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Speaker 1: Hey, Casey, how's it going, Millie? It's going, well, yeah,

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Speaker 1: how are you?

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Speaker 2: I have really good news.

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Speaker 1: Actually please we need.

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Speaker 2: It tomorrow, which is technically May seventh.

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Speaker 1: Uh huh.

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Speaker 2: I am finally finally graduating from my master's program.

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Speaker 1: My god, how does that feel? Does it? Do you

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Speaker 1: feel unburdened?

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Speaker 2: Listen? I it has been I don't know if you

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Speaker 2: know this, but I started this program in I started

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Speaker 2: this program in twenty fourteen. That's eleven years ago, like

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Speaker 2: literally eleven years ago, almost, like yeah, maybe to the

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Speaker 2: month at least. It's been like these master's programs are

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Speaker 2: supposed to only take like two years, right, Like it's

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Speaker 2: supposed to be a two year program. It took me

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Speaker 2: eleven years.

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Speaker 1: I mean, you can't you. I hope you don't feel

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Speaker 1: any you know, pain about that, because you've had a

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Speaker 1: lot of stuff going on.

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Speaker 2: A huge part of it is that I made the

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Speaker 2: decision to, like, I guess, like informally leave the program

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Speaker 2: in twenty sixteen because I moved to La So I

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Speaker 2: told myself, Okay, well I'm gonna have to like put

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Speaker 2: this on hold for a while and then come back

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Speaker 2: to it later. And that's exactly what I did. I mean,

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Speaker 2: there was it was up in the air whether I

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Speaker 2: had actually finished. And then I felt like when I

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Speaker 2: got laid off at TCM, which was the end of

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Speaker 2: twenty two, I was like, well, now I got no excuse.

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Speaker 2: I got to finish this shit. Yeah, and I had

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Speaker 2: gone so far in the program that I'm like, why not?

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Speaker 1: So absolutely, I just.

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Speaker 2: Like bit down and finish it. I am. I mean

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Speaker 2: I feel accomplished. I just you know, it's just like goal,

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Speaker 2: you know, like degrees are like goals, right, Like these

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Speaker 2: like markers of a chief, which I feel like I

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Speaker 2: don't have, Like what are some markers of achievement beyond

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Speaker 2: like and I'm not talking about like marriage and children,

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Speaker 2: not achievements. Okay, those are like life things, but you.

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Speaker 1: Know, like any old idiot can do those things.

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Speaker 2: Yeah, I mean it was like, well, as an adult,

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Speaker 2: like what can you do to like, I mean, what

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Speaker 2: are you gonna do, like climb Mount Everest or High.

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Speaker 1: That's a kidney stone, start a dad rock group with

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Speaker 1: your like buddy, Yeah, there's not much you know, in.

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Speaker 2: That very formalized way that I don't know if you

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Speaker 2: can see in the background, it's like my cap and down.

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Speaker 2: I was like, damn, I have to actually wear a

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Speaker 2: thing like it's like a real thing to graduate.

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Speaker 1: Exciting. Well, I'm thrilled for you, million I know this

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Speaker 1: has been something you've been working on for a long time.

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Speaker 1: It's kind of exciting because it kind of opens up,

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Speaker 1: you know, not to look totally to the future, but

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Speaker 1: now you can be like, now, what's my next thing

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Speaker 1: I'm going to accomplish. What's the next project I'm going

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Speaker 1: to tackle?

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Speaker 2: You know? Oh, I know, I feel like I need

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Speaker 2: to start a dad rock band or something.

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Speaker 1: Here you go, that's an idea. Well, Millie, We're thrilled

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Speaker 1: for you, and I'm also thrilled for this episode that

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Speaker 1: we have ahead of us.

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Speaker 2: Yes, we are going to talk about the director, Barry Jenkins,

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Speaker 2: the wonderful Barry Jenkins. Underrated, underrated, I feel too, And

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Speaker 2: maybe that's going to be a big part of what

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Speaker 2: we're going to.

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Speaker 1: Talk about today.

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Speaker 2: Yeah, but I wanted to talk about I want to

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Speaker 2: kind of focus in on his first film, which was

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Speaker 2: made in two thousand and eight. It's called Medicine for

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Speaker 2: Melancholy Because I mean, listen, folks, I might get a

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Speaker 2: little deep. I'm just throwing it out there, but I

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Speaker 2: feel like that movie is about cenophile culture and we'll

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Speaker 2: talk about it.

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Speaker 1: Oh yes, be warned. Depth might be happening this episode.

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Speaker 1: And also we're going to dive into our mail bag

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Speaker 1: and answer some film advice. I'm very excited. We've took

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Speaker 1: an episode off, so now we're back at it, and uh,

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Speaker 1: we're excited to answer all the things that you've written

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Speaker 1: into us about, so look forward to that as well.

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Speaker 2: You were Jones and for I mean you were like

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Speaker 2: in the corner, shaking on a bear mattress, wanting to

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Speaker 2: give film advice.

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Speaker 1: I wanted to, Yeah, I had. I was Jones and

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Speaker 1: for it man. Uh yeah, just thrilling. So much happening

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Speaker 1: on this episode.

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Speaker 2: So stay tuned. We'll be here. We hope you'll be there.

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Speaker 2: This is Deer Movies. I Love You, Dear, I love you,

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Speaker 2: and I've got to know you love me too. Check

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Speaker 2: the boox. Hey, everybody, welcome to another episode of Deer Movies,

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Speaker 2: I Love You. This is the podcast for people who

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Speaker 2: were obsessed with movies to the point where they feel

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Speaker 2: like their heart would just stop beating if they weren't around.

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Speaker 1: That's right.

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Speaker 2: My name is Millie to Jericho.

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Speaker 1: I'm Casey O'Brien, and.

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Speaker 2: Yeah, this episode's gonna be a lot of fun. It's

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Speaker 2: gonna be very thought provoking. Maybe, I don't know. We'll

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Speaker 2: see what happens. I think I think it's just gonna

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Speaker 2: be a riff a riff fest.

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Speaker 1: Yeah, I think it's gonna be something. I hope things

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Speaker 1: are provoked from this episode. Merely. I have some very

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Speaker 1: minor news.

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Speaker 2: Oh sure, sure.

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Speaker 1: I said on a previous episode that my one car

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Speaker 1: Y box set, my Blu Ray twenty forty six didn't work. Yeah,

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Speaker 1: emailed Criterion. They're replacing the whole set. See how I believe.

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Speaker 2: I actually can believe because I feel like somebody else

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Speaker 2: that I knew that happened to them too.

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Speaker 1: But I bought this like three years ago.

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Speaker 2: That's what I'm talking about. Though. It's like the early

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Speaker 2: listen no shade to Criteria and of course, but like there,

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Speaker 2: I felt like there was this rumor or those like

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Speaker 2: thing that happened. We're like the first batches of the

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Speaker 2: waldcar Wi box set that came out were like nGy,

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Speaker 2: no good.

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Speaker 1: Well, I had heard people were like, oh walk car

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Speaker 1: Y made some adjustments to the movies and now they

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Speaker 1: suck like they were like recolor graded, and like one

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Speaker 1: of the movies has a different aspect ratio than when

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Speaker 1: it was released. So it's a little bit like, you know,

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Speaker 1: Steven Spielberg removing the rifles and et and replacing them

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Speaker 1: with walkie talkies. That's what you know, people were saying anyway,

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Speaker 1: But I didn't really notice that. I thought it looked great,

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Speaker 1: but it just didn't fucking work right.

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Speaker 2: Maybe it's both, I don't know, yeah, maybe I Well

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Speaker 2: that's good though, because I'm thrilled.

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Speaker 1: You know. It's like so few good things happened to

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Speaker 1: me in my life, and this was just one of them,

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Speaker 1: you know.

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Speaker 2: So well, let me let me ask you now that

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Speaker 2: you're thrown out in this damn minutia as you call it,

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Speaker 2: although I think that's actually a pretty big deal. Have

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Speaker 2: you heard or read or seen reviews of Bradley Cooper's

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Speaker 2: new Cheese Steak restaurant?

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Speaker 1: What? No, you didn't tell me we were doing a

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Speaker 1: Bradley News segment. Oh my god, wait, I gotta look

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Speaker 1: this up, really look it up.

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Speaker 2: Now. I don't know much about it. I just was

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Speaker 2: I think it was in the New Yorker or something

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Speaker 2: like that. But basically they were like, Bradley Cooper co

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Speaker 2: owns a sandwich place. The cheese steaks are phenomenal, and

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Speaker 2: that's all I've heard.

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Speaker 1: It looks good, do you think so? Yeah? But I mean,

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Speaker 1: is this one of those things? Though? It's like, I

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Speaker 1: feel like a Philly cheese steak is like a food

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Speaker 1: of the people. Is this like the elevated Philly cheese steak?

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Speaker 1: It sort of seems like that bit. But it looks good, man,

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Speaker 1: it looks fucking good.

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Speaker 2: The bread looks damn krusty, which I love.

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Speaker 1: I love too. It's eighteen bucks for a cheat and

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Speaker 1: a cheese steak. I don't know that, Bradley.

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Speaker 2: I mean, if this is okay, if you look up

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Speaker 2: Bradley Cooper cheese steak, folks, you will probably go to

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Speaker 2: Helen Rossner article in the New Yorker where there's a

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Speaker 2: giant splash photograph of this cheese steak. Now, if this

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Speaker 2: is the size of the eighteen dollars cheese steak.

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Speaker 1: Fuck six inches?

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Speaker 2: Okay, A six inch cheese steak is not eighteen bucks,

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Speaker 2: and no planet is that allowed.

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Speaker 1: Okay, Millie, this is where we really need our listeners

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Speaker 1: to help us, because if there's any listeners that are

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Speaker 1: going to go to the cheese, please, somebody out there

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Speaker 1: go to the Bradley Cooper's Philly cheese steak spot in

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Speaker 1: New York, I don't know where it is and record

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Speaker 1: a voice memo with your review. We will play it

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Speaker 1: on the show. Please. We need to know what the sandwich.

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Speaker 1: What is going on with this sandwich.

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Speaker 2: Because if you scroll further down the article, there is

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Speaker 2: a twelve inch okay, but it's not It says this

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Speaker 2: is the sandwich that's the inspiration for the one that's

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Speaker 2: being served at the Bradley Coop's Cheese steak bonanza. Like,

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Speaker 2: it's not even it. I gotta tell you, I I'm

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Speaker 2: real fired up about this six inch, eighteen dollars cheese steak.

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Speaker 1: We need to get to the bottom of these people. Millie,

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Speaker 1: thank you for bringing Bradley Cooper news. I didn't even know.

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Speaker 1: I didn't know I was in for such a treat

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Speaker 1: on this this episode.

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Speaker 2: I feel like if he if his name just like

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Speaker 2: pops up in the in the ether. Yeah, as a

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Speaker 2: news item, like rest assured that one of us will

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Speaker 2: pick up on it and talk about it.

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Speaker 1: I just feel like it's you know, I need to

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Speaker 1: set my Google alert, I mean to Bradley Cooper so

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Speaker 1: I can stay up to date.

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Speaker 2: I need to find out how to set a Google alert,

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Speaker 2: and then I set it.

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Speaker 1: Yes, anyway, fabulous, Thank you Milly for bringing that to

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Speaker 1: our attention. Well, we start every episode this same way.

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Speaker 1: We open up the film diary and we talked about

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Speaker 1: the movies, and we dusted off. We talked about the

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Speaker 1: movies that we saw in the past week. I have

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Speaker 1: some interesting ones, I think, but merely I'd love to

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Speaker 1: hear what you've been watching.

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Speaker 2: Okay, So if you must remove the films that I've

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Speaker 2: watched for this podcast for research, I only really watched one,

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Speaker 2: but I will say it was an elevated experience because

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Speaker 2: I actually did the Q and A with a director

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Speaker 2: at the Plaza Theater in Atlanta, and it was the

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Speaker 2: director of a documentary called Goodbye Horses The Many Lives

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Speaker 2: of Q Lazarus.

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Speaker 1: Amazing. Yes, how's the doc I'm so intrigued because Q

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Speaker 1: Lazarus is kind of a mysterious figure for those who

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Speaker 1: don't know Q Lazarus. They wrote the song Goodbye Horses,

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Speaker 1: which is famously featured in Silence of the Land, but

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Speaker 1: they were sort of a mysterious musician, were they not?

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Speaker 2: Yes, So this is this documentary will It was such

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Speaker 2: a ride Now. It was directed by a Mexican woman

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Speaker 2: originally from Mexico City. Her name is ava arihis Fuentes,

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Speaker 2: and she's lovely. She lives in New York now. She's

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Speaker 2: she's worked on She worked on Marcos like she was

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Speaker 2: a writer on Marcos. She's done many other documentaries. She's

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Speaker 2: really sweet, really talented, and the craziest thing about this

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Speaker 2: documentary was that she I think she came to the

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Speaker 2: song Goodbye Horses much like everybody else did, which is

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Speaker 2: like again through Jonathan Demi. Right, So it was in

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Speaker 2: that huge buffalo bill scene in Siala to the Lambs,

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Speaker 2: but was also actually originally featured and married to the

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Speaker 2: Mob for the first time. And that song you could

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Speaker 2: only find on the Marriag to the Mob soundtrack for years.

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Speaker 2: It was the only place that you could find it.

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Speaker 2: And it's because Q Lazarus essentially never got a record deal, like,

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Speaker 2: was never on a label, was like kind of self

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Speaker 2: publishing music with her like music collaborators, and this was

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Speaker 2: like Essentially the tempo of this documentary was the you know,

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Speaker 2: the nuts and bolts of it is that Ki Lazarus

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Speaker 2: grew up in a like a gospel singing kind of tradition. Family,

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Speaker 2: moved to New York City before I did a bunch

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Speaker 2: of like queer people and other people in the kind

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Speaker 2: of the New York club scene was sort of into

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Speaker 2: rock and roll and goth and stuff like that made

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Speaker 2: the song good Bye Horses. Then tried to move to

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Speaker 2: Europe to make it with a band and was basically

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Speaker 2: a black woman doing rock and roll like almost kind

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Speaker 2: of like it was weird. It was like a mix

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Speaker 2: between like Cynthie, I don't know, almost like shoegaze, but

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Speaker 2: then there was kind of hard rock elements.

