speaker 2: good Lord. And then there's a scene where I think

754
00:42:28,960 --> 00:42:31,280
Speaker 2: it's in the very beginning, where she kind of comes

755
00:42:31,280 --> 00:42:32,840
Speaker 2: to in with this rug and it's like, Yo, you

756
00:42:32,960 --> 00:42:35,000
Speaker 2: got fucking dirt all over this rug. Now you gotta

757
00:42:35,040 --> 00:42:37,520
Speaker 2: clean it. And he's sitting on this porch of this

758
00:42:37,600 --> 00:42:39,799
Speaker 2: house that they've let him live in, and the only

759
00:42:39,840 --> 00:42:43,360
Speaker 2: way I can describe this is he is straight chunkin

760
00:42:43,520 --> 00:42:48,400
Speaker 2: a watermelon. Yeah, like he's just shirtless and just just

761
00:42:48,480 --> 00:42:50,920
Speaker 2: straight up chunk in a watermelon. I'm like, what are

762
00:42:50,920 --> 00:42:55,080
Speaker 2: you doing, Paul Newman? I like that she.

763
00:42:55,400 --> 00:42:58,920
Speaker 1: Brings that shit across a giant field. That is like,

764
00:42:59,000 --> 00:43:00,160
Speaker 1: you better clean this fuck.

765
00:43:00,200 --> 00:43:03,240
Speaker 2: Rug you roomed by six o'clock, you beast?

766
00:43:03,520 --> 00:43:07,080
Speaker 1: Yeah? Oh yeah. And like there are so many, so

767
00:43:07,200 --> 00:43:10,839
Speaker 1: many gifts and memes of him on the porch with

768
00:43:10,880 --> 00:43:15,400
Speaker 1: the pillow no shirt on, being like talking to Clara

769
00:43:15,440 --> 00:43:17,439
Speaker 1: while she's laying in bed and he's just like, what's

770
00:43:17,520 --> 00:43:19,800
Speaker 1: up you coming out here? We fucking at night or whatever,

771
00:43:22,360 --> 00:43:25,080
Speaker 1: and she's just like, can I fucking go to sleep?

772
00:43:27,000 --> 00:43:29,399
Speaker 2: Why doesn't this room have any fucking curtains?

773
00:43:29,480 --> 00:43:31,440
Speaker 1: Yeah?

774
00:43:31,480 --> 00:43:34,080
Speaker 2: Like, good god, it's not enough. Then now you live

775
00:43:34,120 --> 00:43:35,880
Speaker 2: in the house with me, Now you gonna like harass

776
00:43:36,040 --> 00:43:37,360
Speaker 2: me outside my window. I know.

777
00:43:37,480 --> 00:43:40,520
Speaker 1: But like but as a as a man with a

778
00:43:41,640 --> 00:43:47,520
Speaker 1: with a startling amount of abs, like it is kind

779
00:43:47,520 --> 00:43:50,960
Speaker 1: of like Paul Newman at his hottest. And we've said

780
00:43:51,000 --> 00:43:52,880
Speaker 1: this so many times, Like every movie that we talk

781
00:43:52,920 --> 00:43:54,840
Speaker 1: about is like, this is Paul Newman at his hottest.

782
00:43:54,920 --> 00:43:56,280
Speaker 1: This is Paul Newman at his hottest.

783
00:43:56,640 --> 00:43:59,040
Speaker 2: I even't said it during Road to Perdition, the literal

784
00:43:59,120 --> 00:44:00,480
Speaker 2: last movie.

785
00:44:01,640 --> 00:44:04,239
Speaker 1: Yes, man was hot for his entire life. We said

786
00:44:04,239 --> 00:44:07,040
Speaker 1: it when he was like fucking nine inches deep into

787
00:44:07,080 --> 00:44:10,400
Speaker 1: a boiled wool coat. That's how hot this man is.

788
00:44:17,560 --> 00:44:20,040
Speaker 2: Oh god, it's such a good pick for this fucking

789
00:44:20,320 --> 00:44:22,719
Speaker 2: theme though, Like just the heat. I felt the heat

790
00:44:22,760 --> 00:44:24,560
Speaker 2: of the movie in a weird way. It's one of

791
00:44:24,600 --> 00:44:27,560
Speaker 2: those where they really set up that Southern heat in

792
00:44:27,560 --> 00:44:30,200
Speaker 2: a way that is just suffocating, and you can kind

793
00:44:30,200 --> 00:44:33,839
Speaker 2: of see the suffocation replicating itself in Clara's life and

794
00:44:33,840 --> 00:44:37,680
Speaker 2: in Jody's life and Orson Wells. Is truly something to

795
00:44:37,760 --> 00:44:39,080
Speaker 2: behold in this film.

796
00:44:39,320 --> 00:44:42,560
Speaker 1: I think I told you like when I was watching

797
00:44:42,600 --> 00:44:44,560
Speaker 1: it for this episode, I was like, I want to

798
00:44:44,560 --> 00:44:46,799
Speaker 1: bake a cake, Like I want to bake a cake.

799
00:44:46,800 --> 00:44:48,759
Speaker 1: And then like I went into my kitchen it was

800
00:44:48,800 --> 00:44:52,120
Speaker 1: like ninety seven degrees outside, and I tried baking a

801
00:44:52,239 --> 00:44:57,000
Speaker 1: Southern cake and it fucking was melting essentially the minute

802
00:44:57,080 --> 00:44:59,920
Speaker 1: I finished it, and I was sweating, and I was

803
00:45:00,000 --> 00:45:01,800
Speaker 1: It's like, why does this movie make me want to

804
00:45:01,880 --> 00:45:03,880
Speaker 1: do Southern things? Like?

805
00:45:04,280 --> 00:45:07,200
Speaker 2: You know, I think at one point you said, oh

806
00:45:07,239 --> 00:45:08,600
Speaker 2: my god, I tried to make butter cream and it

807
00:45:08,680 --> 00:45:13,719
Speaker 2: curdled like it just like instantly was like, nope, Oh,

808
00:45:13,760 --> 00:45:15,040
Speaker 2: I bless you for trying.

809
00:45:15,080 --> 00:45:17,399
Speaker 1: I make it. I'll make a cake for Will Vaughan

810
00:45:17,600 --> 00:45:22,400
Speaker 1: is coming home potty when he cameing home from the hospital.

811
00:45:23,600 --> 00:45:26,240
Speaker 1: We gotta make this cake. And the butter crim's already curling.

812
00:45:27,560 --> 00:45:28,960
Speaker 2: See. That's what was wild to me is that you

813
00:45:29,360 --> 00:45:31,760
Speaker 2: chose to be that Southern person because you are literally

814
00:45:31,760 --> 00:45:35,160
Speaker 2: a Southern person. You don't have to try hard to

815
00:45:35,200 --> 00:45:39,319
Speaker 2: be a Southern woman. You are one. And you're like, no,

816
00:45:39,360 --> 00:45:42,640
Speaker 2: I'm gonna be like a seer sucker clad Southern woman

817
00:45:42,640 --> 00:45:46,160
Speaker 2: who bakes a cake. I'm gonna put on this persona.

818
00:45:46,360 --> 00:45:48,480
Speaker 2: I'm a hot nun baking a cake. In the middle

819
00:45:48,520 --> 00:45:52,359
Speaker 2: of turning on this oven, I was like, burn.

820
00:45:52,280 --> 00:45:54,520
Speaker 1: A barn in here. Why is it so fucking hot?

821
00:45:54,560 --> 00:45:58,600
Speaker 1: Why did I decide to make a cake? It's fucking August.

822
00:46:00,800 --> 00:46:03,959
Speaker 2: And look, even even I know back then they would

823
00:46:03,960 --> 00:46:06,600
Speaker 2: have made an icebox cake. So you fucking played yourself.

824
00:46:07,160 --> 00:46:11,240
Speaker 1: And play myself. I should have brought up those fucking

825
00:46:11,320 --> 00:46:13,759
Speaker 1: chocolate wafers and just called it a day, but I

826
00:46:13,800 --> 00:46:16,720
Speaker 1: had to turn the oven on and nearly died.

827
00:46:20,480 --> 00:46:23,799
Speaker 2: Oh God, next time, icebox Cake, it's on.

828
00:46:24,320 --> 00:46:24,839
Speaker 1: There we go.

829
00:46:24,960 --> 00:46:29,720
Speaker 2: Well, my film is just like you said, absolute classic.

830
00:46:30,120 --> 00:46:33,399
Speaker 2: It was released in nineteen fifty nine. The screenplays by

831
00:46:33,400 --> 00:46:37,440
Speaker 2: Billy Wilder and I A. L. Diamond. It was directed

832
00:46:37,480 --> 00:46:41,440
Speaker 2: by Billy Wilder. And my film is some like it hot,

833
00:46:41,800 --> 00:46:43,440
Speaker 2: good night Sugar.

834
00:46:44,080 --> 00:46:48,400
Speaker 1: Some like it some sweat when it is on, do

835
00:46:49,239 --> 00:46:51,960
Speaker 1: do Do Do? Do do feel?

836
00:46:55,880 --> 00:47:02,600
Speaker 2: Robert Goddamn Palmer rest in pace. He gave us so

837
00:47:02,680 --> 00:47:04,920
Speaker 2: much of the eighties, which really has like two songs,

838
00:47:04,920 --> 00:47:07,200
Speaker 2: but so much video. He gave a lot of video.

839
00:47:07,960 --> 00:47:13,320
Speaker 2: Oh well, this is not that. This is a film.

840
00:47:13,760 --> 00:47:17,600
Speaker 2: And my one sentence synopsis is two musicians on the

841
00:47:17,640 --> 00:47:20,680
Speaker 2: run from the mob during Prohibition era of Chicago decided

842
00:47:20,680 --> 00:47:24,080
Speaker 2: to hide out in Florida by dressing as women. And

843
00:47:24,200 --> 00:47:25,640
Speaker 2: before we get to the movie, we're gonna talk a

844
00:47:25,680 --> 00:47:27,399
Speaker 2: little bit about Billy Wilder, because I don't think we've

845
00:47:27,400 --> 00:47:29,120
Speaker 2: done Billy Wilder film before.

846
00:47:29,640 --> 00:47:31,600
Speaker 1: Yeah, I don't think we have either. Awesome.

847
00:47:32,320 --> 00:47:35,840
Speaker 2: Yeah. So he was an award winning filmmaker. He was

848
00:47:36,080 --> 00:47:40,520
Speaker 2: born Schmul Wilder. He was Jewish and lived in what

849
00:47:40,680 --> 00:47:42,840
Speaker 2: was now Poland. I think at the time it was

850
00:47:42,880 --> 00:47:50,520
Speaker 2: like Austrio Austria, Hungary, but he was making films all

851
00:47:50,560 --> 00:47:54,080
Speaker 2: over the place. In Germany, his older brother was also

852
00:47:54,120 --> 00:47:56,719
Speaker 2: a filmmaker, and he kind of had minor fame, like

853
00:47:56,719 --> 00:48:00,000
Speaker 2: he produced twelve films in Germany and kind of produce

854
00:48:00,120 --> 00:48:02,040
Speaker 2: them in a newer style, like he wasn't copying the

855
00:48:02,040 --> 00:48:05,080
Speaker 2: Fritz Laying style. But he left. He left in nineteen

856
00:48:05,120 --> 00:48:08,120
Speaker 2: thirty two as Hitler rose to power, and he moved

857
00:48:08,120 --> 00:48:11,000
Speaker 2: to Paris, and then he moved to Hollywood in nineteen

858
00:48:11,040 --> 00:48:14,880
Speaker 2: thirty four. And what's truly just so tragic is that

859
00:48:15,000 --> 00:48:19,480
Speaker 2: his mother, stepfather, and grandmother were all victims of the Holocaust.