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Speaker 1: It was so interesting, like, yeah, it's a very que

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Speaker 1: unique sound.

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Speaker 2: Yeah. I mean, if they came out today, they would

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Speaker 2: fucking be on four eighty or something. They would be like,

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Speaker 2: they'd have a fucking record deal, no problem. But back

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Speaker 2: in the late eighties, nobody knew what to do with

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Speaker 2: a black woman who was in a rock and roll band,

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Speaker 2: you know, and so essentially they didn't you know, get

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Speaker 2: a record deal, didn't nothing happened her career fizzle, and

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Speaker 2: then she just kind of disappeared. And it wasn't until

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Speaker 2: essentially that she met Jonathan Demi in a taxi cab

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Speaker 2: because she was driving a cab as her job, and

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Speaker 2: you know, he put her song in both Married to

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Speaker 2: the Mob Sounds in the Lamps. And then she was

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Speaker 2: actually in Philadelphia. She was in a she did a

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Speaker 2: cameo in a singing scene. I guess her the band

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Speaker 2: was playing live as part of the scene. But beyond

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Speaker 2: that she was just vanished essentially, and she had lot

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Speaker 2: of personal problems. She got really into drugs and it

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Speaker 2: was really really sad. But that's the thing is that

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Speaker 2: over the course of the documentary, it's like you're kind

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Speaker 2: of like Ava basically is embedded with her and her family,

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Speaker 2: and she's like explaining about things that have happened to her,

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Speaker 2: and you're just kind of like, oh my god. Like

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Speaker 2: it's it's kind of a testament to the idea of

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Speaker 2: someone making art but like nobody like having no distribution, no,

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Speaker 2: like nobody like knowing that they exist in that way,

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Speaker 2: Like there's no rights, there's no distribution deals, there's no

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Speaker 2: copyright you know stuff I mean, And that was what

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Speaker 2: happened I think over the course of the years was

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Speaker 2: that as she went away, her music was kind of

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Speaker 2: like out there, but like she wasn't getting money for it,

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Speaker 2: you know, anyway, And then of course the ending is

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Speaker 2: very sad because obviously qu Lazar has passed away semi

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Speaker 2: recently and and that was a big part of the

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Speaker 2: end of the documentary. So anyway, fantastic if you want,

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Speaker 2: if you can find it. I know that she's trying

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Speaker 2: to get a streaming deal right now and hopefully somebody

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Speaker 2: will pick it up. But if you're she's been touring

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Speaker 2: it essentially, she's going to different cities and playing it,

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Speaker 2: and so if you if she shows up in your town,

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Speaker 2: you've got to see it. It's really good.

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Speaker 1: Cool. I'll have to check that out. Sounds amazing. I'm

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Speaker 1: very interested in this. I think it's very interesting, the

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Speaker 1: idea of an artist just putting things out there, it

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Speaker 1: not being received, and then it being received later, but

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Speaker 1: like it's been detached from the artist in a way

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Speaker 1: that they can't get it back. I don't know, that's

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Speaker 1: sort of that's very fascinating. My diary, dear Diary. I

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Speaker 1: watched a little movie called Black Narcissus from nineteen forty seven,

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Speaker 1: directed by Michael Powell and Emeric Presburger. I am obsessed

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Speaker 1: with this. This movie's incredible. It's a group of nuns

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Speaker 1: who open a convent in a Himalayan abandoned palace, and

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Speaker 1: it's sort of it's not haunted, but it's kind of

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Speaker 1: like sort of haunted, not by anything specific, but it's

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Speaker 1: just the vibes are off, very off, and one of

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Speaker 1: the nuns, sister Ruth, gets sort of possessed, not in

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Speaker 1: any sort of like literal sense, but she becomes like

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Speaker 1: sex crazed and insane. And she's played by the wonderful

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Speaker 1: Kathleen Byron. And there's a shot of her emerging from

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Speaker 1: the palace now that after she's like taken her habit

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Speaker 1: off and have put on makeup and like nice clothes,

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Speaker 1: and she looks insane. It's incredible. She looks incredible, And

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Speaker 1: I'm like, she looks like a she could be a

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Speaker 1: woman from now the way she's dressed. Ye, And it's incredible.

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Speaker 1: I love this movie.

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Speaker 2: Oh, it's one of my faves. I don't know if

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Speaker 2: you knew that. I didn't know that absolutely one hundred percent.

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Speaker 2: I Love. Kathleen Byron Gene Simmons is insane in this movie.

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Speaker 2: Like it's problematic.

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Speaker 1: I guess it's problematic. She might not have any lines, yes,

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Speaker 1: but she's like a sexual temptress. She's like feral in

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Speaker 1: the I mean it's like feral. Yeah, it's a and

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Speaker 1: it looks incredible. I know it was like shot in

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Speaker 1: a studio, but I'm like, it feels like they're on

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Speaker 1: the a mountaintop with these like matte paintings. It was incredible.

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Speaker 1: It was a cinematic experience.

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Speaker 2: David Farrar David Farrar wearing those tiny little booty shorts.

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Speaker 1: It's funny because they're like it's freezing up here. And

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Speaker 1: then his character comes in and he has the shortest

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Speaker 1: shorts you've ever seen, and his like shirt is completely unbuttoned,

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Speaker 1: and uh, he is not bothered by the cold.

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Speaker 2: Well that's that's the magic of this movie is that

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Speaker 2: he's like the thought running around and.

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Speaker 1: Being a big hoe that hoe over there.

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Speaker 2: Making all these women want him and go crazy.

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Speaker 1: Makes yes, makes Kathleen Byron go insane, I know.

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Speaker 2: And like that's the thing is that, like the Deborah

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Speaker 2: Carr character, she plays kind of like the most level

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Speaker 2: headed one, right, she's the one that's basically like Sister Clauda, Yeah,

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Speaker 2: stop being so horny, but she's she's even like not

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Speaker 2: like basically it's like a spell. Like the whole idea

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Speaker 2: is that this place is this like crazy horny environment

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Speaker 2: where all these chaste nuns are going crazy. And maybe

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Speaker 2: it's the air, maybe it's the short shorts, maybe it's repression,

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Speaker 2: we don't know, but it's Catholicism. It's part of one

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Speaker 2: of my favorite I would call it a nun'sploitation movie.

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Speaker 2: I'm just throw it out there, but it's one of

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Speaker 2: my favorite, uh horny nun movies for sure.

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Speaker 1: Oh yeah, it's great. And you know, yeah, Deborah Currcy

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Speaker 1: plays Sister Clauda, and she's the most buttoned up for sure.

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Speaker 1: But you think she's not horny too, She is, certainly,

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Speaker 1: but she's powerful and strong and can you know, push

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Speaker 1: away David Farr or however you say his last name,

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Speaker 1: David Farrarr. So that was great. Loved watching that movie.

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Speaker 1: And then I watched this movie from twenty twenty three, directed, written, directed,

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Speaker 1: and starring Melanie Laurent, and it's titled Wing Women and

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Speaker 1: it's an it's a Netflix action movie and it stars

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Speaker 1: adele Xrpolos from Blue Is the Warmest Color You Might

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Speaker 1: Remember and Isabelle Audjohnny from Possession. And it feels it

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Speaker 1: feels like Melanie Laurent was given like a billion dollars

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Speaker 1: to make a move like an action comedy movie and

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Speaker 1: she received no notes, and it was like, it's kind

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Speaker 1: of fun. But it sort of feels like it feels

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Speaker 1: like in the vein of like Ryan Reynolds or the

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Speaker 1: Rock movies, where it's like an action but they're kind

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Speaker 1: of like smirking and making jokes the whole time. And

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Speaker 1: I don't know, and I don't French people. You know,

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Speaker 1: my friend Patrick Mallin and I always used to say

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Speaker 1: this on our old podcast Fart House. Uh, the French,

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Speaker 1: they've got a real comedy problem. I feel like sometimes

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Speaker 1: I do not understand when they're trying to be funny,

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Speaker 1: and sometimes they're very humorless. And I just this, this

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Speaker 1: was not for me. I'm sorry, very very subtle, the French,

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Speaker 1: in their sense of very subtle.

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Speaker 2: I have not seen this. Although every woman you mentioned

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Speaker 2: I'm a fan of.

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Speaker 1: Oh me too. I love Melanie Laurent. I love adele

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Speaker 1: Xar Pelos, I love Isabella Johnny, but it was just

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Speaker 1: kind of like, of course, there's a blooper reel at

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Speaker 1: the end. It just felt like of course, and it

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Speaker 1: just felt like it felt like, let's just have fun

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Speaker 1: with this one. That's like what the whole movie felt like.

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Speaker 1: And uh yeah, have you have you googled Melanie Laurent

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Speaker 1: right now?

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Speaker 2: Why is her disembodied head the main photo of her?

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Speaker 2: I would have my publicist fucking take that shit down.

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Speaker 1: Yeah.

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Speaker 2: Yeah, she looks like one of those songs that sounds

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Speaker 2: up at the fucking Green Bay Packers game.

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Speaker 1: Yeah, it's a select. It's at Celebritycutouts dot com, dot co,

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Speaker 1: dot UK. Uh yeah, that's the number one thing. Wow.

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Speaker 1: Very interesting. She's actually directed quite a few movies in France.

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Speaker 1: I feel like she has a lot of power there,

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Speaker 1: but this one, yeah, not for me.

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Speaker 2: Okay, sorry, I hate when it's a stinker.

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Speaker 1: I mean I still had fun, it's still kind of fun.

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Speaker 1: But at one point I pause a movie in the

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Speaker 1: middle of the movie, maybe to go get some popcorn

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Speaker 1: or something, and I was like, what needs to happen

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Speaker 1: in the rest of this what's the conflict? I don't

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Speaker 1: even understand, like what they're trying to overcome. At the end,

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Speaker 1: I was like halfway through the movie. You've ever had

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Speaker 1: that when you're watching a movie and you're like, what

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Speaker 1: else is to happen here? I'm not exactly sure where

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Speaker 1: we are? So that's what it felt like while watching

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Speaker 1: the movie.

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Speaker 2: That's how I felt during the last four seasons.

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Speaker 1: Of vander Oh, where are we? Where are we going?

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Speaker 2: What is this?

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Speaker 1: Oh boy? All right, that's it. That's all I got

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Speaker 1: for my film diary. Let's close them up, shall we?

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Speaker 3: God?

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00:22:23,480 --> 00:22:42,040
Speaker 2: How dusty and smoky and dirty? This book was? All right, everybody,

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Speaker 2: This episode is going to be about, like I teased

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Speaker 2: you earlier, the movie Medicine for Melancholy from two thousand

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Speaker 2: and eight, which was directed and written by the great

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Speaker 2: Barry Jenkins, And we're going to talk about it. We're

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Speaker 2: going to talk about him. Actually, Casey, if you wouldn't mind,

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Speaker 2: would you do that synopsis up front?

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Speaker 1: I'd be very happy to. So Medicine for Melancholy two

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Speaker 1: thousand and eight, we are at the height of indie

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Speaker 1: sleeves and indie culture, and we're in San Francisco, This

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Speaker 1: is a mumblecore movie. We'll get into that in a

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Speaker 1: little bit, but it is about Micah played by Wyatt

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Speaker 1: Sanak you might know from The Daily Show, and Joe

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Speaker 1: played by Tracy Higgins. They wake up together in a

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Speaker 1: stranger's bed because they're at some party the night before

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Speaker 1: and they had a one night stand and slept over

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Speaker 1: at this party, so they kind of wake up with

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Speaker 1: some confusion, and at first, Joe's like, Joe wants to

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Speaker 1: kind of like run away and get away from Micah,

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Speaker 1: and Mike's kind of like, oh, let's get breakfast blah

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Speaker 1: blah blah. After a few awkward missteps, they end up

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Speaker 1: spending a romantic day and night together, filled with conversations

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Speaker 1: about the changing face of San Francisco, the racial politics

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Speaker 1: of the indie scene, and tanks. Also, Joe has a

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Speaker 1: boyfriend that she lives with and he is out of town,

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Speaker 1: so there's a little bit of I don't know at

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00:24:09,119 --> 00:24:12,520
Speaker 1: tension in that way throughout the entire film, but that

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Speaker 1: is basically medicine for melancholy.

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Speaker 2: So I just went into my photo cloud where I

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Speaker 2: store all my photos, and I just typed in two

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Speaker 2: thousand and eight because I wanted to see if I

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00:24:26,880 --> 00:24:28,680
Speaker 2: could find a picture of myself from two thousand and eight.

433
00:24:28,720 --> 00:24:30,280
Speaker 2: So this was me in two thousand and eight. Can

434
00:24:30,320 --> 00:24:30,679
Speaker 2: you see that?

435
00:24:31,119 --> 00:24:31,960
Speaker 1: Oh? Wow?

436
00:24:32,800 --> 00:24:36,399
Speaker 2: I really I was a DJ during indie sleeves. Okay,

437
00:24:37,240 --> 00:24:41,600
Speaker 2: I've talked about this on my Instagram before. What a time.

438
00:24:43,080 --> 00:24:44,000
Speaker 1: I at the time, I.

439
00:24:44,000 --> 00:24:47,080
Speaker 2: Didn't realize it was being going to be called indye sleives.

440
00:24:47,440 --> 00:24:49,320
Speaker 1: No, this that's a term that I feel like has

441
00:24:49,320 --> 00:24:51,000
Speaker 1: only come out in the last couple of years, but

442
00:24:51,080 --> 00:24:53,560
Speaker 1: it to like describe this era, right.

443
00:24:55,760 --> 00:25:00,600
Speaker 2: That's kind of though, to your exact point is, and

444
00:25:00,640 --> 00:25:02,800
Speaker 2: this is gonna be contentious, I'm gonna just throw it

445
00:25:02,800 --> 00:25:05,399
Speaker 2: out there and I don't care. I kind of feel

446
00:25:05,520 --> 00:25:09,720
Speaker 2: that's the same thing with the term mumblecore. For me. Sure,

447
00:25:10,359 --> 00:25:19,240
Speaker 2: I am very unclear about the when mumblecore the word

448
00:25:19,440 --> 00:25:23,840
Speaker 2: was created. Yeah, what makes something mumblecore? To me, I'm

449
00:25:23,840 --> 00:25:25,879
Speaker 2: gonna be straight up honest with you. It feels like

450
00:25:26,880 --> 00:25:29,720
Speaker 2: there was a shitsd of movies that I were watching

451
00:25:30,880 --> 00:25:32,840
Speaker 2: and then all of a sudden people were saying, Okay,

452
00:25:32,840 --> 00:25:35,840
Speaker 2: this is mumblecore, and I'm like, no, it's not. It's

453
00:25:36,000 --> 00:25:37,719
Speaker 2: just independent films.

454
00:25:38,160 --> 00:25:41,880
Speaker 1: Well like mumblecore, I think its signature is that it's

455
00:25:42,240 --> 00:25:46,359
Speaker 1: shot on a lower quality camera, it's very cheap, it's

456
00:25:46,680 --> 00:25:48,960
Speaker 1: you know, I think it's called mumblecore because the actors

457
00:25:48,960 --> 00:25:51,960
Speaker 1: are a lot of times non professional actors, and they're

458
00:25:52,000 --> 00:25:56,920
Speaker 1: kind of like mumbling on camera and it's sort of yeah,

459
00:25:56,960 --> 00:26:01,040
Speaker 1: and it's a very low budget. I feel like a

460
00:26:01,119 --> 00:26:04,159
Speaker 1: lot of times it's sort of stories about people just

461
00:26:04,200 --> 00:26:09,120
Speaker 1: like meandering about and uh yeah, but like.

462
00:26:09,320 --> 00:26:12,520
Speaker 2: But I questioned to you though, I mean, go ahead, sorry, just.

463
00:26:12,560 --> 00:26:14,359
Speaker 1: Cant no, no, no, no, Well I was gonna say the

464
00:26:14,400 --> 00:26:16,840
Speaker 1: Duplas brothers kind of got their start in that. But

465
00:26:16,920 --> 00:26:19,399
Speaker 1: you're right, it is kind of like, well, it is

466
00:26:19,440 --> 00:26:22,879
Speaker 1: sort of I don't know, insulting to those filmmakers to

467
00:26:22,960 --> 00:26:24,720
Speaker 1: belittle it, to like, oh, you're doing your like cute

468
00:26:24,720 --> 00:26:27,760
Speaker 1: little mumblecore thing, when it's like, can't this just be independent,

469
00:26:27,840 --> 00:26:32,880
Speaker 1: flow budget independent film? You know what made like Stranger

470
00:26:32,920 --> 00:26:38,680
Speaker 1: than Paradise by Jim Jarmish. Yes, that that that feels

471
00:26:38,720 --> 00:26:41,199
Speaker 1: like a mumblecore movie, by the terms that you've just

472
00:26:41,280 --> 00:26:42,160
Speaker 1: iron out for us.

473
00:26:42,160 --> 00:26:46,199
Speaker 2: So I'm like, why now, why are we calling this

474
00:26:46,760 --> 00:26:47,840
Speaker 2: now a thing?

475
00:26:48,920 --> 00:26:50,360
Speaker 1: Yeah, I don't.

476
00:26:50,160 --> 00:26:52,960
Speaker 2: Know, Maybe that's just my like old person kind of

477
00:26:53,000 --> 00:26:57,200
Speaker 2: grape for this, but I just was like, mumblecore. It

478
00:26:57,640 --> 00:27:01,080
Speaker 2: feels like something that is not, like it's I don't

479
00:27:01,080 --> 00:27:03,400
Speaker 2: have any understanding of it. That it happened kind of

480
00:27:03,440 --> 00:27:10,399
Speaker 2: after I've already like process and distilled film information and

481
00:27:10,400 --> 00:27:13,119
Speaker 2: that like somebody has retroactively gone back and been like, Okay,

482
00:27:13,160 --> 00:27:15,040
Speaker 2: this is mumble court. I'm like, well, I don't know

483
00:27:15,040 --> 00:27:17,920
Speaker 2: what that means because I only thought they were independent films.

484
00:27:18,000 --> 00:27:21,200
Speaker 1: So yeah, I mean, like if Clerks came out during

485
00:27:21,280 --> 00:27:23,720
Speaker 1: this period, they'd be like total mumblecore movie. But it

486
00:27:23,760 --> 00:27:26,080
Speaker 1: comes out ten years earlier and it's like it's an

487
00:27:26,119 --> 00:27:26,960
Speaker 1: independent film.

488
00:27:27,119 --> 00:27:28,800
Speaker 2: Yeah, you know, yeah, So I.

489
00:27:28,720 --> 00:27:31,560
Speaker 1: Think you're right, there aren't really like it is sort

490
00:27:31,600 --> 00:27:34,359
Speaker 1: of after the fact that we're labeling it that. I

491
00:27:34,440 --> 00:27:36,760
Speaker 1: just sent you a picture from my Facebook of me

492
00:27:36,840 --> 00:27:39,920
Speaker 1: working at Intelligency at coffee in Venice, California. I'm wearing

493
00:27:39,920 --> 00:27:43,600
Speaker 1: suspenders and a tie and this was my indie sleeves era.

494
00:27:43,760 --> 00:27:49,840
Speaker 1: I was a snobby, snobby barista at the height of

495
00:27:50,040 --> 00:27:53,480
Speaker 1: like fancy comf coffee in Los Angeles.

496
00:27:53,840 --> 00:27:58,880
Speaker 2: Look at those cheekbones. Dog, you were in it, Dog

497
00:27:59,080 --> 00:28:01,960
Speaker 2: in it? Dog, Let me ask you this were you

498
00:28:02,040 --> 00:28:04,919
Speaker 2: going out like a lot, Like like what was your

499
00:28:04,960 --> 00:28:07,560
Speaker 2: life Like, Okay, so you're working intelligencia, you were wearing

500
00:28:07,640 --> 00:28:11,680
Speaker 2: suspenders and serving muffins to people. Uh huh, But like

501
00:28:11,920 --> 00:28:14,640
Speaker 2: what was your other Like were you drinking, were you smoking?

502
00:28:14,680 --> 00:28:15,960
Speaker 2: Were you having fun?

503
00:28:16,080 --> 00:28:18,840
Speaker 1: Oh? Yeah, I mean I was. I mean I kind

504
00:28:18,840 --> 00:28:21,080
Speaker 1: of related to medicine for melancholy because I was sort

505
00:28:21,119 --> 00:28:26,160
Speaker 1: of bumming around, you know, I was drinking, partying and

506
00:28:26,840 --> 00:28:32,600
Speaker 1: going to indie shows and like during this time, you know, Coachella.

507
00:28:32,680 --> 00:28:34,720
Speaker 1: I feel like this is when Coachella got really big

508
00:28:34,800 --> 00:28:36,760
Speaker 1: and a lot of these music festivals got really big.

509
00:28:36,840 --> 00:28:39,760
Speaker 1: So I would always go to Sasquatch Music Festival every

510
00:28:39,800 --> 00:28:45,440
Speaker 1: year and see like Arcade, Fire Ya Sayer, No Age,

511
00:28:45,600 --> 00:28:50,480
Speaker 1: Animal Collective, LCD sound System, this, this type of music

512
00:28:50,600 --> 00:28:53,440
Speaker 1: was happening at that time, and so I was very

513
00:28:53,480 --> 00:28:58,120
Speaker 1: and I was a fan of all that music. And yeah,

514
00:28:58,240 --> 00:29:00,280
Speaker 1: I mean I was kind of doing the meta for

515
00:29:00,320 --> 00:29:01,200
Speaker 1: melancholy thing.

516
00:29:02,240 --> 00:29:05,280
Speaker 2: Okay, Well that's that makes sense because that that, to me,

517
00:29:05,440 --> 00:29:07,160
Speaker 2: I think is a big part of this movie, and

518
00:29:07,880 --> 00:29:11,880
Speaker 2: it's it's about this kind of I don't know, I

519
00:29:11,960 --> 00:29:15,720
Speaker 2: actually think it's like a hipster era and that word

520
00:29:15,760 --> 00:29:18,360
Speaker 2: hipster to me drives me crazy obviously.

521
00:29:18,400 --> 00:29:20,920
Speaker 1: Well that's what we called. That's what people were called

522
00:29:20,920 --> 00:29:24,000
Speaker 1: at this time, A great hipster. Yeah, that's that was

523
00:29:24,040 --> 00:29:27,680
Speaker 1: the predominant term. Like I would have been deemed a hipster,

524
00:29:28,000 --> 00:29:31,000
Speaker 1: Yes I was, but hipster is a bigger term. That

525
00:29:31,480 --> 00:29:37,440
Speaker 1: didn't I don't know. That was like skinny jeans, American apparel, mustaches,

526
00:29:37,880 --> 00:29:41,240
Speaker 1: fix the bikes which you see in Melancho medicine for melancholy,

527
00:29:42,080 --> 00:29:47,560
Speaker 1: that type of person tattooing a mustache on their finger,

528
00:29:49,040 --> 00:29:51,480
Speaker 1: that type of stuff was hipster. And that was the

529
00:29:51,600 --> 00:29:53,800
Speaker 1: term we used, which I feel like they don't use

530
00:29:53,960 --> 00:29:57,200
Speaker 1: about They don't use as much to describe that time

531
00:29:57,240 --> 00:30:01,200
Speaker 1: as they did during the time. Sure, because I'm in

532
00:30:01,240 --> 00:30:04,720
Speaker 1: these TikTok streets me too. Have you heard about the

533
00:30:04,800 --> 00:30:07,880
Speaker 1: Heady Boys? No, let me look this up.

534
00:30:07,920 --> 00:30:11,680
Speaker 2: Got to look it up. It's basically a resurgence of

535
00:30:11,720 --> 00:30:14,880
Speaker 2: what we've just talked about. I think it's Indy Slee's

536
00:30:15,080 --> 00:30:21,640
Speaker 2: hipster ism. Okay, it's very informed by like the Libertines. Yeah,

537
00:30:21,720 --> 00:30:24,280
Speaker 2: you know what I'm saying, And it's the and hetty

538
00:30:24,480 --> 00:30:27,720
Speaker 2: is h E d I And I think it's based

539
00:30:27,720 --> 00:30:31,480
Speaker 2: off of Hetty Slamine, who is the photographer and fashion

540
00:30:31,480 --> 00:30:35,040
Speaker 2: designer who I think he used to work at Dior.

541
00:30:35,760 --> 00:30:38,480
Speaker 2: I think he's now at East Saint Laurent. But he

542
00:30:38,600 --> 00:30:42,160
Speaker 2: was kind of like if you if you google Hetty Sliman,

543
00:30:42,280 --> 00:30:46,680
Speaker 2: he's like the epitome of like this fashion style. Like

544
00:30:47,160 --> 00:30:49,400
Speaker 2: he was the guy that brought like the skinny jeans

545
00:30:49,440 --> 00:30:52,640
Speaker 2: and like the tight little suit jackets with the skinny

546
00:30:52,680 --> 00:30:55,480
Speaker 2: ties and like, yeah, you know, like the strokes if

547
00:30:55,480 --> 00:30:58,360
Speaker 2: you want to remember what the strokes look like. Uh.

548
00:30:58,520 --> 00:31:01,120
Speaker 2: But I was on TikTok and I was like, I

549
00:31:01,160 --> 00:31:03,840
Speaker 2: saw this girl interviewing a guy that literally look like

550
00:31:03,880 --> 00:31:05,680
Speaker 2: he walked out of two thousand and eight, and he

551
00:31:05,800 --> 00:31:07,320
Speaker 2: was like and she was like, what do you think?

552
00:31:07,600 --> 00:31:09,680
Speaker 2: What do you think about the Heady Boys? And I

553
00:31:09,720 --> 00:31:13,640
Speaker 2: was like, what is happening? Is happening again?

554
00:31:15,000 --> 00:31:19,680
Speaker 1: So it's happening again. To quote the giant from Twin.

555
00:31:19,520 --> 00:31:22,760
Speaker 2: People, aber eyes peeled for that God.

556
00:31:22,680 --> 00:31:25,560
Speaker 1: The Heady Boys. I'll keep my eyes peeled, certainly. But

557
00:31:25,680 --> 00:31:28,680
Speaker 1: I was I was really you know, I was hanging

558
00:31:28,720 --> 00:31:31,480
Speaker 1: out in silver Lake and Venice in Los Angeles. I

559
00:31:31,640 --> 00:31:36,680
Speaker 1: was really in that scene. But I didn't feel like

560
00:31:36,800 --> 00:31:38,800
Speaker 1: a scene. At the time, it just felt like going

561
00:31:38,840 --> 00:31:42,560
Speaker 1: to see popular bands and being a young person. Yeah,

562
00:31:42,560 --> 00:31:46,280
Speaker 1: you know, but looking back, it's a very specific time,

563
00:31:46,880 --> 00:31:47,080
Speaker 1: you know.

564
00:31:47,680 --> 00:31:50,880
Speaker 2: Well, okay, so now that we've like set this whole

565
00:31:50,880 --> 00:31:51,400
Speaker 2: thing up.

566
00:31:51,680 --> 00:31:52,680
Speaker 1: We set the scene.

567
00:31:53,160 --> 00:31:57,320
Speaker 2: Part of like what I think is so deeply interesting

568
00:31:57,360 --> 00:32:02,800
Speaker 2: about Medicine for Melancholy, right, is that this is a

569
00:32:02,840 --> 00:32:06,680
Speaker 2: movie that takes that scene and takes sort of the

570
00:32:06,720 --> 00:32:12,160
Speaker 2: satellite scenes, which I think would be art film whatever,

571
00:32:13,240 --> 00:32:16,640
Speaker 2: and talks about it in reference to people of color

572
00:32:17,360 --> 00:32:18,120
Speaker 2: and black people.

573
00:32:18,560 --> 00:32:18,720
Speaker 3: Right.