860
00:48:19,880 --> 00:48:23,200
Speaker 2: His mother died in nineteen forty three at plash Thou,

861
00:48:23,320 --> 00:48:27,239
Speaker 2: his grandmother died in nineteen forty two at Belzek, and

862
00:48:27,320 --> 00:48:29,759
Speaker 2: his stepfather died in nineteen forty three at now he

863
00:48:30,000 --> 00:48:31,759
Speaker 2: targ And I shouldn't say died, I should say they

864
00:48:31,800 --> 00:48:34,640
Speaker 2: were murdered. And so it's just terrible. Like he's in

865
00:48:34,640 --> 00:48:37,799
Speaker 2: Hollywood trying to kind of build his life and build

866
00:48:37,840 --> 00:48:39,520
Speaker 2: his career, but he had to leave his family behind,

867
00:48:39,560 --> 00:48:43,000
Speaker 2: and so much of his family suffered during the Holocaust.

868
00:48:43,560 --> 00:48:47,040
Speaker 2: So he did make his way as a screenwriter and

869
00:48:47,080 --> 00:48:49,839
Speaker 2: his first big Hollywood hit with Ninotchka, and he kind

870
00:48:49,840 --> 00:48:52,600
Speaker 2: of people kind of talk about him, like you've heard

871
00:48:52,640 --> 00:48:55,440
Speaker 2: about Billy Wilder a lot before, I'm sure, because he

872
00:48:55,480 --> 00:48:58,160
Speaker 2: has directed some of the most iconic films like Sunset

873
00:48:58,200 --> 00:49:02,279
Speaker 2: Boulevard and The Apartment in Dublin, Dimnity and Sabrina and

874
00:49:02,320 --> 00:49:05,040
Speaker 2: The Seven Year Itch and The Lost Weekend. I mean,

875
00:49:05,440 --> 00:49:08,560
Speaker 2: it goes on and on, but he's really known for,

876
00:49:08,719 --> 00:49:13,280
Speaker 2: like his directorial style isn't overly remarkable, but the subject

877
00:49:13,320 --> 00:49:16,360
Speaker 2: matter that he covered absolutely is. So he was definitely

878
00:49:16,400 --> 00:49:21,239
Speaker 2: an pushed the envelope like push the boundaries, covered alcoholism

879
00:49:21,239 --> 00:49:24,719
Speaker 2: and aging and just all these topics that were kind

880
00:49:24,719 --> 00:49:28,520
Speaker 2: of taboo, especially because he was covering these topics during

881
00:49:28,520 --> 00:49:32,879
Speaker 2: a time when Hollywood was being heavily censored. So this

882
00:49:32,920 --> 00:49:36,600
Speaker 2: is during Blacklist time, like McCarthyism kind of era, and

883
00:49:36,680 --> 00:49:39,279
Speaker 2: he was being so heavily like the whole industry was

884
00:49:39,320 --> 00:49:43,960
Speaker 2: being heavily censored, and he was still making these revolutionary

885
00:49:43,960 --> 00:49:46,520
Speaker 2: films and he and again, there's so much to find

886
00:49:46,560 --> 00:49:48,919
Speaker 2: out about him. There's so much out there about Billy

887
00:49:48,960 --> 00:49:52,880
Speaker 2: Wilder if you're interested in him at all. But he

888
00:49:52,920 --> 00:49:54,680
Speaker 2: died in two thousand and two, and I think that,

889
00:49:55,320 --> 00:49:57,400
Speaker 2: you know, it's kind of sweet that the epitaph on

890
00:49:57,440 --> 00:49:59,719
Speaker 2: his grave is I'm a writer, but nobody's perfect. It's

891
00:49:59,719 --> 00:50:02,680
Speaker 2: a not to the last line in my film. But

892
00:50:02,800 --> 00:50:05,920
Speaker 2: he worked for over fifty years, he made over sixty films,

893
00:50:06,680 --> 00:50:08,400
Speaker 2: and he just has a legacy of being one of

894
00:50:08,400 --> 00:50:13,680
Speaker 2: the most remarkable and brilliant filmmakers in Hollywood. And there's

895
00:50:13,680 --> 00:50:16,520
Speaker 2: a great article in The Times Literary Supplement by Leo

896
00:50:16,600 --> 00:50:19,879
Speaker 2: Lensing about him. And I also watched there's a really

897
00:50:19,880 --> 00:50:24,680
Speaker 2: good YouTube video for a series called The Writer Speaks

898
00:50:24,920 --> 00:50:28,480
Speaker 2: Billy Wilder, and he covers things like, you know, developing

899
00:50:28,560 --> 00:50:31,799
Speaker 2: characters and structure and camera angles and advice he would

900
00:50:31,800 --> 00:50:34,440
Speaker 2: give to young filmmakers. And it's just kind of invaluable

901
00:50:34,600 --> 00:50:37,319
Speaker 2: to hear from someone who's gone, but also from someone

902
00:50:37,360 --> 00:50:40,480
Speaker 2: who had such a startling, startlingly great career. And at

903
00:50:40,480 --> 00:50:43,560
Speaker 2: one point, you know, the community's talking about excuse me,

904
00:50:43,600 --> 00:50:45,080
Speaker 2: like his own writing. He says, you know, if you

905
00:50:45,600 --> 00:50:48,240
Speaker 2: write a good part, help yourself by getting the best actors.

906
00:50:48,280 --> 00:50:49,960
Speaker 2: So you kind of just get these little nuggets from

907
00:50:50,040 --> 00:50:54,080
Speaker 2: him about how he developed, you know, his own original work,

908
00:50:54,080 --> 00:50:58,680
Speaker 2: how he covered adapted works, like he just really did

909
00:50:58,680 --> 00:51:02,800
Speaker 2: it all and great at it. And it's just again,

910
00:51:02,920 --> 00:51:06,400
Speaker 2: his breadth of work is truly remarkable.

911
00:51:06,640 --> 00:51:09,720
Speaker 1: Some of the best movies ever, ever, ever, ever written

912
00:51:09,760 --> 00:51:13,080
Speaker 1: and directed. He wrote stuff too, So what a dude,

913
00:51:13,120 --> 00:51:13,840
Speaker 1: What a dude.

914
00:51:14,480 --> 00:51:16,520
Speaker 2: And like I think four or five of his movies

915
00:51:16,560 --> 00:51:19,879
Speaker 2: are on the AFI like Best American Films of all

916
00:51:19,920 --> 00:51:22,279
Speaker 2: Time or Best Films of all time. Like he's just

917
00:51:23,040 --> 00:51:25,440
Speaker 2: tops the lists across the board. And he worked with

918
00:51:25,520 --> 00:51:28,000
Speaker 2: Jack Lemon like seven or eight times, and he just

919
00:51:28,080 --> 00:51:32,560
Speaker 2: really kind of kind of created like a comfortable stable

920
00:51:32,600 --> 00:51:34,880
Speaker 2: of actors that he would put in different and new

921
00:51:34,960 --> 00:51:37,120
Speaker 2: roles every single time. So even though he's working with

922
00:51:37,160 --> 00:51:40,280
Speaker 2: the same people, they're showing up in so many different ways.

923
00:51:40,840 --> 00:51:43,240
Speaker 2: So yeah, I just I really love most of his films,

924
00:51:43,400 --> 00:51:46,800
Speaker 2: and I just I'm glad that we're covering one, especially

925
00:51:46,880 --> 00:51:50,239
Speaker 2: this one, because it's fun. So also just to say

926
00:51:50,239 --> 00:51:51,840
Speaker 2: at the top of this that we're talking about a

927
00:51:51,880 --> 00:51:56,520
Speaker 2: movie that was released in nineteen fifty nine, and even

928
00:51:56,560 --> 00:51:59,960
Speaker 2: though we're going to be talking about men in draft,

929
00:52:00,200 --> 00:52:02,680
Speaker 2: we're not doing it in the modern sense. But I

930
00:52:02,680 --> 00:52:06,040
Speaker 2: think something that I was pleasantly surprised by and rewatching

931
00:52:06,040 --> 00:52:08,200
Speaker 2: this because I hadn't seen it in a very long time.

932
00:52:08,760 --> 00:52:11,439
Speaker 2: Was that they're not making fun of it, and they're

933
00:52:11,480 --> 00:52:15,400
Speaker 2: not kind of like I feel like they're not poking

934
00:52:15,440 --> 00:52:19,600
Speaker 2: fun of it in a way that's denigrating, drag or denigrading,

935
00:52:20,000 --> 00:52:22,959
Speaker 2: you know, anything that would have existed in that time,

936
00:52:23,000 --> 00:52:25,600
Speaker 2: which was again revolutionary because I think in the hands

937
00:52:25,600 --> 00:52:28,120
Speaker 2: of anyone else, it would have been all jokes about

938
00:52:28,960 --> 00:52:31,920
Speaker 2: men being dressed as women. So they used it sparingly,

939
00:52:32,280 --> 00:52:34,920
Speaker 2: and when they did talk about it, it was always

940
00:52:35,760 --> 00:52:37,480
Speaker 2: they made themselves the butt of the joke. I was

941
00:52:37,520 --> 00:52:39,759
Speaker 2: just kind of pleasantly surprised by that because again I

942
00:52:39,800 --> 00:52:42,319
Speaker 2: hadn't seen it in a very long time. But this

943
00:52:42,400 --> 00:52:45,360
Speaker 2: movie's fucking wild. So we've got a great cast, Tony Curtis,

944
00:52:45,440 --> 00:52:51,160
Speaker 2: Jack Lemon, Marilyn Monroe, Like top three billings are amazing.

945
00:52:51,880 --> 00:52:54,680
Speaker 2: And the kind of summary of the film is that,

946
00:52:55,160 --> 00:52:58,120
Speaker 2: you know, you kind of start off the film at

947
00:52:58,160 --> 00:53:00,840
Speaker 2: what you think as a funeral, somebody driving a hearse

948
00:53:00,880 --> 00:53:03,720
Speaker 2: and a coffin into a funeral parlor, but the funeral

949
00:53:03,760 --> 00:53:06,560
Speaker 2: parlor is actually speakeasy, and I love it. It's called

950
00:53:07,360 --> 00:53:12,759
Speaker 2: Mozzarella's Funeral Parlor. Like they're like, h something Italian, how

951
00:53:12,760 --> 00:53:17,719
Speaker 2: about mozzarella fucking Hollywood? And it's a great like you

952
00:53:17,800 --> 00:53:19,200
Speaker 2: kind of you know, you go through the secret door

953
00:53:19,239 --> 00:53:21,560
Speaker 2: and then there's music and dancing and all kinds of shit,

954
00:53:21,600 --> 00:53:24,839
Speaker 2: and they only serve they they only serve coffee, they say,

955
00:53:24,880 --> 00:53:27,239
Speaker 2: because a cop goes, like we're following a cop going

956
00:53:27,239 --> 00:53:29,400
Speaker 2: and you're planning on busting the place, and like, we

957
00:53:29,440 --> 00:53:33,120
Speaker 2: only serve coffee, like Scotch coffee, Canadian coffee, Like it's

958
00:53:33,280 --> 00:53:35,400
Speaker 2: basically it's whiskey, but they have to say it's coffee,

959
00:53:35,719 --> 00:53:37,840
Speaker 2: and so you're kind of thrown and thrust into the scene.

960
00:53:37,880 --> 00:53:40,720
Speaker 2: It's set in nineteen twenty nine and were we also

961
00:53:40,840 --> 00:53:43,520
Speaker 2: kind of then track over to these two musicians, so

962
00:53:43,640 --> 00:53:47,120
Speaker 2: Jack Lemon and Tony Curtis. They play the bass, they

963
00:53:47,120 --> 00:53:50,920
Speaker 2: play the sacks. Jerry, who is the Jack Lemon character,

964
00:53:52,120 --> 00:53:55,239
Speaker 2: is the worrier of the group. You know, as they're playing,

965
00:53:55,280 --> 00:53:56,799
Speaker 2: he's kind of talking about how they need to get

966
00:53:56,840 --> 00:53:59,160
Speaker 2: paid tonight and they don't have any money. And Joe,

967
00:53:59,239 --> 00:54:03,080
Speaker 2: who's the Tony Curtis's character, is absolutely the gambler. He's like,

968
00:54:03,120 --> 00:54:05,960
Speaker 2: let's take our money and fucking let it ride, so

969
00:54:06,000 --> 00:54:09,080
Speaker 2: you're getting to see their personalities as they play, and

970
00:54:09,120 --> 00:54:12,040
Speaker 2: then they look Jack Lemon looks over. He knows that

971
00:54:12,080 --> 00:54:14,000
Speaker 2: the cops are about to bust the place because the

972
00:54:14,040 --> 00:54:16,719
Speaker 2: cop who just sat down uses his badge to pack

973
00:54:16,760 --> 00:54:19,400
Speaker 2: his cigar and they see it. I was like, what

974
00:54:19,480 --> 00:54:25,839
Speaker 2: a dumb ass, fucking rookie mistake. Yeah, rookie mistake. We're

975
00:54:25,880 --> 00:54:32,200
Speaker 2: also introduced in this speakeasy to Spat's Colombo. So Spats

976
00:54:32,360 --> 00:54:35,960
Speaker 2: Colombo and his gang run the joint. He kind of

977
00:54:36,040 --> 00:54:38,799
Speaker 2: runs south side of Chicago. He's got a guy in

978
00:54:38,840 --> 00:54:40,799
Speaker 2: his gang who just at one point looks up and

979
00:54:40,840 --> 00:54:44,920
Speaker 2: he's like, it's butt of milk. Like they're busting everybody.

980
00:54:44,960 --> 00:54:46,680
Speaker 2: He's like, I'm a drinking his butt of milk. That

981
00:54:46,680 --> 00:54:49,879
Speaker 2: guy's my favorite of the Spats gang. But Spats run shit.

982
00:54:50,080 --> 00:54:54,120
Speaker 2: And when they bust the joint, Jack Lemon and Tony

983
00:54:54,200 --> 00:54:56,880
Speaker 2: Curtis get away, but we see that the cops are

984
00:54:56,920 --> 00:55:01,800
Speaker 2: kind of tracking the actions of so after they escape,

985
00:55:01,840 --> 00:55:04,000
Speaker 2: life is kind of tough. They sell their coats, you know,

986
00:55:04,000 --> 00:55:06,560
Speaker 2: they escape from the bus, but they're broke, so they

987
00:55:06,560 --> 00:55:08,359
Speaker 2: go to this agency to see if they can find

988
00:55:08,400 --> 00:55:11,240
Speaker 2: a job. As you know, these two musicians. They're lugging

989
00:55:11,239 --> 00:55:15,640
Speaker 2: their their instruments around. Nelly, the secretary at the agency

990
00:55:16,000 --> 00:55:18,680
Speaker 2: is like, yeah, we've got a job, but she she

991
00:55:18,760 --> 00:55:23,600
Speaker 2: doesn't tell the Tony Curtis character is that there is

992
00:55:23,640 --> 00:55:25,759
Speaker 2: an opening for two musicians to go to Florida for

993
00:55:25,800 --> 00:55:28,520
Speaker 2: three weeks and play with a band. But it's an

994
00:55:28,520 --> 00:55:33,160
Speaker 2: all women band. Sweet Sue and her society syncopaters. And

995
00:55:33,239 --> 00:55:36,280
Speaker 2: the reason that she doesn't tell him this crucial detail

996
00:55:36,400 --> 00:55:38,040
Speaker 2: is because he stood her up for a date. So

997
00:55:38,120 --> 00:55:41,560
Speaker 2: this is kind of her payback. Yes, and I goddamn

998
00:55:41,600 --> 00:55:44,680
Speaker 2: love it and Sue. Sue is great. When we meet Sue,

999
00:55:44,719 --> 00:55:47,680
Speaker 2: she's in the office of the agency with Beanstock, who's

1000
00:55:47,760 --> 00:55:49,400
Speaker 2: kind of her right hand man, and they're talking to

1001
00:55:49,440 --> 00:55:51,480
Speaker 2: the you know, the guy who's trying they're trying to

1002
00:55:51,480 --> 00:55:55,560
Speaker 2: get musicians. He's on the phone and Sue has ulcers

1003
00:55:55,600 --> 00:55:58,359
Speaker 2: like she is working hard. She's suspicious of these new

1004
00:55:58,400 --> 00:56:00,600
Speaker 2: girls once we meet. Once we get them all together,

1005
00:56:01,239 --> 00:56:03,640
Speaker 2: and if there's two things she won't stand for in

1006
00:56:03,680 --> 00:56:08,200
Speaker 2: her band, it's booze and men. Then you have Beanstock,

1007
00:56:09,040 --> 00:56:12,120
Speaker 2: who's kind of the chaperone, and he has not been

1008
00:56:12,120 --> 00:56:13,960
Speaker 2: prepped enough for this job. Like he has fallen down

1009
00:56:13,960 --> 00:56:16,319
Speaker 2: on this job left and right. Bean Stock is bad

1010
00:56:16,360 --> 00:56:18,480
Speaker 2: at his fucking job, and that's part of the reason

1011
00:56:18,520 --> 00:56:20,239
Speaker 2: why they lost two girls, because like one of them

1012
00:56:20,320 --> 00:56:22,879
Speaker 2: ran away with a Bible salesman and the other one

1013
00:56:22,920 --> 00:56:25,200
Speaker 2: got pregnant and she's like what the fuck. He's like, well,

1014
00:56:25,239 --> 00:56:28,720
Speaker 2: I don't watch him all the time. So they're all

1015
00:56:28,840 --> 00:56:33,480
Speaker 2: in it now, and basically Jerry and Joe are They

1016
00:56:33,600 --> 00:56:35,759
Speaker 2: talk about the idea of going they find out it's

1017
00:56:35,760 --> 00:56:38,759
Speaker 2: for women. Jerry's into it, Joe is not. But then

1018
00:56:39,000 --> 00:56:41,960
Speaker 2: they go and borrow Nelly's car and while they're in

1019
00:56:42,040 --> 00:56:46,640
Speaker 2: the garage all spats Columbo shows up and they hide

1020
00:56:46,680 --> 00:56:49,799
Speaker 2: behind a car and he basically machine guns everyone in

1021
00:56:49,840 --> 00:56:52,399
Speaker 2: there because Toothpick, the guy he kills, is the one

1022
00:56:52,400 --> 00:56:55,440
Speaker 2: who told the cops about the funeral parlor. So now

1023
00:56:55,480 --> 00:56:59,720
Speaker 2: they've witnessed the fucking murder. They're about to get murked,

1024
00:57:00,040 --> 00:57:02,080
Speaker 2: but they get away, So now they have to take

1025
00:57:02,080 --> 00:57:05,600
Speaker 2: the job in Florida because they're on they're hiding out

1026
00:57:05,640 --> 00:57:07,080
Speaker 2: from the mom so that's kind of the setup of

1027
00:57:07,160 --> 00:57:09,200
Speaker 2: the of the movie, and they dress as women and

1028
00:57:09,680 --> 00:57:13,160
Speaker 2: Joe becomes Josephine and Jerry becomes Daphne because he hates

1029
00:57:13,200 --> 00:57:16,320
Speaker 2: the name Geraldine, which is such a weird detail that

1030
00:57:16,360 --> 00:57:19,600
Speaker 2: I love. So as they're going to the train, you

1031
00:57:19,640 --> 00:57:21,720
Speaker 2: know they've dressed up. We don't have we don't get

1032
00:57:21,720 --> 00:57:24,520
Speaker 2: to see that part, but they dress up and here

1033
00:57:24,560 --> 00:57:28,760
Speaker 2: comes Marilyn Monroe, and Marilyn Monroe plays the ukulele and

1034
00:57:28,800 --> 00:57:32,040
Speaker 2: sings in this band. At one point, she tells Joe

1035
00:57:32,240 --> 00:57:35,640
Speaker 2: Josephine that she can't play with male bands anymore because

1036
00:57:35,640 --> 00:57:38,520
Speaker 2: she can't control herself, especially around tenor sax players, which

1037
00:57:38,520 --> 00:57:40,200
Speaker 2: just so happens to be the instrument that he plays.

1038
00:57:41,400 --> 00:57:43,240
Speaker 2: And she's kind of describing him to a tea as

1039
00:57:43,240 --> 00:57:45,160
Speaker 2: she talks about how all these men she's been with

1040
00:57:45,200 --> 00:57:47,919
Speaker 2: were just womanizers, but now her goal is to meet

1041
00:57:47,960 --> 00:57:49,840
Speaker 2: a rich guy with a boat. That's all she wants.

1042
00:57:50,200 --> 00:57:53,800
Speaker 2: And her name is Sugarcane and she's drinking bourbon out

1043
00:57:53,840 --> 00:57:56,760
Speaker 2: of a flask in her stockings. She is hot to

1044
00:57:56,800 --> 00:58:02,560
Speaker 2: fucking trot, trot, hot god trot. And at one point,

1045
00:58:02,640 --> 00:58:04,440
Speaker 2: you know, they're all kind of singing and playing on

1046
00:58:04,440 --> 00:58:07,640
Speaker 2: this train and her flask falls out while she's singing,

1047
00:58:07,680 --> 00:58:13,040
Speaker 2: but Jerry takes the fall. Jerry slash. Daphne takes the fall.