574
00:32:20,000 --> 00:32:22,200
Speaker 2: Part of what I think this the question is being

575
00:32:22,240 --> 00:32:26,200
Speaker 2: asked in this movie, and this is directly what Wyat's

576
00:32:26,400 --> 00:32:34,280
Speaker 2: Snax's character asks, is how come being indie quote unquote,

577
00:32:34,360 --> 00:32:38,120
Speaker 2: being a hipster quote unquote means that we have to

578
00:32:38,480 --> 00:32:43,720
Speaker 2: like white things? Right? Yeah, And he talks about it

579
00:32:43,760 --> 00:32:47,320
Speaker 2: in a very specific way, like he basically asked the

580
00:32:47,440 --> 00:32:50,400
Speaker 2: question of this woman, and he's just like, I mean,

581
00:32:50,440 --> 00:32:52,600
Speaker 2: we have like TV on the radio, but like, how

582
00:32:52,600 --> 00:32:55,280
Speaker 2: come everything else? How come if we're indie, if we

583
00:32:55,440 --> 00:32:58,000
Speaker 2: like rock and roll, if we like hipster culture, this

584
00:32:58,080 --> 00:33:01,160
Speaker 2: kind of stuff, how come we have to date white people?

585
00:33:01,200 --> 00:33:03,240
Speaker 2: How come we have to have white friends? Hock? Come

586
00:33:04,280 --> 00:33:07,040
Speaker 2: we can't have this experience as black people. We just

587
00:33:07,120 --> 00:33:10,040
Speaker 2: have to buy into the kind of dominant white culture

588
00:33:10,160 --> 00:33:13,920
Speaker 2: that's doing all the stuff right, being in all the bands.

589
00:33:14,760 --> 00:33:18,840
Speaker 1: Yeah, it's and it's an interesting question. It's interesting when

590
00:33:18,840 --> 00:33:21,160
Speaker 1: watching this now because at the time, like we were

591
00:33:21,160 --> 00:33:25,320
Speaker 1: talking about, there was this very defined indie scene where

592
00:33:25,320 --> 00:33:29,560
Speaker 1: it did feel removed from mainstream culture. It felt like

593
00:33:31,200 --> 00:33:34,240
Speaker 1: to the side of that, but it also was a

594
00:33:34,360 --> 00:33:39,000
Speaker 1: huge movement to call it indie. It's so big, it's

595
00:33:39,040 --> 00:33:42,880
Speaker 1: almost not indie, you know. And I feel like we

596
00:33:42,960 --> 00:33:47,600
Speaker 1: don't have music culture or like indie culture in the

597
00:33:47,640 --> 00:33:51,160
Speaker 1: same way now than we did in two thousand and eight.

598
00:33:51,680 --> 00:33:53,880
Speaker 2: There are still people out there who are the only

599
00:33:53,920 --> 00:33:56,480
Speaker 2: black person at the heavy metal concert or whatever. It's like,

600
00:33:56,880 --> 00:34:00,760
Speaker 2: it still exists, right, And I think I think part

601
00:34:00,760 --> 00:34:03,240
Speaker 2: of the question of this movie, and I think that's

602
00:34:03,280 --> 00:34:05,480
Speaker 2: like kind of a bigger question obviously, but it's one

603
00:34:05,480 --> 00:34:07,960
Speaker 2: that is specifically asked again by White's Neax's character to

604
00:34:08,000 --> 00:34:10,640
Speaker 2: this other woman because basically the two of them live

605
00:34:10,640 --> 00:34:13,600
Speaker 2: in San Francisco. They're riding bicycles, they're going to like,

606
00:34:13,680 --> 00:34:16,960
Speaker 2: you know, hipster indie rock nights, and you know, they

607
00:34:17,000 --> 00:34:20,440
Speaker 2: love like foreign films, and you know, she wears a

608
00:34:20,480 --> 00:34:23,480
Speaker 2: T shirt in the film that is the name of

609
00:34:23,760 --> 00:34:26,040
Speaker 2: Barbara Loaden. She's wearing a Barbara Loaden T shirt, who

610
00:34:26,080 --> 00:34:30,000
Speaker 2: we talked about a couple episodes ago. Right, I feel

611
00:34:30,040 --> 00:34:34,960
Speaker 2: like the two of them have dated white people, and

612
00:34:35,000 --> 00:34:37,200
Speaker 2: it's you know, basically.

613
00:34:37,400 --> 00:34:39,239
Speaker 1: It's her boyfriend is white, her.

614
00:34:39,160 --> 00:34:42,080
Speaker 2: Boyfriend is white, and then we find out through her

615
00:34:42,160 --> 00:34:46,680
Speaker 2: snooping that white snak just was dating a white woman

616
00:34:48,080 --> 00:34:50,200
Speaker 2: that they just broke up because she like snooped on

617
00:34:50,200 --> 00:34:54,839
Speaker 2: his Facebook. By the way, watching old Facebook, Oh good

618
00:34:54,960 --> 00:34:57,360
Speaker 2: made me sick to my stomach. But anyway, this is

619
00:34:57,360 --> 00:35:03,000
Speaker 2: the old frame the pages. But it's but you're so

620
00:35:03,040 --> 00:35:06,120
Speaker 2: you're putting all these things together, and I think it

621
00:35:06,160 --> 00:35:08,759
Speaker 2: culminates in that conversation where he's just basically like, how

622
00:35:08,800 --> 00:35:12,320
Speaker 2: come we can't date each other? How come because we're

623
00:35:12,560 --> 00:35:15,880
Speaker 2: in the quote unquote or we're hipster's quote unquote, we

624
00:35:16,120 --> 00:35:19,960
Speaker 2: only can date white people, you know. Yeah, And that

625
00:35:20,080 --> 00:35:23,080
Speaker 2: to me was like really thought provoking because I thought

626
00:35:23,120 --> 00:35:26,719
Speaker 2: about it also in terms of cinophile culture. Right yeah,

627
00:35:27,120 --> 00:35:29,880
Speaker 2: So to me, I know you've said this movie is

628
00:35:29,880 --> 00:35:33,560
Speaker 2: a mumblecore. I feel like this movie is basically a

629
00:35:33,600 --> 00:35:34,680
Speaker 2: French new wave movie.

630
00:35:35,520 --> 00:35:36,359
Speaker 1: It totally is.

631
00:35:37,280 --> 00:35:38,799
Speaker 2: Now. I don't know, a French new wave has now

632
00:35:38,840 --> 00:35:42,000
Speaker 2: been called mumblecore. I don't know if that's happened. I

633
00:35:42,040 --> 00:35:44,000
Speaker 2: don't know if the United Nations has weighed in on

634
00:35:44,040 --> 00:35:50,640
Speaker 2: that French mumbling. Yeah, but to me, the cadence of

635
00:35:50,640 --> 00:35:52,560
Speaker 2: the film feels very French new Wave, right.

636
00:35:53,239 --> 00:35:53,640
Speaker 1: Yeah.

637
00:35:53,760 --> 00:35:56,439
Speaker 2: You would expect that a director like Barry Jenkins would

638
00:35:56,440 --> 00:35:59,799
Speaker 2: obviously be very well versed in cinema and he would

639
00:35:59,840 --> 00:36:02,960
Speaker 2: know French new wave. It feels like the Tracy Higgins

640
00:36:03,120 --> 00:36:07,520
Speaker 2: character feels very like John Sieberg in Breathless.

641
00:36:08,480 --> 00:36:09,640
Speaker 1: The hole in the haircut.

642
00:36:09,719 --> 00:36:13,719
Speaker 2: The haircut is absolutely spot on, but also her The

643
00:36:13,760 --> 00:36:18,799
Speaker 2: thing that really I guess cemented it for me is

644
00:36:18,840 --> 00:36:23,719
Speaker 2: the way that her character Joe is very ambiguous about

645
00:36:23,760 --> 00:36:26,000
Speaker 2: her feelings like the entire movie, and the same way

646
00:36:26,000 --> 00:36:29,279
Speaker 2: that John Sieberg's character is in Breathless, where she's just

647
00:36:29,400 --> 00:36:34,200
Speaker 2: kind of like bopping around hanging out with this guy

648
00:36:34,239 --> 00:36:36,840
Speaker 2: who obviously wants her and like wants to be with

649
00:36:36,920 --> 00:36:39,319
Speaker 2: her on a certain level, and she's just kind of

650
00:36:39,400 --> 00:36:44,320
Speaker 2: like following her bliss. She's being very like ambiguous about

651
00:36:44,440 --> 00:36:47,279
Speaker 2: her feelings and what she wants and who she's with

652
00:36:48,560 --> 00:36:51,520
Speaker 2: and so and the way that the romance kind of

653
00:36:51,600 --> 00:36:54,120
Speaker 2: unfolds over the course of like the day or whatever

654
00:36:54,239 --> 00:36:56,719
Speaker 2: that they spend together is very French New Wave to

655
00:36:56,760 --> 00:37:01,319
Speaker 2: me totally. And so again, I think dot it is

656
00:37:01,360 --> 00:37:05,560
Speaker 2: also rolled into this bigger conversation about the implication, the

657
00:37:05,640 --> 00:37:09,880
Speaker 2: racial implications of like sitiphile at indie culture aka white culture,

658
00:37:09,960 --> 00:37:14,680
Speaker 2: and like how people of color approach those concepts in

659
00:37:14,719 --> 00:37:15,760
Speaker 2: those worlds.

660
00:37:15,600 --> 00:37:21,200
Speaker 1: Right, yeah, it is. It's such a big question. I

661
00:37:21,200 --> 00:37:25,520
Speaker 1: don't even know how to grapple with it because when

662
00:37:25,560 --> 00:37:28,479
Speaker 1: he asks, why do we have to you know, date

663
00:37:28,640 --> 00:37:34,040
Speaker 1: white people or basically like act like white people to

664
00:37:34,280 --> 00:37:37,520
Speaker 1: be a part of this indie scene in order to

665
00:37:37,880 --> 00:37:41,640
Speaker 1: and with the centophile scene too, in order to become

666
00:37:41,680 --> 00:37:48,680
Speaker 1: a part of these larger structures that have been historically

667
00:37:49,239 --> 00:37:53,120
Speaker 1: dominated by white people because of the oppression of people

668
00:37:53,160 --> 00:37:56,960
Speaker 1: of color and the you know, not allowing people of

669
00:37:57,000 --> 00:38:02,759
Speaker 1: color to participate inherently becoming a part of this you

670
00:38:02,920 --> 00:38:07,640
Speaker 1: need to interact with white people in a major way,

671
00:38:07,920 --> 00:38:11,480
Speaker 1: right you know. And yeah, so, I mean it's it's

672
00:38:11,520 --> 00:38:16,719
Speaker 1: a really big question that I don't have an answer to,

673
00:38:16,800 --> 00:38:18,959
Speaker 1: but it's making my head spin.

674
00:38:19,840 --> 00:38:22,319
Speaker 2: I know, I'm sorry that I've I've done this and

675
00:38:22,360 --> 00:38:27,279
Speaker 2: I've opened this this vault because I think about it

676
00:38:27,320 --> 00:38:33,080
Speaker 2: a lot and I have forever because again, I think

677
00:38:33,600 --> 00:38:40,319
Speaker 2: as a woman who you know, has who is a

678
00:38:40,360 --> 00:38:42,920
Speaker 2: woman of color, but has you know, immigrant parents and

679
00:38:44,000 --> 00:38:46,920
Speaker 2: grew up in the Deep South. You know, I've always

680
00:38:46,960 --> 00:38:55,680
Speaker 2: been like weird about my place in you know, kind

681
00:38:55,680 --> 00:38:58,040
Speaker 2: of the things that I like, right, because you look

682
00:38:58,080 --> 00:39:00,000
Speaker 2: around and it's like you don't even think about it

683
00:39:00,200 --> 00:39:02,080
Speaker 2: until you actually look around, and you're like, fuck, I'm

684
00:39:02,080 --> 00:39:04,279
Speaker 2: like the only woman of color around. I'm the only

685
00:39:04,360 --> 00:39:07,640
Speaker 2: woman around normally, Like I'm only the only woman around

686
00:39:07,640 --> 00:39:09,080
Speaker 2: a lot of and a lot of stuff I like,

687
00:39:09,760 --> 00:39:13,920
Speaker 2: you know, yeah, certainly like cult film, uh, and being

688
00:39:13,960 --> 00:39:16,719
Speaker 2: in those kind of like film like deep deep hardcore

689
00:39:16,920 --> 00:39:21,560
Speaker 2: like film spaces. So so like Barry Jenkins, for example,

690
00:39:21,680 --> 00:39:24,200
Speaker 2: I mean, he's making movies about black love. This is

691
00:39:24,200 --> 00:39:28,279
Speaker 2: like his entire filmography, right, Yeah, But it's also that

692
00:39:28,400 --> 00:39:31,200
Speaker 2: he is a part of like a film culture that

693
00:39:31,320 --> 00:39:36,440
Speaker 2: is primarily white. Yeah, and we all are as film people,

694
00:39:36,760 --> 00:39:40,600
Speaker 2: like the film Cannon is white and you and you

695
00:39:40,680 --> 00:39:42,839
Speaker 2: know that's true. That's what we were taught in film

696
00:39:42,880 --> 00:39:46,640
Speaker 2: school that you're supposed to revere people like you know,

697
00:39:46,760 --> 00:39:53,440
Speaker 2: Jean Luke Guitar and Hitchcock and fucking Serche Eisenstein, like

698
00:39:54,040 --> 00:39:55,480
Speaker 2: even want to go even.

699
00:39:55,280 --> 00:39:55,759
Speaker 1: For the back.