1048
00:58:13,640 --> 00:58:16,800
Speaker 2: She's so grateful to him. She comes to his like bunk,

1049
00:58:16,960 --> 00:58:20,720
Speaker 2: his sleeper cabin at night. Yeah, and it's so funny

1050
00:58:20,760 --> 00:58:23,680
Speaker 2: to watch him like try. He's like keeps having to

1051
00:58:23,720 --> 00:58:25,600
Speaker 2: remind himself that he's a girl because he's like so

1052
00:58:25,680 --> 00:58:27,160
Speaker 2: attracted to her. And he's like, Nope, I'm a girl.

1053
00:58:27,200 --> 00:58:30,280
Speaker 2: I'm a girl. And this bunk turns into a fucking party.

1054
00:58:31,560 --> 00:58:34,360
Speaker 2: Everyone is bringing something, like the word is out that

1055
00:58:34,400 --> 00:58:37,640
Speaker 2: there's a party in the bunk. Someone's like, I've got vermouth,

1056
00:58:37,800 --> 00:58:39,960
Speaker 2: I've got cheese and crackers, I've got cups, I've got

1057
00:58:40,000 --> 00:58:42,360
Speaker 2: peanut butter, I've got salami, I've got cherries. It is

1058
00:58:42,400 --> 00:58:45,560
Speaker 2: a fucking party. It is the funniest goddamn scene. And

1059
00:58:45,600 --> 00:58:47,800
Speaker 2: what I want to talk about now before we get

1060
00:58:47,800 --> 00:58:51,520
Speaker 2: to Florida, Before they get to Florida, we got to

1061
00:58:51,560 --> 00:58:55,040
Speaker 2: talk about how these men look in drag. Yeah, Why

1062
00:58:55,400 --> 00:58:58,600
Speaker 2: you are so attracted to Jack Lemon and drag especially.

1063
00:58:59,360 --> 00:59:04,640
Speaker 1: Well, I first of all, like the funniest part is that,

1064
00:59:05,120 --> 00:59:08,520
Speaker 1: and maybe this is like part of why this movie

1065
00:59:09,040 --> 00:59:14,040
Speaker 1: has persisted and is so beloved, is that they actually

1066
00:59:14,280 --> 00:59:18,560
Speaker 1: have they kind of look stylistically like all the other

1067
00:59:18,600 --> 00:59:21,120
Speaker 1: women in this band. I mean, everybody in this band

1068
00:59:21,160 --> 00:59:24,200
Speaker 1: has that kind of like blonde, fluffy hair, and they're

1069
00:59:24,240 --> 00:59:28,080
Speaker 1: all kind of you know, brassy ladies. They're like the

1070
00:59:28,160 --> 00:59:31,560
Speaker 1: scene where they're all like there's thirteen people in this

1071
00:59:32,040 --> 00:59:36,760
Speaker 1: sleeping berth or whatever it's called at one point when

1072
00:59:36,800 --> 00:59:40,120
Speaker 1: they're having a party, and I'm like, that's such a

1073
00:59:40,200 --> 00:59:43,520
Speaker 1: slapstick moment, which is like a funny, funny scene in

1074
00:59:43,520 --> 00:59:47,080
Speaker 1: this film for me, But I'm like sitting there actually

1075
00:59:47,120 --> 00:59:51,920
Speaker 1: looking at thirteen fourteen women packed into this thing, going, oh,

1076
00:59:52,000 --> 00:59:55,080
Speaker 1: Jack Lemon kind of blends in with these folks, Like

1077
00:59:55,160 --> 00:59:57,080
Speaker 1: it's sort of believable.

1078
00:59:58,120 --> 01:00:00,800
Speaker 2: You know, he taps into his femin and wild he's there.

1079
01:00:01,120 --> 01:00:05,560
Speaker 1: He's there, and he kind of has a great look

1080
01:00:05,800 --> 01:00:09,240
Speaker 1: but looks like everybody else. So it's not this like iesore,

1081
01:00:10,480 --> 01:00:13,760
Speaker 1: what do you say? It's like this huge fucking joke

1082
01:00:14,320 --> 01:00:17,400
Speaker 1: that these men are just as women. That's what I

1083
01:00:17,400 --> 01:00:21,640
Speaker 1: think like makes it not a huge joke is the

1084
01:00:21,760 --> 01:00:25,480
Speaker 1: idea that they are you know kind of they they

1085
01:00:25,480 --> 01:00:28,880
Speaker 1: do kind of look like everybody else, but by today's standard,

1086
01:00:28,880 --> 01:00:31,000
Speaker 1: it's it's bad old lady drag, right because you're like,

1087
01:00:31,000 --> 01:00:34,040
Speaker 1: oh yeah, it's like this the furs and the pearls

1088
01:00:34,080 --> 01:00:36,720
Speaker 1: and everything like that. I don't know what it is

1089
01:00:36,760 --> 01:00:42,080
Speaker 1: about jacqu Lemon. I mean, everybody loves Jack Lemon, like

1090
01:00:42,400 --> 01:00:45,640
Speaker 1: everybody wants to marry him in the apartment, let's get serious.

1091
01:00:46,280 --> 01:00:50,120
Speaker 1: He was He's like our little like cutie, nice guy.

1092
01:00:50,840 --> 01:00:53,560
Speaker 1: But for some reason, when he's in the track, I'm like,

1093
01:00:53,640 --> 01:00:55,680
Speaker 1: I don't know, it's just like he's cute, and I

1094
01:00:55,720 --> 01:00:58,840
Speaker 1: don't know if it's because he's got like a confidence

1095
01:00:58,960 --> 01:01:03,320
Speaker 1: or something, or like there's some kind of like persistence

1096
01:01:03,400 --> 01:01:06,320
Speaker 1: in keeping the ruse going that is attractive to me.

1097
01:01:07,080 --> 01:01:09,720
Speaker 1: But then also he kind of looks good as a lady.

1098
01:01:11,800 --> 01:01:14,400
Speaker 1: I don't know, you know what it is. It's like

1099
01:01:14,440 --> 01:01:17,640
Speaker 1: an ease. It's like an easy an ease in the

1100
01:01:17,760 --> 01:01:20,320
Speaker 1: drag that I think makes it attractive. Like I'm just

1101
01:01:20,360 --> 01:01:23,560
Speaker 1: like if a guy's in drag, if a straight guy's

1102
01:01:23,600 --> 01:01:25,680
Speaker 1: doing drag and he's like, guess what I'm in drag,

1103
01:01:26,600 --> 01:01:29,720
Speaker 1: Like it's like no. If you can just like seamlessly

1104
01:01:29,960 --> 01:01:34,600
Speaker 1: fold into the into the moment, I'm like, that's attractive.

1105
01:01:34,640 --> 01:01:39,360
Speaker 1: It's like a confidence in drag. It's definitely fun.

1106
01:01:39,520 --> 01:01:42,720
Speaker 2: To see him kind of not fall out a character

1107
01:01:43,320 --> 01:01:45,880
Speaker 2: very often, and he's having so much fun with it

1108
01:01:46,200 --> 01:01:48,640
Speaker 2: that it is very It is a little attractive, but

1109
01:01:48,680 --> 01:01:49,640
Speaker 2: he is terrible.

1110
01:01:49,880 --> 01:01:54,320
Speaker 1: He looks I mean he looks they like, again, by

1111
01:01:54,560 --> 01:01:58,919
Speaker 1: our modern standards, are like this, they look like old

1112
01:01:58,960 --> 01:02:02,320
Speaker 1: fuddy dutty lady. Is that are you know? It's like bad,

1113
01:02:02,920 --> 01:02:05,720
Speaker 1: bad drag. But also I'm like, yeah, he's cute. I

1114
01:02:05,720 --> 01:02:08,480
Speaker 1: mean he persists in this character to the point where

1115
01:02:08,480 --> 01:02:10,840
Speaker 1: he's about to literally marry a dude at the end

1116
01:02:10,880 --> 01:02:13,160
Speaker 1: of the like you know, it's just that thing where

1117
01:02:13,200 --> 01:02:16,200
Speaker 1: you're like, he's taking it. He knows, he knows his

1118
01:02:16,320 --> 01:02:19,320
Speaker 1: role and he's got to go there. But I don't know,

1119
01:02:19,480 --> 01:02:22,240
Speaker 1: he's cute. Like I think both of them are actually

1120
01:02:22,280 --> 01:02:25,840
Speaker 1: really cute in Drag. I just think, you know, they're

1121
01:02:25,960 --> 01:02:27,520
Speaker 1: they're having a good time. But I don't know, for

1122
01:02:27,560 --> 01:02:31,800
Speaker 1: some reason, Jack Lemon, I don't know, like even beyond

1123
01:02:32,320 --> 01:02:36,080
Speaker 1: like seeing him out of Drag, maybe I don't know.

1124
01:02:37,440 --> 01:02:39,920
Speaker 2: Look, you try, you you've you've laid out your case.

1125
01:02:40,200 --> 01:02:43,320
Speaker 2: I cannot follow you there. But I get it. I

1126
01:02:43,360 --> 01:02:47,520
Speaker 2: get it. I totally cute. He's already cute and nerdy

1127
01:02:47,560 --> 01:02:51,000
Speaker 2: and and Jack Lemony, and this just adds.

1128
01:02:50,720 --> 01:02:55,360
Speaker 1: An air of in file of old lady refinement to him.

1129
01:02:55,240 --> 01:02:58,240
Speaker 2: Exactly, which look as someone who puts a card again

1130
01:02:58,280 --> 01:03:04,000
Speaker 2: on top of a card again. Not a shocker. My

1131
01:03:04,080 --> 01:03:05,720
Speaker 2: other cardigan is a cardigan.

1132
01:03:09,840 --> 01:03:13,480
Speaker 1: Yeah. I maybe I haven't ironed it out, but you

1133
01:03:13,520 --> 01:03:15,960
Speaker 1: know what I'm going with it. I'm just going with it.

1134
01:03:16,480 --> 01:03:18,800
Speaker 2: Maybe you don't have to. Maybe this is yours and

1135
01:03:18,840 --> 01:03:20,680
Speaker 2: yours alone, and you just fucking go with it. I

1136
01:03:20,720 --> 01:03:23,200
Speaker 2: guarantee we're gonna get seventy five emails. It's like, Nope,

1137
01:03:23,200 --> 01:03:23,520
Speaker 2: me too.

1138
01:03:23,760 --> 01:03:26,680
Speaker 1: Okay, good, that's doing drag every time I find him.

1139
01:03:26,760 --> 01:03:29,520
Speaker 1: I'm all out on the branch alone.

1140
01:03:30,480 --> 01:03:33,880
Speaker 2: No, you're gonna find your people just by talking about it.

1141
01:03:33,880 --> 01:03:37,280
Speaker 2: It's gonna be great. And then Florida. So now we

1142
01:03:37,320 --> 01:03:40,200
Speaker 2: get to Florida, and Florida's where things really kicking the

1143
01:03:40,240 --> 01:03:41,920
Speaker 2: high gear like they have. They're staying in this hotel,

1144
01:03:41,960 --> 01:03:44,720
Speaker 2: they're playing there like they have to keep the ruse going.