700
00:39:55,840 --> 00:39:59,440
Speaker 2: But it's like, you know, obviously, like this is the

701
00:39:59,640 --> 00:40:01,560
Speaker 2: cannon that you grew up in, and so you're sitting

702
00:40:01,600 --> 00:40:03,680
Speaker 2: there being like, well, I want to make a movie

703
00:40:05,000 --> 00:40:08,480
Speaker 2: about something that's inherent to me as a black person

704
00:40:08,600 --> 00:40:11,879
Speaker 2: or a person of color, but then the influences from

705
00:40:11,960 --> 00:40:15,600
Speaker 2: white people, and how do I do that? You know,

706
00:40:16,000 --> 00:40:18,520
Speaker 2: I feel like it's only I feel like, only now

707
00:40:19,960 --> 00:40:22,239
Speaker 2: do I feel like this is a topic that's being

708
00:40:22,360 --> 00:40:25,840
Speaker 2: talked about through the art of people of color, right,

709
00:40:25,840 --> 00:40:28,279
Speaker 2: because I think a lot also about Jordan Peele, Right,

710
00:40:28,600 --> 00:40:35,120
Speaker 2: Jordan Peele's movies are also about blackness within these black

711
00:40:35,200 --> 00:40:40,920
Speaker 2: pockets of like white culture that's not you know, sometimes

712
00:40:41,000 --> 00:40:44,520
Speaker 2: it's countercultural. Sometimes it's you know, like in the case

713
00:40:44,560 --> 00:40:48,040
Speaker 2: of Nope, like people who are you know, cowboys, people

714
00:40:48,040 --> 00:40:51,120
Speaker 2: living in the desert. It's like these spaces that are

715
00:40:51,120 --> 00:40:56,000
Speaker 2: traditionally white and sort of like how like how you

716
00:40:57,280 --> 00:41:00,200
Speaker 2: are in those spaces in the world, you know, like

717
00:41:00,320 --> 00:41:02,799
Speaker 2: just places that like black people or other people of

718
00:41:02,840 --> 00:41:06,560
Speaker 2: color would just like have traditionally like we've never seen it,

719
00:41:06,640 --> 00:41:09,080
Speaker 2: I guess in a movie in that way. And I

720
00:41:09,080 --> 00:41:12,920
Speaker 2: feel like that's the way it has been like for

721
00:41:12,960 --> 00:41:15,080
Speaker 2: a long time up until now. I feel like it's

722
00:41:15,120 --> 00:41:17,759
Speaker 2: like it's nice that we do have directors like Barry

723
00:41:17,840 --> 00:41:21,640
Speaker 2: Jenkins and Jordan Peele and you know, Ryan Coogler and

724
00:41:21,680 --> 00:41:24,879
Speaker 2: like other people who are you know, I'm saying, there's

725
00:41:24,880 --> 00:41:27,120
Speaker 2: so many others, But it's like there's just so many,

726
00:41:27,280 --> 00:41:30,040
Speaker 2: like now different stories that are sort of coming to

727
00:41:30,080 --> 00:41:33,719
Speaker 2: the surface that it's like, Okay, yeah, like maybe this

728
00:41:33,800 --> 00:41:36,920
Speaker 2: is like a thought provoking idea of like who created

729
00:41:36,960 --> 00:41:41,719
Speaker 2: a canon, who got invited to the canon? Yeah, there's

730
00:41:41,760 --> 00:41:43,799
Speaker 2: all these these all these people who are learning from

731
00:41:43,800 --> 00:41:47,480
Speaker 2: the canon. They're not always white, and how do you,

732
00:41:47,480 --> 00:41:49,839
Speaker 2: you know, as a person of color, just make sense

733
00:41:49,880 --> 00:41:53,240
Speaker 2: of it all. But that's what I love about Medicine

734
00:41:53,239 --> 00:41:55,480
Speaker 2: for Melancholy because it takes that and it talks about

735
00:41:55,480 --> 00:41:58,480
Speaker 2: it in the context of romance and and I just

736
00:41:58,560 --> 00:42:00,719
Speaker 2: think it's like, to be honest, when I first saw

737
00:42:00,760 --> 00:42:03,000
Speaker 2: it back in the day, I was kind of like, Okay,

738
00:42:03,040 --> 00:42:06,480
Speaker 2: this is cute. Maybe it is mumblecore. It is like

739
00:42:06,560 --> 00:42:09,839
Speaker 2: a little indie movie, but I swear after seeing it

740
00:42:09,880 --> 00:42:12,520
Speaker 2: over many years and now just like thinking about it,

741
00:42:12,560 --> 00:42:15,640
Speaker 2: I just I feel like it's a lot better than

742
00:42:15,680 --> 00:42:18,880
Speaker 2: I initially thought it was, and it's really thought provoking.

743
00:42:18,960 --> 00:42:21,120
Speaker 2: And of course I had to go back and watch,

744
00:42:21,440 --> 00:42:24,640
Speaker 2: you know, Moonlight, but then I actually just saw if

745
00:42:24,640 --> 00:42:32,360
Speaker 2: Beale Street could talk. First time watch fucking destroyed me, dude,

746
00:42:33,000 --> 00:42:38,799
Speaker 2: like destroyed my ass. Like I was crying within the

747
00:42:38,840 --> 00:42:44,320
Speaker 2: first maybe four minutes of that movie. It's so tender

748
00:42:44,360 --> 00:42:50,120
Speaker 2: and beautiful and like I mean, I just could not believe.

749
00:42:50,160 --> 00:42:52,320
Speaker 2: I actually told myself, thank God had see this in

750
00:42:52,400 --> 00:42:55,279
Speaker 2: the movie theater because I'd be a fucking disaster. Yeah,

751
00:42:55,320 --> 00:42:58,719
Speaker 2: I was like sobbing in my living room. I can't imagine.

752
00:42:58,840 --> 00:43:00,960
Speaker 2: It was kind of like when I watched Past Lives.

753
00:43:01,520 --> 00:43:05,240
Speaker 2: I was. I was so distraught that I was sobbing

754
00:43:05,239 --> 00:43:07,160
Speaker 2: in the movie theater. Like the people that I was

755
00:43:07,239 --> 00:43:10,799
Speaker 2: with were like, are you okay? And I was just

756
00:43:10,880 --> 00:43:13,160
Speaker 2: like it. Actually went to the bathroom to like have

757
00:43:13,280 --> 00:43:15,719
Speaker 2: my own moment because I just couldn't fucking take it.

758
00:43:15,840 --> 00:43:24,239
Speaker 2: I was so emotional. But anyway, it's amazing to me.

759
00:43:24,480 --> 00:43:27,520
Speaker 1: I feel like Barry Jenkins I mean, he won Best Picture.

760
00:43:27,960 --> 00:43:30,360
Speaker 1: I feel like he should have a new movie every year.

761
00:43:31,360 --> 00:43:32,560
Speaker 2: Yeah.

762
00:43:32,800 --> 00:43:36,240
Speaker 1: Maybe, and like, you know, I don't know, I want

763
00:43:36,520 --> 00:43:39,799
Speaker 1: I want more more Barry Jenkins.

764
00:43:39,960 --> 00:43:42,239
Speaker 2: Well, and it's interesting because if you go to his Wikipedia,

765
00:43:42,480 --> 00:43:46,040
Speaker 2: I mean, this is it's Wikipedia, so do what you

766
00:43:46,080 --> 00:43:49,080
Speaker 2: may with that. But there's like an entire section that's

767
00:43:49,120 --> 00:43:52,640
Speaker 2: just called Unrealized Projects, and it's like a shit ton

768
00:43:52,680 --> 00:43:57,319
Speaker 2: of things like it's you know, and so maybe, you know,

769
00:43:57,560 --> 00:43:59,600
Speaker 2: I think that he's such a good director and he's

770
00:43:59,680 --> 00:44:01,600
Speaker 2: very care full and he doesn't want to make bullshit,

771
00:44:01,840 --> 00:44:06,120
Speaker 2: like he's like, you know, very I think it makes

772
00:44:06,200 --> 00:44:10,799
Speaker 2: total sense that he would, you know, not make a

773
00:44:10,800 --> 00:44:11,920
Speaker 2: shit ton of films.

774
00:44:12,360 --> 00:44:14,920
Speaker 1: Yeah right, did you you know? It's funny one little

775
00:44:14,920 --> 00:44:18,440
Speaker 1: thing about medicine for melancholy. At like near the beginning

776
00:44:18,440 --> 00:44:21,040
Speaker 1: of the movie, she's like, you stink. Did you shower?

777
00:44:21,120 --> 00:44:24,560
Speaker 1: And he's like no, he doesn't shower for a really

778
00:44:24,640 --> 00:44:28,840
Speaker 1: long time. And I was like every scene he was in,

779
00:44:28,880 --> 00:44:31,800
Speaker 1: I was like, he stinks. I don't know if you

780
00:44:31,880 --> 00:44:35,120
Speaker 1: had that feeling, but I was like, this man needs

781
00:44:35,160 --> 00:44:37,320
Speaker 1: to take a shower. I mean.

782
00:44:38,800 --> 00:44:43,000
Speaker 2: I had a weird feeling about that part. I was

783
00:44:43,000 --> 00:44:45,879
Speaker 2: like he he writes, he rides his like fixed gear

784
00:44:45,960 --> 00:44:48,920
Speaker 2: bike in San Francisco. He probably doesn't shower very often much.

785
00:44:49,120 --> 00:44:50,719
Speaker 1: Skis no.

786
00:44:51,080 --> 00:44:53,960
Speaker 2: However, I really saw it more as sort of a

787
00:44:53,960 --> 00:44:59,600
Speaker 2: function of her upitiness. Perhaps does that make sense, because

788
00:44:59,600 --> 00:45:01,239
Speaker 2: you know, there's so many points in the movie where

789
00:45:01,239 --> 00:45:07,520
Speaker 2: she's just basically like megging him essentially, Yeah, and you

790
00:45:07,560 --> 00:45:10,960
Speaker 2: know she's and she her world is this like art

791
00:45:11,080 --> 00:45:13,880
Speaker 2: world where her boyfriend is. She's going to the gallery

792
00:45:13,880 --> 00:45:16,760
Speaker 2: for her boyfriend, and she lives in a nice place

793
00:45:16,880 --> 00:45:18,359
Speaker 2: and you know what I mean.

794
00:45:18,440 --> 00:45:21,920
Speaker 1: Yeah, But also he I feel like he was like

795
00:45:23,200 --> 00:45:27,279
Speaker 1: kind of pushy, and I was kind of turned off

796
00:45:27,320 --> 00:45:31,960
Speaker 1: by him, like sort of like not not leaving her.

797
00:45:32,360 --> 00:45:34,480
Speaker 1: I don't know I was. I was like turned off

798
00:45:34,520 --> 00:45:38,920
Speaker 1: by him at first after they start like getting more

799
00:45:39,000 --> 00:45:41,279
Speaker 1: romantic and because she's like, you need to leave, and

800
00:45:41,280 --> 00:45:44,600
Speaker 1: he doesn't leave. I don't know. Maybe he could, maybe

801
00:45:44,640 --> 00:45:46,120
Speaker 1: he was picking up that she didn't really want him

802
00:45:46,120 --> 00:45:47,879
Speaker 1: to leave, but I don't know. I was sort of.

803
00:45:48,880 --> 00:45:51,840
Speaker 2: Well, like again, I think a lot of it. It

804
00:45:51,880 --> 00:45:56,799
Speaker 2: feels very breathless to me in that way where it's like,

805
00:45:56,920 --> 00:46:00,440
Speaker 2: oh yeah, like Sean Pelleball mom, those characters is just

806
00:46:00,480 --> 00:46:03,720
Speaker 2: as annoying. Yeah, Like he just wants to be around

807
00:46:03,760 --> 00:46:06,359
Speaker 2: this hot woman and wants to like lay in bed

808
00:46:06,360 --> 00:46:09,160
Speaker 2: with her all day, you know, and he's just kind

809
00:46:09,160 --> 00:46:11,719
Speaker 2: of like following her around type of thing, you know.

810
00:46:12,160 --> 00:46:14,160
Speaker 2: And I feel like that's kind of the vibe of

811
00:46:14,200 --> 00:46:15,920
Speaker 2: this and this in the same I mean, you know,

812
00:46:15,960 --> 00:46:17,759
Speaker 2: if we're gonna make the comparison that this is a

813
00:46:17,800 --> 00:46:20,680
Speaker 2: French new wave movie essentially, but like that's kind of

814
00:46:20,680 --> 00:46:23,800
Speaker 2: how I felt. And also too, I mean, it's totally

815
00:46:23,840 --> 00:46:26,399
Speaker 2: possible that you can have a one night stand and

816
00:46:26,400 --> 00:46:28,160
Speaker 2: not want it to end.

817
00:46:28,640 --> 00:46:30,440
Speaker 1: Yeah, that's true, you know.

818
00:46:30,520 --> 00:46:32,160
Speaker 2: And you like, at first, I was like, oh, he's

819
00:46:32,160 --> 00:46:33,719
Speaker 2: trying to be a nice guy and he's like, okay,

820
00:46:33,760 --> 00:46:35,880
Speaker 2: do you want to get breakfast? Like it's weird, this

821
00:46:35,960 --> 00:46:37,799
Speaker 2: is awkward, But I think I think it's just kind

822
00:46:37,800 --> 00:46:39,040
Speaker 2: of like, I don't know, I kind of like hanging

823
00:46:39,080 --> 00:46:41,040
Speaker 2: out with her and yeah, I don't know. I think

824
00:46:41,040 --> 00:46:43,320
Speaker 2: she's weird it out, but I'm gonna just try to

825
00:46:43,360 --> 00:46:46,600
Speaker 2: see if my persistence will change her mind.

826
00:46:47,200 --> 00:46:49,840
Speaker 1: It was interesting watching this movie now because I was like,

827
00:46:51,360 --> 00:46:52,880
Speaker 1: this is obviously a time when there's a lot of

828
00:46:52,920 --> 00:46:56,400
Speaker 1: young artistic hipster people living in San Francisco doing their

829
00:46:56,440 --> 00:46:59,719
Speaker 1: hipster things, riding fixie bikes all around the city. But

830
00:46:59,719 --> 00:47:03,239
Speaker 1: I like, do these people exist anymore in San Francisco?

831
00:47:04,120 --> 00:47:09,240
Speaker 1: Like have they been totally you know, pushed out because

832
00:47:09,239 --> 00:47:13,400
Speaker 1: of Silicon Valley Bros? Like are there young people there

833
00:47:13,440 --> 00:47:17,640
Speaker 1: trying that are like in their small little apartments trying

834
00:47:17,640 --> 00:47:21,600
Speaker 1: to make it that aren't rich? You know? I don't know.

835
00:47:21,680 --> 00:47:24,200
Speaker 1: It was interesting to see the San Francisco of two

836
00:47:24,239 --> 00:47:26,960
Speaker 1: thousand and eight when in the movie they're talking about

837
00:47:27,320 --> 00:47:31,520
Speaker 1: how Silicon Valley is ruining San Francisco, but it seems

838
00:47:31,560 --> 00:47:35,040
Speaker 1: even worse now. It seems like it's been ruined. Well.

839
00:47:35,120 --> 00:47:38,520
Speaker 2: Yeah, And I actually think that there's that conversation that

840
00:47:38,560 --> 00:47:41,200
Speaker 2: the the you know, they kind of like listen in

841
00:47:41,280 --> 00:47:42,680
Speaker 2: on this like community meeting.

842
00:47:43,000 --> 00:47:43,279
Speaker 1: M H.

843
00:47:43,960 --> 00:47:47,759
Speaker 2: I thought was so interesting. Have you ever seen that

844
00:47:47,800 --> 00:47:49,560
Speaker 2: movie with The Last Black Man in San Francisco?

845
00:47:50,320 --> 00:47:50,759
Speaker 1: Yeah? I have.

846
00:47:51,800 --> 00:47:56,400
Speaker 2: You know, San Francisco is such an interesting town because

847
00:47:56,600 --> 00:48:01,160
Speaker 2: and I've been there multiple times. I have really good

848
00:48:01,160 --> 00:48:04,839
Speaker 2: friends that live there. It's such it's so different than

849
00:48:05,040 --> 00:48:09,759
Speaker 2: Atlanta for me because of the wealth that's there and

850
00:48:09,920 --> 00:48:14,640
Speaker 2: just about in the historical like the people that were

851
00:48:14,640 --> 00:48:18,520
Speaker 2: living there pre internet, you know, and sort of what

852
00:48:18,560 --> 00:48:21,600
Speaker 2: the Internet did out to the town, to those people

853
00:48:21,640 --> 00:48:24,480
Speaker 2: and everybody around it is just I think it's very

854
00:48:24,600 --> 00:48:28,480
Speaker 2: unique in America specifically, And I know there's other towns

855
00:48:28,480 --> 00:48:31,600
Speaker 2: that experience that, like Austin and you know, wherever, like

856
00:48:31,800 --> 00:48:34,000
Speaker 2: of a kind of like a tech boom kind of

857
00:48:34,840 --> 00:48:40,040
Speaker 2: soiling the you know, counterculturalness of an area type of thing.

858
00:48:40,080 --> 00:48:42,480
Speaker 1: Yeah, is there even counterculture there anymore? It sort of

859
00:48:42,480 --> 00:48:44,759
Speaker 1: feels like I think it's interesting because I went to

860
00:48:44,840 --> 00:48:48,439
Speaker 1: college in Los Angeles, that's not San Francisco obviously. Yeah,

861
00:48:48,560 --> 00:48:51,000
Speaker 1: but I know a ton of people who moved to

862
00:48:51,160 --> 00:48:54,279
Speaker 1: New York after college from LA. I don't know a

863
00:48:54,320 --> 00:48:59,000
Speaker 1: single person. I don't have any friends in San Francisco really,

864
00:48:59,000 --> 00:49:00,640
Speaker 1: which is sort of strange. I have a lot of

865
00:49:00,680 --> 00:49:04,640
Speaker 1: friends in San Diego, but none in San Francisco. Don't

866
00:49:04,640 --> 00:49:06,279
Speaker 1: you think that's sort of odd? That just don't you

867
00:49:06,320 --> 00:49:10,080
Speaker 1: think naturally some would have gone there from Los Angeles

868
00:49:10,120 --> 00:49:12,840
Speaker 1: after college. I don't know. Maybe that means nothing, but

869
00:49:12,920 --> 00:49:13,920
Speaker 1: I just find that odd.

870
00:49:14,000 --> 00:49:18,640
Speaker 2: Well, I mean yeah, I mean I think it's extremely expensive.

871
00:49:19,400 --> 00:49:24,040
Speaker 2: I think people of our station life could never afford

872
00:49:24,080 --> 00:49:27,200
Speaker 2: to live there, although one of my really good friends,

873
00:49:27,200 --> 00:49:28,759
Speaker 2: one of my best friends in fact, lives there. He

874
00:49:28,760 --> 00:49:31,279
Speaker 2: also lives in the Tenderloin. Just like why it's an

875
00:49:31,280 --> 00:49:31,800
Speaker 2: next character.

876
00:49:32,760 --> 00:49:35,160
Speaker 1: Have you ever seen the movie The Wild Parrots of

877
00:49:35,239 --> 00:49:40,000
Speaker 1: Telegraph Hill from two thousand and three documentary. No, it's incredible,

878
00:49:40,480 --> 00:49:44,919
Speaker 1: and it's basically about this guy, this unhoused gentleman who

879
00:49:45,239 --> 00:49:48,640
Speaker 1: sort of takes care of these feral parrots in Telegraph

880
00:49:48,760 --> 00:49:52,680
Speaker 1: Hill in San Francisco. And I feel like it's sort

881
00:49:52,680 --> 00:49:59,120
Speaker 1: of an interesting intersection of you know, counterculture and super

882
00:50:00,920 --> 00:50:06,040
Speaker 1: preppy people and this one guy like lives in like

883
00:50:06,160 --> 00:50:09,000
Speaker 1: kind of the shack of these rich people near Telegraph

884
00:50:09,080 --> 00:50:14,000
Speaker 1: Hill neighborhood, and it just sort of illustrates the disappearance

885
00:50:14,080 --> 00:50:17,760
Speaker 1: of a certain San Francisco. But it's a really great

886
00:50:17,840 --> 00:50:21,000
Speaker 1: and moving documentary. It's fun. The Wild Periods of Telegraph

887
00:50:21,040 --> 00:50:21,560
Speaker 1: Hill from two.

888
00:50:21,440 --> 00:50:25,239
Speaker 2: Thousand Yeah, I'll definitely check it out. Yeah, it's a

889
00:50:25,600 --> 00:50:28,040
Speaker 2: it's a fascinating town, but it's like, you know, I

890
00:50:28,040 --> 00:50:30,319
Speaker 2: don't know. To me, I think that's a big part

891
00:50:30,320 --> 00:50:32,759
Speaker 2: of the movie also, but I think it's also talked

892
00:50:32,760 --> 00:50:38,279
Speaker 2: about in the It's kind of like the way in

893
00:50:38,320 --> 00:50:45,560
Speaker 2: which the Mica character feels like he has a steak

894
00:50:45,760 --> 00:50:50,360
Speaker 2: in the town, like he yeah, Like it's obviously about

895
00:50:50,360 --> 00:50:56,120
Speaker 2: two people, one very keen into the surroundings that they

896
00:50:56,160 --> 00:50:58,440
Speaker 2: live in their place as a black person in America

897
00:50:58,480 --> 00:51:01,439
Speaker 2: in San Francisco, and one who is you know, yeah,

898
00:51:01,440 --> 00:51:05,000
Speaker 2: and there's all there's obviously, like so many things like that,

899
00:51:05,040 --> 00:51:08,719
Speaker 2: Like like it's like now when you meet people in

900
00:51:08,760 --> 00:51:12,359
Speaker 2: your life maybe that like have no concept of what's

901
00:51:12,400 --> 00:51:16,279
Speaker 2: going on politically whatsoever, don't think about it, don't care,

902
00:51:16,760 --> 00:51:19,439
Speaker 2: Like it's just kind of like I don't know, like oh,

903
00:51:20,320 --> 00:51:22,120
Speaker 2: like and they just kind of like exist, and you're

904
00:51:22,200 --> 00:51:25,080
Speaker 2: kind of going, like what the fuck? How is it

905
00:51:25,120 --> 00:51:27,080
Speaker 2: even possible that you don't even know what the hell's

906
00:51:27,120 --> 00:51:27,440
Speaker 2: going on?

907
00:51:27,800 --> 00:51:30,920
Speaker 1: You know? Yeah, Like but it's interesting for her character

908
00:51:30,960 --> 00:51:33,360
Speaker 1: too because she is like, yeah, kind of out to

909
00:51:33,440 --> 00:51:36,600
Speaker 1: lunch when it comes to like greater political and racial

910
00:51:36,640 --> 00:51:40,000
Speaker 1: issues going on in the indie scene. But she's also

911
00:51:40,120 --> 00:51:41,799
Speaker 1: a part of the indie scene. She is a part

912
00:51:41,840 --> 00:51:45,680
Speaker 1: of a scene, so there is sort of this she's

913
00:51:45,960 --> 00:51:49,760
Speaker 1: dialed in in one way and completely shut off another way,

914
00:51:49,840 --> 00:51:52,800
Speaker 1: whereas like how and I feel like why it's The

915
00:51:52,840 --> 00:51:57,520
Speaker 1: next character is like to be engaged in this indie scene.

916
00:51:57,520 --> 00:52:00,000
Speaker 1: How can you ignore these issues that are there?

917
00:52:00,200 --> 00:52:03,880
Speaker 2: Right? No, right, because like our involvement in the scene

918
00:52:04,040 --> 00:52:09,120
Speaker 2: is politicized naturally, yeah, because we're black, you know, So

919
00:52:09,200 --> 00:52:12,200
Speaker 2: it's interesting. And again, this is stuff. I mean, I

920
00:52:12,200 --> 00:52:14,560
Speaker 2: think I've I picked up on it when I first

921
00:52:14,600 --> 00:52:16,799
Speaker 2: watched it, but I really picked up on it this time,

922
00:52:16,800 --> 00:52:19,759
Speaker 2: and I just think it's it's underrated. I feel like

923
00:52:19,960 --> 00:52:22,120
Speaker 2: this movie is a bit underrated. I definitely think that

924
00:52:22,120 --> 00:52:24,640
Speaker 2: Barry Jenkins as a director is really underrated. I feel

925
00:52:24,640 --> 00:52:28,400
Speaker 2: like Moonlight is still good, still.

926
00:52:28,200 --> 00:52:32,040
Speaker 1: Really really good, amazing and amazing film.

927
00:52:32,120 --> 00:52:34,240
Speaker 2: And it's funny because I feel like a lot of people.

928
00:52:34,600 --> 00:52:36,520
Speaker 2: I don't know if you feel this about Best Picture winners,

929
00:52:36,560 --> 00:52:38,680
Speaker 2: but you know how like there's just so much attention

930
00:52:38,840 --> 00:52:42,799
Speaker 2: that gets thrown onto like Best Picture winners that you

931
00:52:42,960 --> 00:52:46,360
Speaker 2: just after you know they win or whatever, you're like, Okay,

932
00:52:46,440 --> 00:52:47,920
Speaker 2: put that on the shelf. We don't need to talk

933
00:52:47,960 --> 00:52:51,600
Speaker 2: about that shit for a long time. And then sometimes

934
00:52:51,600 --> 00:52:55,120
Speaker 2: you go back and like that movie actually blows. This

935
00:52:55,200 --> 00:52:57,560
Speaker 2: is a movie that you're like, oh, that one, it

936
00:52:57,640 --> 00:53:01,080
Speaker 2: deserves to win. You should watch it again. Still just

937
00:53:01,160 --> 00:53:02,839
Speaker 2: as good as it was when it came out.

938
00:53:03,719 --> 00:53:06,960
Speaker 1: Yeah, so I feel like, you know, I don't say

939
00:53:06,960 --> 00:53:09,240
Speaker 1: this about all filmmakers, but I feel like Barry Jenkins

940
00:53:09,280 --> 00:53:12,480
Speaker 1: is a true poet with his films, like they like

941
00:53:12,560 --> 00:53:17,000
Speaker 1: they are so moving and elegant, and I mean I

942
00:53:17,080 --> 00:53:18,919
Speaker 1: kind of think of him as like the American Wang

943
00:53:19,000 --> 00:53:23,439
Speaker 1: car Why in the way that like you just kind

944
00:53:23,440 --> 00:53:26,759
Speaker 1: of fall into this world of these movies and they're

945
00:53:26,840 --> 00:53:32,440
Speaker 1: so potent and beautiful and he's incredible.

946
00:53:32,760 --> 00:53:37,240
Speaker 2: Agreed, Agreed, And he's my age. So I'm very proud

947
00:53:37,239 --> 00:53:38,200
Speaker 2: of my generations.

948
00:53:38,239 --> 00:53:39,680
Speaker 1: You got to catch up, Millie. You need to get

949
00:53:39,719 --> 00:53:41,800
Speaker 1: a few more. You got to get a few movies

950
00:53:41,880 --> 00:53:42,520
Speaker 1: under your belt.

951
00:53:42,800 --> 00:53:45,200
Speaker 2: Please, I leave that to the experts. I'll just talk

952
00:53:45,239 --> 00:53:46,359
Speaker 2: shit about him, how about that?

953
00:53:46,480 --> 00:53:46,719
Speaker 1: Sure?

954
00:53:46,880 --> 00:53:47,279
Speaker 2: Sure? Sure?

955
00:53:47,320 --> 00:54:00,200
Speaker 1: Sure? All right. This is our film advice segment where

956
00:54:00,200 --> 00:54:04,399
Speaker 1: we answer advice, you know, questions from you guys. We've

957
00:54:04,400 --> 00:54:08,680
Speaker 1: gotten so many great emails and voicemails and Millie, is

958
00:54:08,719 --> 00:54:10,439
Speaker 1: it okay if I play one for you right now?

959
00:54:10,600 --> 00:54:10,759
Speaker 2: Oh?

960
00:54:10,800 --> 00:54:11,320
Speaker 1: Voicemail?

961
00:54:11,880 --> 00:54:12,960
Speaker 2: Yes? Please?

962
00:54:13,920 --> 00:54:18,320
Speaker 4: Hey, Milli and Casey, this is Emily. I love your show.