1145
01:03:45,400 --> 01:03:50,880
Speaker 2: But as soon as they get there, Daphne meets Oz Goodfielding,

1146
01:03:51,400 --> 01:03:54,200
Speaker 2: and Fielding is kind of the exact kind of rich

1147
01:03:54,200 --> 01:03:56,600
Speaker 2: guy that Sugar was talking about. He's got a yacht.

1148
01:03:57,160 --> 01:03:59,800
Speaker 2: He's just hitting on Jerry slash Daphne the whole time.

1149
01:04:00,080 --> 01:04:02,760
Speaker 2: He's just and at one point he's sitting and he

1150
01:04:02,800 --> 01:04:05,440
Speaker 2: sends flowers to them while they're playing. He sends flowers

1151
01:04:05,480 --> 01:04:08,680
Speaker 2: to Daphne and the bellboy who delivers them points to

1152
01:04:08,760 --> 01:04:10,040
Speaker 2: him and he's like, oh, yeah, they're coming from that

1153
01:04:10,080 --> 01:04:12,440
Speaker 2: old satchel mouth in the corner. And I had to

1154
01:04:12,440 --> 01:04:14,000
Speaker 2: look that up because I'm like, what the fuck is

1155
01:04:14,000 --> 01:04:18,120
Speaker 2: a satchel mouth? And it's just slang for someone who

1156
01:04:18,120 --> 01:04:21,720
Speaker 2: has a very big mouth, and it's like chatty. It's

1157
01:04:21,760 --> 01:04:27,920
Speaker 2: also the origin of Louis Armstrong's nickname Satchmo, which I

1158
01:04:27,920 --> 01:04:30,320
Speaker 2: didn't know because he has a big smile and big mouth.

1159
01:04:30,880 --> 01:04:32,720
Speaker 2: But when they said satchel mouth, I'm like, what the

1160
01:04:32,840 --> 01:04:34,800
Speaker 2: fuck and it's like, yes, like someone who has a

1161
01:04:34,800 --> 01:04:37,000
Speaker 2: big and this guy does. He has a very big

1162
01:04:37,200 --> 01:04:39,840
Speaker 2: mouth and he's just kind of an old pervert in

1163
01:04:39,880 --> 01:04:40,200
Speaker 2: a way.

1164
01:04:40,400 --> 01:04:43,600
Speaker 1: Yeah, I have to say so. The actor who plays

1165
01:04:43,640 --> 01:04:49,280
Speaker 1: Osgoodfielding is this is this comedian Joey Brown. I can't

1166
01:04:49,320 --> 01:04:54,720
Speaker 1: tell you how many days, literal days of Joey Brown

1167
01:04:54,800 --> 01:04:58,520
Speaker 1: movies that I've programmed on TCM when I was working there.

1168
01:04:58,960 --> 01:05:06,960
Speaker 1: Because he made many over the top slapstick comedies where

1169
01:05:07,000 --> 01:05:11,160
Speaker 1: he is just a fucking buffoon and people fucking love him.

1170
01:05:11,440 --> 01:05:14,280
Speaker 1: People fucking love him. And I have programmed so many

1171
01:05:14,360 --> 01:05:16,960
Speaker 1: Joey Brown Days, and it got to the point where

1172
01:05:17,200 --> 01:05:19,360
Speaker 1: we just knew it was Joey Brown Day. We were like,

1173
01:05:19,560 --> 01:05:23,480
Speaker 1: it's coming. It's gonna be eight eight hours of a

1174
01:05:23,680 --> 01:05:29,920
Speaker 1: guy crashing his bike into a tree and whatever. You know,

1175
01:05:30,000 --> 01:05:32,080
Speaker 1: it's like that kind of stuff. But anyway, when I

1176
01:05:32,120 --> 01:05:33,800
Speaker 1: saw him, every time I see him in this movie,

1177
01:05:33,840 --> 01:05:35,120
Speaker 1: I'm like, it's him.

1178
01:05:35,600 --> 01:05:38,800
Speaker 2: It's Jerry is old sashel Mouth and you look, you

1179
01:05:39,200 --> 01:05:41,480
Speaker 2: find your your hook and you go for it, and

1180
01:05:41,520 --> 01:05:45,200
Speaker 2: he did. And just make build that career. Man, do

1181
01:05:45,240 --> 01:05:48,520
Speaker 2: what you gotta do. Do it, stay in that studio system,

1182
01:05:48,520 --> 01:05:54,440
Speaker 2: get out there. So we've cut back to Joe slash Josephine,

1183
01:05:54,480 --> 01:05:57,960
Speaker 2: who has stolen beanstock suitcase so he can dress as

1184
01:05:58,080 --> 01:06:01,360
Speaker 2: the kind of rich yacht owner that Sugar wants. So

1185
01:06:01,400 --> 01:06:05,200
Speaker 2: he changes back, he changes out of Dragon back into

1186
01:06:05,640 --> 01:06:08,640
Speaker 2: this other character, which is again an interesting facet to

1187
01:06:08,680 --> 01:06:10,760
Speaker 2: me of this film is that we're seeing people kind

1188
01:06:10,760 --> 01:06:16,160
Speaker 2: of playing characters and being in drag in many different ways.

1189
01:06:17,240 --> 01:06:19,720
Speaker 2: So now he's in Drag as this yacht owner essentially,

1190
01:06:20,480 --> 01:06:23,160
Speaker 2: and he pretends to be from the shell Oil family,

1191
01:06:23,760 --> 01:06:26,800
Speaker 2: and he has the craziest accent, which thank god Jack

1192
01:06:26,920 --> 01:06:30,200
Speaker 2: Lemon actually like comments on later, like the character comments

1193
01:06:30,240 --> 01:06:32,640
Speaker 2: on later in the film, because his accent is like

1194
01:06:32,680 --> 01:06:36,760
Speaker 2: a mix of Southern with British with I don't know what.

1195
01:06:36,960 --> 01:06:38,160
Speaker 2: He sounds insane.

1196
01:06:38,560 --> 01:06:42,120
Speaker 1: He sounds like he's trying to imitate Carrie Grant but

1197
01:06:42,280 --> 01:06:46,000
Speaker 1: is doing a really really bad fucking chop such a

1198
01:06:46,040 --> 01:06:46,600
Speaker 1: bad job.

1199
01:06:46,640 --> 01:06:49,320
Speaker 2: He looks crazy, he sounds he's look dressed like a

1200
01:06:49,320 --> 01:06:53,440
Speaker 2: boat captain and talking insanity, and Sugar is into it.

1201
01:06:53,520 --> 01:06:55,400
Speaker 2: She like meets him on the beach while they're playing

1202
01:06:55,880 --> 01:06:59,440
Speaker 2: a game after they went swimming, and she's into it,

1203
01:06:59,480 --> 01:07:01,760
Speaker 2: and she starts using his own lies against him, like

1204
01:07:01,800 --> 01:07:04,560
Speaker 2: the lies that the girl that the jacquelemin and Tony

1205
01:07:04,600 --> 01:07:07,640
Speaker 2: Curtis told when they were first in Dragon, meeting everyone

1206
01:07:07,680 --> 01:07:10,160
Speaker 2: in the band as if they were in the sheboygan

1207
01:07:10,200 --> 01:07:12,240
Speaker 2: conservatory and they you know, went to Vaster or they

1208
01:07:12,280 --> 01:07:14,040
Speaker 2: went to all these schools. So she starts using those

1209
01:07:14,120 --> 01:07:18,680
Speaker 2: lies to this character who created those lies, but she

1210
01:07:18,680 --> 01:07:23,520
Speaker 2: doesn't know it, and it's just fucking Shenanigan. So he

1211
01:07:23,680 --> 01:07:26,240
Speaker 2: ends up hot wiring a boat and driving it backwards

1212
01:07:26,240 --> 01:07:29,400
Speaker 2: to a yacht and pretending that like girls don't turn

1213
01:07:29,480 --> 01:07:31,560
Speaker 2: him on or he can't fall in love anymore, and

1214
01:07:32,160 --> 01:07:35,400
Speaker 2: has this whole backstory of his last girlfriend fell off

1215
01:07:35,440 --> 01:07:37,760
Speaker 2: the Grand Canyon and that's why he can't love again.

1216
01:07:37,880 --> 01:07:40,160
Speaker 2: It's so wild, pretty sneaky.

1217
01:07:40,280 --> 01:07:43,800
Speaker 1: Sis. Try I think they had a woman to fall

1218
01:07:43,840 --> 01:07:46,440
Speaker 1: in love with you, huh by saying that you can't

1219
01:07:46,480 --> 01:07:50,520
Speaker 1: love again and oh, yeah, your girlfriend fell into a canyon.

1220
01:07:51,800 --> 01:07:54,240
Speaker 2: And he's like, like, she keeps making out with him

1221
01:07:54,240 --> 01:07:57,160
Speaker 2: to prove a point, because he basically says like if

1222
01:07:57,160 --> 01:07:59,600
Speaker 2: I meet someone who gets the old heart tip tap

1223
01:07:59,640 --> 01:08:02,800
Speaker 2: it again, I'll marry her. So she just keeps making

1224
01:08:02,800 --> 01:08:04,520
Speaker 2: out with him, and he's saying shit like yeah, it's

1225
01:08:04,520 --> 01:08:07,400
Speaker 2: like smoking without inhaling, and you're like, good lord, have

1226
01:08:07,600 --> 01:08:08,560
Speaker 2: some dantity here?

1227
01:08:09,080 --> 01:08:11,680
Speaker 1: Can I just say too? And I hope I'm not

1228
01:08:11,760 --> 01:08:14,000
Speaker 1: about to say something you're about to say, But like,

1229
01:08:14,760 --> 01:08:21,040
Speaker 1: so Marilyn Monroe's boobs in this movie, Like I know

1230
01:08:21,640 --> 01:08:26,040
Speaker 1: that they made this movie something like it wasn't they

1231
01:08:26,080 --> 01:08:28,240
Speaker 1: basically it was, you know, towards the end of the

1232
01:08:28,280 --> 01:08:31,280
Speaker 1: production code era, but for for some reason, they like

1233
01:08:31,400 --> 01:08:34,880
Speaker 1: just decided to go for it and like not care

1234
01:08:34,960 --> 01:08:37,759
Speaker 1: about the production code, and then eventually this movie became

1235
01:08:37,880 --> 01:08:40,240
Speaker 1: part of the reason why the production code went away.

1236
01:08:40,800 --> 01:08:44,599
Speaker 1: But I was like, she is wearing these dresses where

1237
01:08:44,640 --> 01:08:47,920
Speaker 1: they're like nude flesh colored, except for like right around

1238
01:08:47,920 --> 01:08:49,599
Speaker 1: the nips, there's.

1239
01:08:49,439 --> 01:08:50,759
Speaker 2: Some sparkle around the nips.

1240
01:08:50,840 --> 01:08:55,200
Speaker 1: I was like, holy fucking shit, and it's multiple dresses

1241
01:08:55,600 --> 01:08:58,639
Speaker 1: and her her hooters are just kind of hanging hanging there.

1242
01:08:58,760 --> 01:09:01,599
Speaker 1: I mean, she's basically made. And there's like the scene

1243
01:09:01,600 --> 01:09:03,680
Speaker 1: of them on the boat where she's basically trying to

1244
01:09:03,680 --> 01:09:06,080
Speaker 1: make out with them, and I'm like, the titties is

1245
01:09:06,120 --> 01:09:09,760
Speaker 1: out in the in the most nineteen fifties way they

1246
01:09:09,800 --> 01:09:12,759
Speaker 1: can be out. They are out, and I'm like, wow,

1247
01:09:13,400 --> 01:09:15,160
Speaker 1: like there.

1248
01:09:15,040 --> 01:09:17,479
Speaker 2: Is nothing left in the imagination just say that I

1249
01:09:17,600 --> 01:09:20,400
Speaker 2: know about her body in this movie. It is wild.

1250
01:09:20,600 --> 01:09:23,519
Speaker 1: It is wild how they got away with that all

1251
01:09:23,560 --> 01:09:24,360
Speaker 1: I'm saying.

1252
01:09:24,520 --> 01:09:27,519
Speaker 2: So as I completely agree, I was definitely gonna and

1253
01:09:27,560 --> 01:09:30,360
Speaker 2: I'm glad you brought it up because I'm like, how

1254
01:09:30,360 --> 01:09:32,400
Speaker 2: do we tiptoe into the fact that the titties is

1255
01:09:32,439 --> 01:09:38,400
Speaker 2: out and there's no way to tiptoe into it at all,

1256
01:09:38,880 --> 01:09:40,880
Speaker 2: like they all but like had her topless in this

1257
01:09:41,000 --> 01:09:46,160
Speaker 2: movie considering the time, but even for modern day you're like, wow,

1258
01:09:46,200 --> 01:09:47,040
Speaker 2: that is revealing.

1259
01:09:47,360 --> 01:09:50,080
Speaker 1: Yeah, I was, it was. It was actually shocking in

1260
01:09:50,760 --> 01:09:52,960
Speaker 1: the modern sense because I was like wow. But anyway,

1261
01:09:53,200 --> 01:09:55,120
Speaker 1: the boat scene where there she's making out with it

1262
01:09:55,160 --> 01:09:58,240
Speaker 1: was really kind of like it crystallized this whole thing.

1263
01:09:58,080 --> 01:10:01,040
Speaker 2: For me, so absolutely. And then and during this boat

1264
01:10:01,040 --> 01:10:03,559
Speaker 2: scene again she's kind of got the reins. So it's

1265
01:10:03,600 --> 01:10:06,840
Speaker 2: interesting in that Billy Wilder way where he's showcasing a

1266
01:10:06,840 --> 01:10:08,960
Speaker 2: woman who's not afraid of her sexuality and it's gonna

1267
01:10:09,000 --> 01:10:11,439
Speaker 2: like take charge and get what she gets what she wants.

1268
01:10:11,479 --> 01:10:13,840
Speaker 2: And but the whole time she's doing this, you're like,

1269
01:10:13,840 --> 01:10:16,599
Speaker 2: oh God, she's kissing this guy who just ate cold pheasant,

1270
01:10:17,520 --> 01:10:21,960
Speaker 2: like cold pheasant and champagne. She's gotta want it pretty bad.

1271
01:10:22,840 --> 01:10:24,840
Speaker 1: He's got that cold pheasant breath.

1272
01:10:25,080 --> 01:10:28,800
Speaker 2: I got that fucking cold pheasant breath, which is such

1273
01:10:28,880 --> 01:10:36,360
Speaker 2: a distinctive class of person. Give me please call this

1274
01:10:36,520 --> 01:10:44,040
Speaker 2: episode cold pheasant breath. That alone just solidifies that scene

1275
01:10:44,040 --> 01:10:45,760
Speaker 2: for me. It's like, Oh, she's really going for it,

1276
01:10:45,840 --> 01:10:49,000
Speaker 2: and she's trying to like turn him on. Meanwhile, Jerry

1277
01:10:49,080 --> 01:10:52,679
Speaker 2: is on a date with Fielding having the fucking time

1278
01:10:52,840 --> 01:10:57,280
Speaker 2: of his life. Like they are dancing and like just

1279
01:10:57,360 --> 01:11:00,400
Speaker 2: going and it's so funny to like see them dancing

1280
01:11:00,439 --> 01:11:03,360
Speaker 2: together because he keeps taking the lead and it's just

1281
01:11:03,479 --> 01:11:06,439
Speaker 2: it's just hilarious and cute. When he dances with a

1282
01:11:06,439 --> 01:11:08,640
Speaker 2: flower in his mouth and they switch sides. It's just

1283
01:11:08,760 --> 01:11:12,800
Speaker 2: kind of like again, time of his life. So at

1284
01:11:12,840 --> 01:11:19,559
Speaker 2: the end of the night, Jerry's engaged. He loved. Not

1285
01:11:19,600 --> 01:11:22,280
Speaker 2: only is he engaged, he's like, I fucking want to

1286
01:11:22,320 --> 01:11:25,439
Speaker 2: go through. Like the Tony Curtis character keeps trying to

1287
01:11:25,479 --> 01:11:27,960
Speaker 2: talk him out of it, and he's like, look, I

1288
01:11:28,080 --> 01:11:30,479
Speaker 2: know what you're saying. I want to go through with

1289
01:11:30,520 --> 01:11:33,360
Speaker 2: it for the security and the alimony checks, because you

1290
01:11:33,439 --> 01:11:35,439
Speaker 2: know me, I'm a fucking worrier. I bet a warrior

1291
01:11:35,520 --> 01:11:37,040
Speaker 2: since the first time you saw me talking in this

1292
01:11:37,160 --> 01:11:40,519
Speaker 2: movie and he gave me a diamond engagement bracelet, and

1293
01:11:40,560 --> 01:11:42,479
Speaker 2: this is what I'm about. Like he's in He's like,

1294
01:11:42,479 --> 01:11:44,479
Speaker 2: oh yeah, Like I'll eventually reveal to him that we

1295
01:11:44,520 --> 01:11:47,479
Speaker 2: can't get married or whatever, but like I'm in it

1296
01:11:47,520 --> 01:11:49,720
Speaker 2: for as long as I can get shit out of this.

1297
01:11:49,880 --> 01:11:53,360
Speaker 1: Meanwhile, I will stay iced out and happy and absolutely

1298
01:11:53,360 --> 01:11:53,880
Speaker 1: who cares.

1299
01:11:54,280 --> 01:11:58,240
Speaker 2: I'll stay dancing, I'll stay on yachts. He's about that

1300
01:11:58,280 --> 01:12:01,360
Speaker 2: fucking life. And again it's this interesting parallel between him

1301
01:12:01,400 --> 01:12:04,360
Speaker 2: and Sugar in that way, because he's basically living out

1302
01:12:04,400 --> 01:12:11,599
Speaker 2: her fantasy. She thinks she's living out with the Josephine character.

1303
01:12:12,080 --> 01:12:15,519
Speaker 2: So it's just so interesting, very funny and cute, kind

1304
01:12:15,560 --> 01:12:18,720
Speaker 2: of a slapsticky rom comway. And Sugar comes over and

1305
01:12:18,760 --> 01:12:20,120
Speaker 2: she's like, I want to tell you about my night.

1306
01:12:20,160 --> 01:12:21,960
Speaker 2: I'm at this fucking great dude on this yacht. I

1307
01:12:22,000 --> 01:12:24,960
Speaker 2: turned him out. We're gonna get married. He can feel

1308
01:12:25,000 --> 01:12:30,479
Speaker 2: things in his dick again. Sugar comes over and she's like,

1309
01:12:30,560 --> 01:12:32,519
Speaker 2: oh my god, I'm at this dude, the Shell oil

1310
01:12:32,560 --> 01:12:34,559
Speaker 2: company dude who has a yacht, and I made his

1311
01:12:34,640 --> 01:12:38,439
Speaker 2: dick move and now everything's going to be great. But

1312
01:12:38,840 --> 01:12:42,520
Speaker 2: all hell is about to break loose because Spats Colombo

1313
01:12:42,800 --> 01:12:45,759
Speaker 2: is checking into this hotel in Florida for the Friends

1314
01:12:45,760 --> 01:12:48,559
Speaker 2: of the Italian Opera convention. It's like a mob convention

1315
01:12:49,120 --> 01:12:54,120
Speaker 2: and he's checking in. The slapstick goes over the top.

1316
01:12:54,360 --> 01:12:57,479
Speaker 2: The fucking comedy physical comedy goes over the top from

1317
01:12:57,479 --> 01:12:59,200
Speaker 2: this point on. I will not spoil it under this

1318
01:12:59,240 --> 01:13:01,480
Speaker 2: film if you haven't seen it. The ending is incredible.

1319
01:13:02,240 --> 01:13:05,799
Speaker 2: There's an ending scene with Jack Lemon that is just iconic.

1320
01:13:06,360 --> 01:13:08,640
Speaker 2: But it really all held us start breaking loose at

1321
01:13:08,680 --> 01:13:11,880
Speaker 2: this point, and you know Sugar has her heart broken

1322
01:13:12,000 --> 01:13:16,600
Speaker 2: when Josephine tries to or Joe tries to end the relationship,

1323
01:13:16,720 --> 01:13:19,759
Speaker 2: and it's just again. The way that it all comes

1324
01:13:19,800 --> 01:13:23,400
Speaker 2: together and is married at the end is delightful. But

1325
01:13:23,479 --> 01:13:25,600
Speaker 2: it's great if you want to see Tony Curtis shimmying

1326
01:13:25,680 --> 01:13:29,080
Speaker 2: up and down a fucking hotel. If you want to

1327
01:13:29,080 --> 01:13:33,120
Speaker 2: see Jack Lemon getting so far into his drag character

1328
01:13:33,240 --> 01:13:34,720
Speaker 2: that he's like, I will marry this man.

1329
01:13:37,280 --> 01:13:40,000
Speaker 1: If you want to see George Raft not be Italian

1330
01:13:40,439 --> 01:13:46,840
Speaker 1: but being being in Italian fraternal organizations, there's that.

1331
01:13:48,439 --> 01:13:53,519
Speaker 2: If you if you want to see, wait, George Raft.

1332
01:13:53,520 --> 01:13:56,679
Speaker 2: We gotta talk about this George Raft. He's called spats

1333
01:13:56,680 --> 01:14:00,439
Speaker 2: because he wears spats, so they're constantly like dropping liquid

1334
01:14:00,439 --> 01:14:03,040
Speaker 2: on like everyone's always just constantly bumping into like these

1335
01:14:03,080 --> 01:14:04,760
Speaker 2: spats are not long for this world. But at one

1336
01:14:04,760 --> 01:14:07,559
Speaker 2: point the cops are like, oh, you did you do

1337
01:14:07,640 --> 01:14:09,439
Speaker 2: this in your spats? And he's like, I sleep in

1338
01:14:09,520 --> 01:14:11,080
Speaker 2: my spats. And I'm like, oh my god.