963
00:54:18,440 --> 00:54:21,680
Speaker 4: I'm so glad that you're making it. You both make

964
00:54:21,760 --> 00:54:25,160
Speaker 4: me laugh every week and I love hearing you talk

965
00:54:25,160 --> 00:54:28,640
Speaker 4: about movies. So my question is, I was wondering if

966
00:54:28,680 --> 00:54:33,120
Speaker 4: you were stuck in a movie world for a week,

967
00:54:34,040 --> 00:54:36,560
Speaker 4: which movie world would you want to be stuck in

968
00:54:36,880 --> 00:54:42,359
Speaker 4: and why? For example, I love the movie Amily and

969
00:54:42,600 --> 00:54:45,759
Speaker 4: I would love to get just stuck in that beautiful,

970
00:54:45,800 --> 00:54:49,200
Speaker 4: wonderful world for a week. So that's mine. I was

971
00:54:49,239 --> 00:54:54,640
Speaker 4: wondering what yours would be. Thanks for everything, Bye, Emily.

972
00:54:54,760 --> 00:55:01,080
Speaker 1: A fabulous, fabulous question, Millie. Did anything pop into your

973
00:55:01,239 --> 00:55:04,200
Speaker 1: head listening to that?

974
00:55:05,640 --> 00:55:08,560
Speaker 2: Yeah? I mean this is like insane because I want

975
00:55:08,600 --> 00:55:10,240
Speaker 2: to be in so many different movies.

976
00:55:10,360 --> 00:55:13,120
Speaker 1: Yes, absolutely.

977
00:55:13,239 --> 00:55:15,440
Speaker 2: I mean it's like one day I want to be

978
00:55:16,200 --> 00:55:19,520
Speaker 2: in I don't know, like.

979
00:55:22,440 --> 00:55:27,120
Speaker 1: The Terminator mm hmm, and then one day driving the

980
00:55:27,320 --> 00:55:29,640
Speaker 1: La River with Arnold.

981
00:55:29,920 --> 00:55:31,279
Speaker 2: Yeah, and then one day I want to be in

982
00:55:31,320 --> 00:55:34,040
Speaker 2: like fucking Steel Magnolia's or something. I don't know. It's

983
00:55:34,080 --> 00:55:38,200
Speaker 2: just like every movies are always about the world to me,

984
00:55:38,440 --> 00:55:41,359
Speaker 2: Like I just the vibe of the world, the play,

985
00:55:41,480 --> 00:55:46,200
Speaker 2: the time and place, the costumes, everything. I mean, it's

986
00:55:46,239 --> 00:55:50,920
Speaker 2: funny because I we talked about wondkar why when I

987
00:55:51,080 --> 00:55:54,360
Speaker 2: was growing up in the late nineties in film like

988
00:55:54,400 --> 00:55:56,080
Speaker 2: I was in film school, and I was getting into

989
00:55:56,120 --> 00:55:58,759
Speaker 2: won Car. Why I just wanted to live in a

990
00:55:58,800 --> 00:56:02,279
Speaker 2: wankar why movie? Like, Yeah, I wanted to like live

991
00:56:02,320 --> 00:56:06,560
Speaker 2: in that shitty, weird apartment that Tony Long lives in

992
00:56:06,560 --> 00:56:10,000
Speaker 2: in Chunkin Express that's like underneath the staircase or whatever.

993
00:56:11,400 --> 00:56:14,359
Speaker 2: I was like, I want to work at you know,

994
00:56:15,520 --> 00:56:20,239
Speaker 2: Fey Wong's like little Deli or wherever she's working. And

995
00:56:20,320 --> 00:56:22,799
Speaker 2: it is like, depending on my mood, like one day,

996
00:56:22,840 --> 00:56:24,480
Speaker 2: I want to be in a shitty apartment, the next day,

997
00:56:24,480 --> 00:56:27,560
Speaker 2: I want to be in like, you know, wherever, like

998
00:56:27,640 --> 00:56:31,479
Speaker 2: a huge mansion with like or like in that Royal

999
00:56:31,520 --> 00:56:33,760
Speaker 2: Tenebaum's house or like you know whatever.

1000
00:56:33,800 --> 00:56:36,080
Speaker 1: I was thinking about the Royal Tenebom's House when they

1001
00:56:36,600 --> 00:56:39,919
Speaker 1: asked this question. Absolutely. I went and visited it one

1002
00:56:39,920 --> 00:56:41,440
Speaker 1: time when I was in New York, and then I

1003
00:56:41,440 --> 00:56:43,080
Speaker 1: looked at it. I was like, all right, there, it

1004
00:56:43,200 --> 00:56:43,880
Speaker 1: is time to go.

1005
00:56:44,480 --> 00:56:45,879
Speaker 2: It's a place to visit.

1006
00:56:45,920 --> 00:56:49,120
Speaker 1: There's an actual house. The exterior I checked out. I

1007
00:56:49,120 --> 00:56:49,920
Speaker 1: didn't go inside.

1008
00:56:50,200 --> 00:56:52,799
Speaker 2: Huh. I don't know. That's not an answer, sorry, but

1009
00:56:52,880 --> 00:56:56,040
Speaker 2: I just know it change, it changes by the minute.

1010
00:56:56,040 --> 00:56:57,080
Speaker 2: I think that's kind of mine.

1011
00:56:57,200 --> 00:57:01,480
Speaker 1: The mood, the weather can affect. What movie world you'd

1012
00:57:01,480 --> 00:57:05,359
Speaker 1: want to dive into. Yeah, I you know what. I

1013
00:57:05,480 --> 00:57:09,040
Speaker 1: was thinking about this question, and I feel like I

1014
00:57:09,120 --> 00:57:11,719
Speaker 1: watch movies sometimes and I'm like, I wish I had

1015
00:57:11,719 --> 00:57:15,520
Speaker 1: a restaurant like that in my town, or I wish

1016
00:57:15,600 --> 00:57:18,800
Speaker 1: there was a bar like that that I could go to,

1017
00:57:19,760 --> 00:57:24,520
Speaker 1: you know. And so I was thinking about Alan Rudolph's

1018
00:57:24,640 --> 00:57:28,600
Speaker 1: Choose Me. Oh, Yes, Eve's Lounge. There's a great bar

1019
00:57:28,680 --> 00:57:29,960
Speaker 1: in that movie, and I'm like, I want to go

1020
00:57:29,960 --> 00:57:32,320
Speaker 1: to Eve's Lounge. I want to hang out there. I

1021
00:57:32,320 --> 00:57:33,040
Speaker 1: want to be a regular.

1022
00:57:33,160 --> 00:57:35,480
Speaker 2: I want Jean Lerichett to like, serve you a drink.

1023
00:57:36,000 --> 00:57:38,720
Speaker 1: I want John Larrichette to lie to me and serve

1024
00:57:38,720 --> 00:57:43,200
Speaker 1: me a drink. And then I was thinking, I really

1025
00:57:43,280 --> 00:57:49,120
Speaker 1: like the movie Patterson by Jim Jarmusch, Yes, from twenty sixteen,

1026
00:57:49,920 --> 00:57:52,320
Speaker 1: and he goes to a bar every night and kind

1027
00:57:52,320 --> 00:57:55,760
Speaker 1: of has his buddies there, shades bar, plays chests with

1028
00:57:55,760 --> 00:57:57,800
Speaker 1: one of the guys there. I'm like, that seems great.

1029
00:57:57,880 --> 00:57:59,480
Speaker 1: I want to go there. I want to live in

1030
00:57:59,480 --> 00:58:03,400
Speaker 1: that world, you know. And then I was also thinking

1031
00:58:03,440 --> 00:58:06,800
Speaker 1: of the movie Adam mcgillian's Exotica from nineteen ninety four.

1032
00:58:07,120 --> 00:58:11,760
Speaker 1: The Exotica Club, be cool to go there? Anyways, those

1033
00:58:11,760 --> 00:58:14,760
Speaker 1: are some like I sort of like, was like restaurant

1034
00:58:14,800 --> 00:58:17,760
Speaker 1: and location specific places I wanted to go to, which

1035
00:58:17,760 --> 00:58:20,640
Speaker 1: world I would go in and how I would enter

1036
00:58:20,720 --> 00:58:22,960
Speaker 1: the world of those movies. So that was sorty.

1037
00:58:22,960 --> 00:58:24,800
Speaker 2: What about would you want to go have a drink

1038
00:58:24,840 --> 00:58:27,120
Speaker 2: at Big Tuna at Wild at Heart David Lynch as

1039
00:58:27,160 --> 00:58:30,600
Speaker 2: well The Heart, Dude, would you be out in the

1040
00:58:31,040 --> 00:58:33,960
Speaker 2: be out in the desert with Willem Dafoe's character, like

1041
00:58:34,000 --> 00:58:34,640
Speaker 2: having a beer?

1042
00:58:35,160 --> 00:58:36,760
Speaker 1: What's Willem Defoe's character his name?

1043
00:58:36,800 --> 00:58:36,920
Speaker 2: And that.

1044
00:58:38,520 --> 00:58:41,760
Speaker 1: I'd be too scared? Was the desert scares me? That's

1045
00:58:41,760 --> 00:58:44,160
Speaker 1: why that movie scares me. I don't like nothing good

1046
00:58:44,160 --> 00:58:45,000
Speaker 1: happens in the desert.

1047
00:58:45,680 --> 00:58:48,080
Speaker 2: Let me tell you right now. When I was in Marfa, Texas,

1048
00:58:48,160 --> 00:58:51,280
Speaker 2: which is one of my favorite places in America, but

1049
00:58:51,360 --> 00:58:56,080
Speaker 2: it is out we out there, it's out there. There

1050
00:58:56,160 --> 00:58:58,440
Speaker 2: was a place that I went to that was it

1051
00:58:58,520 --> 00:59:00,720
Speaker 2: was like an outdoor kind of bar that had you know,

1052
00:59:00,760 --> 00:59:03,160
Speaker 2: these like little Christmas lights that were going across the

1053
00:59:03,160 --> 00:59:06,000
Speaker 2: top of the poles and stuff, and it was very

1054
00:59:06,840 --> 00:59:11,920
Speaker 2: Big Tuna having a beer with Bobby Peru. I mean,

1055
00:59:11,960 --> 00:59:14,880
Speaker 2: it was and I was like, oh, I know exactly

1056
00:59:14,920 --> 00:59:22,560
Speaker 2: why scary people drink like this out here. That's we're

1057
00:59:22,560 --> 00:59:23,200
Speaker 2: all remote.

1058
00:59:24,000 --> 00:59:28,120
Speaker 3: Goodness gracious, even sometimes I want to go to what

1059
00:59:28,280 --> 00:59:31,080
Speaker 3: was that haberdashery place in The Hateful Eight that seemed

1060
00:59:31,080 --> 00:59:34,680
Speaker 3: like a cozy little venue when it wasn't overrun by criminals?

1061
00:59:34,840 --> 00:59:39,360
Speaker 1: You know you remember that place something Haberdashery? Uh, all right,

1062
00:59:39,400 --> 00:59:42,520
Speaker 1: great question, Emily, Thank you so much. I have a

1063
00:59:42,720 --> 00:59:44,400
Speaker 1: film gripe that I'm going to read to you here.

1064
00:59:44,560 --> 00:59:45,840
Speaker 2: Oh boy, boy.

1065
00:59:46,080 --> 00:59:50,280
Speaker 1: This is a good one. Okay, okay, Hi million casey.

1066
00:59:50,400 --> 00:59:52,280
Speaker 1: Several years ago, my sister and I went to our

1067
00:59:52,320 --> 00:59:54,960
Speaker 1: local cinema that has always had a fun lineup of movies.

1068
00:59:55,080 --> 00:59:57,360
Speaker 1: You want to see Diehard and Gremlins at Christmas time

1069
00:59:57,440 --> 00:59:59,919
Speaker 1: or attendant nineties boy band sing along This is where

1070
01:00:00,120 --> 01:00:03,040
Speaker 1: you go. We were seated at a two top table

1071
01:00:03,120 --> 01:00:05,960
Speaker 1: in the second row. Right as the lights went dark,

1072
01:00:06,320 --> 01:00:09,959
Speaker 1: a couple sat directly in front of us. They then

1073
01:00:10,480 --> 01:00:13,960
Speaker 1: proceeded to make out for the majority of the movie.

1074
01:00:14,600 --> 01:00:16,959
Speaker 1: Occasionally they would look back at us, who are trying

1075
01:00:17,000 --> 01:00:19,120
Speaker 1: desperately to ignore them, but of course we were looking

1076
01:00:19,120 --> 01:00:21,600
Speaker 1: at the screen, which means looking in their direction. It

1077
01:00:21,680 --> 01:00:24,680
Speaker 1: was so bizarre, especially because this couple were in their

1078
01:00:24,800 --> 01:00:28,440
Speaker 1: late twenties at least. So my gripe is, do not

1079
01:00:28,600 --> 01:00:31,120
Speaker 1: sit in front row of a theater and make out

1080
01:00:31,200 --> 01:00:33,880
Speaker 1: during a movie? And the movie we were watching Jim

1081
01:00:33,920 --> 01:00:38,720
Speaker 1: Henson's The Dark Crystal. Corey. Now, what's your stance on

1082
01:00:39,400 --> 01:00:42,880
Speaker 1: fooling around in the movie theater, Millie.

1083
01:00:43,000 --> 01:00:46,240
Speaker 2: I only think you should. Okay. First of all, I

1084
01:00:46,280 --> 01:00:48,920
Speaker 2: want to I want to preface by saying I feel

1085
01:00:48,920 --> 01:00:53,120
Speaker 2: like there are people who are deep nerves for The

1086
01:00:53,200 --> 01:00:58,600
Speaker 2: Dark Crystal, that they would somehow feel around Horney and

1087
01:00:58,760 --> 01:01:03,520
Speaker 2: horny for the the nerdy partners during The Dark Crystal.

1088
01:01:03,840 --> 01:01:06,480
Speaker 1: I'm not that fantastical puppet movies, but.

1089
01:01:07,200 --> 01:01:09,920
Speaker 2: Far from you know, far be it from me to

1090
01:01:10,000 --> 01:01:15,320
Speaker 2: like yuck yeall's yum. I suppose yeah. I mean, although

1091
01:01:15,360 --> 01:01:21,120
Speaker 2: I do think being hoarny during animatronics is kind of strange.