1339
01:14:11,240 --> 01:14:14,080
Speaker 1: Can I ask a very obvious question, which is, what

1340
01:14:14,120 --> 01:14:18,360
Speaker 1: the fuck are spats? Why did people wear them? Often?

1341
01:14:18,360 --> 01:14:22,680
Speaker 1: Between monkey shines and fucking barn burning and spats, I'm like,

1342
01:14:22,920 --> 01:14:24,080
Speaker 1: what are these things?

1343
01:14:25,240 --> 01:14:27,320
Speaker 2: Look? And forty years people are gonna say say the

1344
01:14:27,360 --> 01:14:28,920
Speaker 2: same thing about us, like what did you mean the

1345
01:14:28,960 --> 01:14:32,760
Speaker 2: ice cream was so good? Like h but I'm telling you,

1346
01:14:33,360 --> 01:14:37,519
Speaker 2: I'm telling you. Spats were shoe coverings that looped around

1347
01:14:37,560 --> 01:14:39,920
Speaker 2: the bottom of the middle part of your shoe like

1348
01:14:39,920 --> 01:14:42,080
Speaker 2: a last stick or a sewing or buttoned or whatever,

1349
01:14:42,120 --> 01:14:45,880
Speaker 2: and they kept your shoes from getting dirty. Or they're

1350
01:14:45,960 --> 01:14:48,120
Speaker 2: kind of the white shoe coverings that you would often

1351
01:14:48,160 --> 01:14:50,439
Speaker 2: see fucking white.

1352
01:14:50,720 --> 01:14:54,360
Speaker 1: Like I'm like, they look dirty when if somebody pours

1353
01:14:54,800 --> 01:14:57,759
Speaker 1: something on them, as as what happens to spats Columbo

1354
01:14:57,840 --> 01:14:59,479
Speaker 1: in this film, they just get dirty.

1355
01:14:59,760 --> 01:15:02,040
Speaker 2: So what But it's so it's so much easier to

1356
01:15:02,080 --> 01:15:03,599
Speaker 2: clean a pair of spats than it is to clean

1357
01:15:03,600 --> 01:15:07,519
Speaker 2: a shoe. Back then, Okay, okay, you're gonna throw those

1358
01:15:07,560 --> 01:15:10,320
Speaker 2: spats and some liquid detergent, you know, or some fucking

1359
01:15:10,400 --> 01:15:11,400
Speaker 2: borax or whatever.

1360
01:15:11,800 --> 01:15:15,519
Speaker 1: All right, I'll bite then that's fine at least.

1361
01:15:15,560 --> 01:15:17,679
Speaker 2: And it was also I think, a way of making

1362
01:15:17,680 --> 01:15:21,080
Speaker 2: people kind of feel more upscale. Yes, like they're kind

1363
01:15:21,080 --> 01:15:23,240
Speaker 2: of like dressing up a bad pair of shoes. You

1364
01:15:23,240 --> 01:15:24,639
Speaker 2: can put some spats on them.

1365
01:15:25,360 --> 01:15:27,760
Speaker 1: Makes sense, Okay, yeah, got it.

1366
01:15:27,800 --> 01:15:30,920
Speaker 2: But kind of like a little nod to fanciness, but

1367
01:15:31,000 --> 01:15:38,920
Speaker 2: also very functional and also insane, insane, sane, almost as

1368
01:15:38,920 --> 01:15:44,360
Speaker 2: insane as Nihemiah purs Off playing little Bonaparte. I feel

1369
01:15:44,360 --> 01:15:46,479
Speaker 2: like that's a crossover at our movies in terms of

1370
01:15:46,479 --> 01:15:49,120
Speaker 2: going over the top. Like your Orson Wells character and

1371
01:15:49,200 --> 01:15:51,680
Speaker 2: this little bone Apart character are just chewing up the

1372
01:15:51,720 --> 01:15:54,480
Speaker 2: scenery absolutely absolutely.

1373
01:15:55,040 --> 01:16:00,920
Speaker 1: I look, this movie is so fucking funny to this day,

1374
01:16:01,960 --> 01:16:06,839
Speaker 1: I was laughing at several times, like just several times,

1375
01:16:07,280 --> 01:16:09,800
Speaker 1: like as I did when I like, I think I

1376
01:16:09,840 --> 01:16:11,800
Speaker 1: first saw this movie when I was like, you know,

1377
01:16:12,040 --> 01:16:15,679
Speaker 1: like much younger, and you know, it's one of those

1378
01:16:15,760 --> 01:16:20,519
Speaker 1: movies that is presented, I think to people who were

1379
01:16:20,600 --> 01:16:24,479
Speaker 1: kind of first kind of getting into older films, like

1380
01:16:24,520 --> 01:16:28,439
Speaker 1: it's a real easy entry point into classic cinema, right,

1381
01:16:29,000 --> 01:16:32,639
Speaker 1: and it's just so fun. It's so fun and free wheeling,

1382
01:16:32,880 --> 01:16:37,559
Speaker 1: and Tony Curtis and Jack Lemon are perfect, like perfect

1383
01:16:37,640 --> 01:16:40,440
Speaker 1: people to pull off this farce.

1384
01:16:40,520 --> 01:16:42,960
Speaker 2: You know, and so good together. And Tony Curtis ps

1385
01:16:43,040 --> 01:16:46,479
Speaker 2: Jamielee Curtis is dan oh yes, oh, I know. You

1386
01:16:46,560 --> 01:16:48,000
Speaker 2: got to tell this story. You got to tell your

1387
01:16:48,080 --> 01:16:48,920
Speaker 2: Tony Curtis story.

1388
01:16:49,200 --> 01:16:52,200
Speaker 1: Okay. So the quick and easy version of this Tony

1389
01:16:52,280 --> 01:16:55,200
Speaker 1: Curtis story was that one year when I was at

1390
01:16:55,240 --> 01:16:59,360
Speaker 1: the TCM Film Festival, I was I was working, I

1391
01:16:59,360 --> 01:17:02,240
Speaker 1: was running around and I was waiting on an elevator

1392
01:17:02,640 --> 01:17:06,080
Speaker 1: to go up to one of the theaters. And I

1393
01:17:06,160 --> 01:17:10,599
Speaker 1: was standing there. The elevator dings, the doors open, and

1394
01:17:11,400 --> 01:17:17,479
Speaker 1: there are like ten people with this older guy who

1395
01:17:17,560 --> 01:17:21,800
Speaker 1: was wearing a sweatshirt that had an eagle on it

1396
01:17:22,760 --> 01:17:27,040
Speaker 1: and a giant cowboy hat. And I was like, I

1397
01:17:27,080 --> 01:17:29,679
Speaker 1: had no idea who anybody was. I saw a couple

1398
01:17:29,720 --> 01:17:32,799
Speaker 1: by coworkers, but I definitely didn't know who this cowboy

1399
01:17:32,800 --> 01:17:36,560
Speaker 1: hat person was. And the minute they get out of

1400
01:17:36,560 --> 01:17:40,320
Speaker 1: the elevator, he comes right up to me and he

1401
01:17:40,439 --> 01:17:44,879
Speaker 1: starts literally he grabs my arm and he starts kissing

1402
01:17:44,920 --> 01:17:49,320
Speaker 1: it up the arm, like the Adams family, like Mortitia

1403
01:17:49,760 --> 01:17:54,880
Speaker 1: Stot ap and I was like, excuse me, like I

1404
01:17:54,880 --> 01:17:56,800
Speaker 1: didn't know what the fuck was going on. And then

1405
01:17:56,840 --> 01:17:58,920
Speaker 1: all of a sudden, I just hear him start saying like,

1406
01:17:59,280 --> 01:18:01,559
Speaker 1: way you've been on life? Where you've been? What's your name?

1407
01:18:01,600 --> 01:18:03,160
Speaker 1: Where you've been all my life? And I was like,

1408
01:18:04,240 --> 01:18:08,000
Speaker 1: I'm sorry. I thought it was somebody watching a movie.

1409
01:18:08,040 --> 01:18:14,479
Speaker 1: I didn't know who that was. And then everybody starts laughing, right,

1410
01:18:14,560 --> 01:18:17,200
Speaker 1: and I'm like, oh, I'm laughing too, Okay, cool, you

1411
01:18:17,240 --> 01:18:18,960
Speaker 1: know what I mean, Like I'm going with it or whatever,

1412
01:18:19,360 --> 01:18:23,040
Speaker 1: And it was just a bunch of like funny like

1413
01:18:24,120 --> 01:18:26,160
Speaker 1: where you've been all my life? It's like, what's your name?

1414
01:18:26,200 --> 01:18:28,240
Speaker 1: And I was like, it's Millie. It's like, oh, you know,

1415
01:18:28,560 --> 01:18:32,280
Speaker 1: like I haven't seen you this weekend and I would

1416
01:18:32,320 --> 01:18:38,160
Speaker 1: have remembered you, I know. That followed by a positive

1417
01:18:38,160 --> 01:18:42,400
Speaker 1: comment about my breast, which I swear might have been

1418
01:18:42,439 --> 01:18:47,240
Speaker 1: the last time anybody is positive positively about my breast.

1419
01:18:47,320 --> 01:18:49,880
Speaker 2: Let's just say that the last time anyone talked about

1420
01:18:49,880 --> 01:18:52,720
Speaker 2: your tits at all, it was Tony Christmas Well.

1421
01:18:52,760 --> 01:18:54,240
Speaker 1: And the funny thing is, at the time that this

1422
01:18:54,360 --> 01:18:56,200
Speaker 1: was happening, I did not know it was actually him,

1423
01:18:56,400 --> 01:19:00,000
Speaker 1: because I don't know. I hadn't seen him in many years, obviously,

1424
01:19:00,600 --> 01:19:07,400
Speaker 1: and it wasn't until my coworker Scott said Millie, please

1425
01:19:07,479 --> 01:19:11,799
Speaker 1: meet Tony Curtis, and that I was like, oh my god.

1426
01:19:11,920 --> 01:19:14,320
Speaker 1: Like I just was like immediately like I fell down

1427
01:19:14,320 --> 01:19:16,840
Speaker 1: to the ground like fucking Wayne's World style because I

1428
01:19:16,920 --> 01:19:20,320
Speaker 1: was like, oh shit, like, it's just like Hollywood legend

1429
01:19:20,400 --> 01:19:23,200
Speaker 1: Tony Curtis. I didn't recognize him because he's well, yeah,

1430
01:19:23,240 --> 01:19:25,040
Speaker 1: he was wording a cowboy and he doesn't looking like this.

1431
01:19:25,160 --> 01:19:27,040
Speaker 2: I can tell you that much, but it sounds like

1432
01:19:27,120 --> 01:19:31,160
Speaker 2: he was like dressed in Phil Spector levels of insanity,

1433
01:19:32,200 --> 01:19:34,560
Speaker 2: Like would guess it was Tony Curtis.

1434
01:19:35,080 --> 01:19:38,040
Speaker 1: I would have. I didn't recognize him at all, and

1435
01:19:38,120 --> 01:19:40,800
Speaker 1: I just kept apologizing to him, like, oh, I'm so sorry, sir,

1436
01:19:40,840 --> 01:19:43,280
Speaker 1: I'm so sorry, and he just was like, it's okay, darling,

1437
01:19:43,560 --> 01:19:47,280
Speaker 1: you look great. Like he just was like so nice

1438
01:19:47,400 --> 01:19:50,040
Speaker 1: and flirty and funny, flirty in that way that I love.

1439
01:19:50,320 --> 01:19:53,120
Speaker 1: It was respectful, Oh my god, respectful.

1440
01:19:54,680 --> 01:19:57,360
Speaker 2: Hornball, but also talking about your tits, like don't apologize

1441
01:19:57,360 --> 01:19:57,800
Speaker 2: to this man.

1442
01:19:59,400 --> 01:20:04,280
Speaker 1: I don't. That's this old man. It's nice of these

1443
01:20:04,280 --> 01:20:06,960
Speaker 1: old men. Listen but I loved it. I'm not gonna lie.

1444
01:20:07,000 --> 01:20:10,400
Speaker 1: I loved it, so it's not didn't feel bad for me.

1445
01:20:10,479 --> 01:20:15,760
Speaker 1: I was like, this is awesome. So anyway, that's that's

1446
01:20:15,840 --> 01:20:18,080
Speaker 1: my story. And then I swear to god he died

1447
01:20:18,120 --> 01:20:25,080
Speaker 1: like two months later. What they no m so I

1448
01:20:25,160 --> 01:20:27,800
Speaker 1: was like, on the way out he was flirting, and

1449
01:20:27,840 --> 01:20:30,400
Speaker 1: apparently he was florting with everybody that weekend. He's a

1450
01:20:30,720 --> 01:20:33,840
Speaker 1: charmer from what I heard. I got that in the

1451
01:20:33,880 --> 01:20:35,240
Speaker 1: books one.

1452
01:20:35,400 --> 01:20:38,680
Speaker 2: What a way to go to What a way to

1453
01:20:38,720 --> 01:20:44,599
Speaker 2: hear about your tits? I'm hearing nothing but icon status

1454
01:20:44,640 --> 01:20:46,040
Speaker 2: across the board for both of you.

1455
01:20:49,000 --> 01:20:51,439
Speaker 1: The Curtis family is not allowed to listen to this podcast.

1456
01:20:51,520 --> 01:20:55,280
Speaker 2: Every knock another fucking Hollywood family off the rais.

1457
01:20:55,520 --> 01:20:56,280
Speaker 1: They've been banned.

1458
01:20:57,439 --> 01:20:59,559
Speaker 2: We've been talking about your dad, your granddad, talking about

1459
01:20:59,600 --> 01:21:02,360
Speaker 2: tits as mad as I want to be at this

1460
01:21:02,439 --> 01:21:05,200
Speaker 2: man for commenting on your body. Again, I can't icon

1461
01:21:05,320 --> 01:21:06,280
Speaker 2: status for both of you.

1462
01:21:06,560 --> 01:21:12,000
Speaker 1: Yeah, I he had he had permission, permission, So anyway,

1463
01:21:12,080 --> 01:21:15,800
Speaker 1: that is my story. But I honestly like it's I

1464
01:21:15,800 --> 01:21:18,200
Speaker 1: can't imagine if Jack Lemon had been in that elevator

1465
01:21:18,240 --> 01:21:23,479
Speaker 1: too and been like in his drag it might have

1466
01:21:23,520 --> 01:21:25,400
Speaker 1: been a real party. Let's just say that.

1467
01:21:25,760 --> 01:21:28,639
Speaker 2: I like that, even in the late stage of his life,

1468
01:21:28,680 --> 01:21:30,880
Speaker 2: you would have required Jack Lemon to be in drag

1469
01:21:30,960 --> 01:21:31,360
Speaker 2: to give.

1470
01:21:31,200 --> 01:21:32,240
Speaker 1: A shit about.

1471
01:21:33,920 --> 01:21:37,679
Speaker 2: I really too much Tony Curtis dressed like your weird

1472
01:21:37,720 --> 01:21:40,920
Speaker 2: cowboy Jack Lemon, you say, in that fucking dress, give

1473
01:21:40,960 --> 01:21:41,599
Speaker 2: me a new wig.

1474
01:21:42,600 --> 01:21:50,040
Speaker 1: Maybe I'll give you the Timeonda, I need you in

1475
01:21:50,080 --> 01:21:53,320
Speaker 1: like old lady pumps or else. It's nothing, So.

1476
01:21:53,360 --> 01:21:57,920
Speaker 2: Give me some fucking easy spirits or like a low

1477
01:21:58,000 --> 01:22:01,759
Speaker 2: kitten heel, a queen Elizabeth heel, give me a low flat.

1478
01:22:03,520 --> 01:22:06,400
Speaker 1: Let's get serious. They were not easy spirits. They're probably sas.

1479
01:22:07,800 --> 01:22:10,080
Speaker 1: You know that brand, sass sas.

1480
01:22:16,280 --> 01:22:18,639
Speaker 2: I love that. What in your world Jack Lemon had

1481
01:22:18,680 --> 01:22:21,000
Speaker 2: like Barbie feet from like just wearing heels all the

1482
01:22:21,040 --> 01:22:27,240
Speaker 2: time was permanent, like tiptoe Barbie. Oh shit, oh good,

1483
01:22:27,280 --> 01:22:29,559
Speaker 2: I love it. This episode was as fun as I

1484
01:22:29,560 --> 01:22:30,479
Speaker 2: thought it was gonna be.

1485
01:22:30,760 --> 01:22:33,960
Speaker 1: I thought so too. It was a fucking blast. I

1486
01:22:34,160 --> 01:22:37,320
Speaker 1: love talking these movies with you, and I love this

1487
01:22:37,479 --> 01:22:40,160
Speaker 1: hot the Hot Month. It's so fun.

1488
01:22:40,840 --> 01:22:44,560
Speaker 2: The Hot Month is continuing next week as well. We

1489
01:22:44,680 --> 01:22:46,040
Speaker 2: got two more hots for you.

1490
01:22:46,439 --> 01:22:50,160
Speaker 1: Yeah, two more hots, two more weeks of hot but listen.

1491
01:22:50,640 --> 01:22:54,120
Speaker 1: If you would like to email us, we are at

1492
01:22:54,200 --> 01:22:56,040
Speaker 1: I Saw What You Did pot at gmail dot com.

1493
01:22:56,520 --> 01:22:59,639
Speaker 1: Send us questions for the bonus episodes, please make them

1494
01:22:59,720 --> 01:23:03,200
Speaker 1: sure if possible. Also, if you write to us and

1495
01:23:03,240 --> 01:23:05,840
Speaker 1: you don't want your email to be read, you have

1496
01:23:05,920 --> 01:23:08,120
Speaker 1: to say it in the email because otherwise we might

1497
01:23:08,120 --> 01:23:10,599
Speaker 1: pick it and say it on the air. So it's

1498
01:23:10,640 --> 01:23:12,559
Speaker 1: all fair game. If you don't want to be read

1499
01:23:12,600 --> 01:23:15,599
Speaker 1: on air, let us know. Also like slip in your

1500
01:23:15,680 --> 01:23:17,400
Speaker 1: pronouns if you'd like, that would be great.

1501
01:23:18,080 --> 01:23:20,120
Speaker 2: Yeah, and if you I'm going with if you send

1502
01:23:20,200 --> 01:23:22,320
Speaker 2: us an email, you know what might be read. Yes,

1503
01:23:24,360 --> 01:23:26,320
Speaker 2: so definitely tell us. Definitely tell us if you don't

1504
01:23:26,320 --> 01:23:28,639
Speaker 2: want us to, and we also have you can find

1505
01:23:28,680 --> 01:23:30,000
Speaker 2: us on our social media. If you don't want to

1506
01:23:30,040 --> 01:23:32,960
Speaker 2: send us a message via email, you can talk to

1507
01:23:33,040 --> 01:23:35,479
Speaker 2: us at I Saw pod on Instagram and Twitter.

1508
01:23:36,280 --> 01:23:39,599
Speaker 1: That's right well, and we have merch. We always have merch.

1509
01:23:39,680 --> 01:23:41,280
Speaker 1: Go to the I Saw what You Did section of

1510
01:23:41,320 --> 01:23:42,960
Speaker 1: the exactly Right shop to find it.

1511
01:23:43,479 --> 01:23:45,880
Speaker 2: And you know, our bonus episodes come out all the time.

1512
01:23:45,960 --> 01:23:50,040
Speaker 2: The old ones are still pumping out consistently, and we

1513
01:23:50,120 --> 01:23:53,320
Speaker 2: have new bonus episodes brand new on the main feed

1514
01:23:53,479 --> 01:23:55,719
Speaker 2: every third Thursday of the month.

1515
01:23:56,320 --> 01:23:59,439
Speaker 1: Absolutely, one hundred percent. All right, Danielle, do you want

1516
01:23:59,439 --> 01:24:01,759
Speaker 1: to tell them what's the movies are for next week?

1517
01:24:02,600 --> 01:24:05,280
Speaker 2: I cannot wait to do so because our movies are

1518
01:24:06,479 --> 01:24:10,479
Speaker 2: Heat from nineteen ninety five and Cage Heat from nineteen

1519
01:24:10,560 --> 01:24:11,160
Speaker 2: seventy four.

1520
01:24:11,720 --> 01:24:14,439
Speaker 1: Oh my god, that's gonna be a barn burner too.

1521
01:24:15,640 --> 01:24:18,040
Speaker 2: It's a hot month. Everything's burning, It's.

1522
01:24:17,920 --> 01:24:21,679
Speaker 1: Just burning up. Well, listen, Danielle as always a fucking

1523
01:24:21,720 --> 01:24:23,320
Speaker 1: pleasure during this podcast with him.

1524
01:24:23,320 --> 01:24:31,680
Speaker 2: The absolute best. Can't wait to do it again. Hey,

1525
01:24:32,840 --> 01:24:35,879
Speaker 2: this has been an exactly right production. Produced by Casey O'Brien,

1526
01:24:36,120 --> 01:24:38,679
Speaker 2: mixed by Edson Choi. Our theme song is by Tom

1527
01:24:38,680 --> 01:24:42,479
Speaker 2: bry Fogel, artwork by Garrett Ross. Our executive producers are

1528
01:24:42,520 --> 01:24:45,360
Speaker 2: Georgia Hart, Start Caring, Til Garreff and Daniel Kramer. You

1529
01:24:45,400 --> 01:24:48,320
Speaker 2: can follow us on Instagram and Twitter at I Saw Pod,

1530
01:24:48,720 --> 01:24:50,720
Speaker 2: and you can email us at I Saw What You

1531
01:24:50,760 --> 01:24:51,960
Speaker 2: Did Pod at gmail