1092
01:01:21,120 --> 01:01:23,720
Speaker 2: But whatever, Like I said, I'm not judging, not judging.

1093
01:01:26,120 --> 01:01:31,480
Speaker 2: I feel like the only time you can, you know,

1094
01:01:32,600 --> 01:01:34,800
Speaker 2: make do a little makeout, sesshon, is if you're the

1095
01:01:34,800 --> 01:01:39,520
Speaker 2: only people in the movie theater, if you're watching Nosfaratu

1096
01:01:39,600 --> 01:01:41,640
Speaker 2: at ten thirty pm on a Sunday night and you're

1097
01:01:41,720 --> 01:01:43,320
Speaker 2: like in the second of the last row and there's

1098
01:01:43,360 --> 01:01:45,760
Speaker 2: literally nobody in the movie theater and you want to

1099
01:01:45,800 --> 01:01:48,840
Speaker 2: like make out. I was saying, make out. Don't maybe

1100
01:01:48,880 --> 01:01:53,960
Speaker 2: like first base? That's it? Nothing after first base?

1101
01:01:54,640 --> 01:01:56,760
Speaker 1: Well, you know, I don't know. I don't think it

1102
01:01:56,760 --> 01:01:58,640
Speaker 1: has to be an empty movie theater, but I do

1103
01:01:58,680 --> 01:02:00,560
Speaker 1: feel like you need to be in the back grow,

1104
01:02:01,040 --> 01:02:04,600
Speaker 1: you need to be out of like sightlines and not

1105
01:02:04,680 --> 01:02:07,520
Speaker 1: have anywhere near you. You know, I think it's.

1106
01:02:07,400 --> 01:02:10,480
Speaker 2: Gonna be empty. I don't like, like, I feel like

1107
01:02:10,800 --> 01:02:14,840
Speaker 2: making out like that in front of other people at

1108
01:02:14,880 --> 01:02:16,880
Speaker 2: all is weird. Like I'm just like, I don't know

1109
01:02:17,000 --> 01:02:19,280
Speaker 2: if you're really making how it's somebody you really want

1110
01:02:19,280 --> 01:02:21,280
Speaker 2: to do that, like even with like one or two

1111
01:02:21,320 --> 01:02:25,280
Speaker 2: other people. Plus if it's like another couple, then they

1112
01:02:25,280 --> 01:02:28,200
Speaker 2: start processing their own relationship and it's it becomes like

1113
01:02:28,200 --> 01:02:28,520
Speaker 2: a thing.

1114
01:02:28,560 --> 01:02:31,560
Speaker 1: Maybe like should we be making out in this theater.

1115
01:02:31,440 --> 01:02:34,160
Speaker 2: And maybe we haven't been doing this and that's why

1116
01:02:34,200 --> 01:02:36,200
Speaker 2: we don't like each other. Maybe we should divorce.

1117
01:02:36,840 --> 01:02:40,280
Speaker 1: Yeah, yeah, I mean it's a slippery slope. It's a

1118
01:02:40,280 --> 01:02:44,320
Speaker 1: slippery slope. So there's a Lamberto Bava movie from nineteen

1119
01:02:44,360 --> 01:02:47,200
Speaker 1: eighty five called Demons. I believe it's produced by Dario

1120
01:02:47,280 --> 01:02:49,720
Speaker 1: Argento or was written by Dario Argento. Have you seen

1121
01:02:49,760 --> 01:02:50,200
Speaker 1: this movie?

1122
01:02:50,360 --> 01:02:50,480
Speaker 3: Uh?

1123
01:02:50,600 --> 01:02:53,080
Speaker 2: Yeah, I think I have the Blu Ray. It's also

1124
01:02:53,120 --> 01:02:53,840
Speaker 2: on two b I.

1125
01:02:54,560 --> 01:02:59,640
Speaker 1: Okay. There is a scene where a woman and a

1126
01:02:59,680 --> 01:03:01,600
Speaker 1: man go to a movie theater and the man is

1127
01:03:01,680 --> 01:03:04,800
Speaker 1: blind and the woman is having an affair with a

1128
01:03:04,920 --> 01:03:08,440
Speaker 1: different guy, and they're making out in the theater next

1129
01:03:08,680 --> 01:03:13,640
Speaker 1: to the blind husband and he's He's like, what's going on?

1130
01:03:13,760 --> 01:03:16,840
Speaker 1: I can hear moving? What's happening here? And that move

1131
01:03:16,960 --> 01:03:19,400
Speaker 1: that scene is sort of ingrained in my brain. I

1132
01:03:19,400 --> 01:03:21,120
Speaker 1: don't really have a point to bring up that that.

1133
01:03:21,200 --> 01:03:25,600
Speaker 1: I just enjoyed that. That's a common reference for Tricia,

1134
01:03:25,640 --> 01:03:27,320
Speaker 1: and that's that scene.

1135
01:03:27,480 --> 01:03:32,120
Speaker 2: That's my life basically. Maybe everybody's making out with each

1136
01:03:32,120 --> 01:03:33,760
Speaker 2: other and what's going on? How come?

1137
01:03:34,520 --> 01:03:37,320
Speaker 1: Yeah, that is worthless.

1138
01:03:37,360 --> 01:03:41,760
Speaker 2: I forgot about that scene entirely. But so you think

1139
01:03:41,880 --> 01:03:45,680
Speaker 2: I'm just gonna reiterate this point. You think it's okay

1140
01:03:45,720 --> 01:03:49,240
Speaker 2: to make out with someone with other people in the

1141
01:03:49,240 --> 01:03:50,080
Speaker 2: movie here.

1142
01:03:50,280 --> 01:03:53,920
Speaker 1: I do go in the back row. That's what I think.

1143
01:03:54,680 --> 01:03:59,520
Speaker 2: I'm gonna say. Absolutely, it must be just the two

1144
01:03:59,520 --> 01:04:01,200
Speaker 2: of you or three of you, I don't know whatever,

1145
01:04:01,560 --> 01:04:05,400
Speaker 2: but just everybody in your party. That's that's who's the

1146
01:04:05,400 --> 01:04:07,480
Speaker 2: only people in the theater. That's when you can make

1147
01:04:07,520 --> 01:04:08,200
Speaker 2: out in my mind.

1148
01:04:08,200 --> 01:04:09,800
Speaker 1: Okay, well what I think we have a differing of

1149
01:04:09,840 --> 01:04:11,640
Speaker 1: opinion here. But you know, in.

1150
01:04:11,880 --> 01:04:14,280
Speaker 2: Terms of the movie the Dark Crystal.

1151
01:04:13,920 --> 01:04:19,720
Speaker 1: Again again that is sus I'm a little turned off

1152
01:04:19,760 --> 01:04:20,320
Speaker 1: by that.

1153
01:04:20,160 --> 01:04:22,200
Speaker 2: Now, it wouldn't be me, wouldn't.

1154
01:04:21,800 --> 01:04:27,280
Speaker 1: Be met Yeah, it doesn't get me hot and heavy. Fabulous. Well,

1155
01:04:27,360 --> 01:04:32,440
Speaker 1: that was our film advice section. I hope we were

1156
01:04:32,520 --> 01:04:35,920
Speaker 1: helpful to you. If anybody has any questions for us,

1157
01:04:36,280 --> 01:04:39,000
Speaker 1: wants to seek our advice, email us at Dear Movies

1158
01:04:39,040 --> 01:04:42,560
Speaker 1: at exactly rightmedia dot com or send in a voicemail.

1159
01:04:43,560 --> 01:04:46,439
Speaker 1: We love voicemail. Also, really, I really hope people try

1160
01:04:46,440 --> 01:04:49,760
Speaker 1: the Bradley Cooper Philly cheese steak and send us a

1161
01:04:49,840 --> 01:04:51,120
Speaker 1: voicemail about it.

1162
01:04:51,920 --> 01:04:53,680
Speaker 2: I can send us a cheese steak, how about that?

1163
01:04:53,880 --> 01:04:57,919
Speaker 1: Or send us a cheese steak even better? All right,

1164
01:04:58,080 --> 01:05:02,320
Speaker 1: moving on to our employees picks. This is our recommendations

1165
01:05:02,360 --> 01:05:06,840
Speaker 1: based on our discussion today. Milly, what do you got?

1166
01:05:07,120 --> 01:05:09,680
Speaker 2: Well, I'm just gonna tell you this is so boring,

1167
01:05:10,960 --> 01:05:13,040
Speaker 2: but I'm gonna tell people to watch if beal Street

1168
01:05:13,040 --> 01:05:16,760
Speaker 2: could talk. I mean, it's like it's well boring in

1169
01:05:16,800 --> 01:05:19,480
Speaker 2: the context that I just talked about it, but you know,

1170
01:05:19,560 --> 01:05:28,200
Speaker 2: like I was devastated, as you have just heard. The

1171
01:05:28,280 --> 01:05:32,800
Speaker 2: two people who play the couple in this movie, Kiki

1172
01:05:32,880 --> 01:05:37,600
Speaker 2: Lane and Stephen James, are beautiful. They have a beautiful

1173
01:05:37,680 --> 01:05:41,400
Speaker 2: love for each other in this film that's so tender

1174
01:05:42,080 --> 01:05:47,720
Speaker 2: and adorable. I'm crying just thinking about it. Brian Tyree

1175
01:05:47,800 --> 01:05:52,120
Speaker 2: Henry is in this movie. Who's a fantastic actor by

1176
01:05:52,160 --> 01:05:56,520
Speaker 2: the way, from Atlanta if you remember the show Atlanta. Yes,

1177
01:05:56,600 --> 01:06:00,200
Speaker 2: Regina King, the Queen Regina King. I think I to

1178
01:06:00,200 --> 01:06:03,520
Speaker 2: say absolutely firing out all cylinders in this movie. And

1179
01:06:03,520 --> 01:06:05,280
Speaker 2: then who I love Coleman?

1180
01:06:05,280 --> 01:06:06,560
Speaker 1: Who wanted an oscar for that movie?

1181
01:06:06,600 --> 01:06:09,200
Speaker 2: She? Yes, she did? And who I love Coleman Domingo

1182
01:06:10,720 --> 01:06:13,000
Speaker 2: whom again. I don't know if we talked about this.

1183
01:06:13,400 --> 01:06:14,720
Speaker 2: It feels like we might have brought it up in

1184
01:06:14,720 --> 01:06:16,880
Speaker 2: an episode about how he met the love of his

1185
01:06:16,920 --> 01:06:19,080
Speaker 2: life on Craigslist misconnections.

1186
01:06:19,440 --> 01:06:21,280
Speaker 1: I don't know that. Maybe that was brought up on

1187
01:06:21,280 --> 01:06:22,880
Speaker 1: this show. I didn't know that though you did.

1188
01:06:23,000 --> 01:06:26,080
Speaker 2: Yeah, okay, maybe we talked about it. Maybe we didn't,

1189
01:06:26,280 --> 01:06:32,280
Speaker 2: but that was going on on TikTok about how basically

1190
01:06:32,400 --> 01:06:38,640
Speaker 2: he met his partner on he's in a Craigslist misconnection.

1191
01:06:39,920 --> 01:06:41,080
Speaker 1: How does that even happen?

1192
01:06:42,000 --> 01:06:44,760
Speaker 2: Yeah, in two thousand and five. This is again two

1193
01:06:44,760 --> 01:06:47,720
Speaker 2: thousand and five, like twenty years ago. And because I

1194
01:06:47,840 --> 01:06:50,120
Speaker 2: was like, you know, I used to love those misconnections,

1195
01:06:50,200 --> 01:06:52,560
Speaker 2: because I was always like, is somebody reading about me?

1196
01:06:54,960 --> 01:06:57,840
Speaker 2: But I was like, I don't know anybody that's ever

1197
01:06:57,960 --> 01:06:59,080
Speaker 2: met from a misconnection.

1198
01:06:59,520 --> 01:07:00,000
Speaker 1: No.

1199
01:07:00,120 --> 01:07:03,480
Speaker 2: Ever, so the idea that this guy had it worked

1200
01:07:03,480 --> 01:07:05,040
Speaker 2: for him is fantastic to me.

1201
01:07:05,600 --> 01:07:13,080
Speaker 1: Fabulous fabulous. Okay, so my recommendation follow me here. I

1202
01:07:13,120 --> 01:07:17,320
Speaker 1: wanted to do a film about San Francisco that's low budget,

1203
01:07:17,640 --> 01:07:22,720
Speaker 1: that is about the changing face of the city. And

1204
01:07:23,040 --> 01:07:25,560
Speaker 1: one of my favorite movies of all time is a

1205
01:07:25,640 --> 01:07:30,400
Speaker 1: movie called Chan Is Missing from nineteen eighty two, directed

1206
01:07:30,400 --> 01:07:34,720
Speaker 1: by Wayne Wange. It was also made low budget film,

1207
01:07:34,880 --> 01:07:39,920
Speaker 1: low budget film, but it is about these two guys

1208
01:07:40,000 --> 01:07:43,520
Speaker 1: who are looking for this guy Chan because one of

1209
01:07:43,560 --> 01:07:47,200
Speaker 1: the guys lent him money to get a taxi cab

1210
01:07:47,320 --> 01:07:52,560
Speaker 1: license and Chan disappears, and basically these two Asian men

1211
01:07:52,720 --> 01:07:58,920
Speaker 1: are wandering around San Francisco, much like Medicine for Melancholy,

1212
01:07:59,160 --> 01:08:03,320
Speaker 1: Looking for and a lot of the movie is just

1213
01:08:03,360 --> 01:08:06,640
Speaker 1: sort of about, you know, the Chinese population there, the

1214
01:08:06,680 --> 01:08:11,000
Speaker 1: Asian the overall Asian population and their place in the

1215
01:08:11,040 --> 01:08:17,240
Speaker 1: city and sort of what people think of the Chinese

1216
01:08:17,439 --> 01:08:21,840
Speaker 1: in San Francisco. And it's an incredible film. It's a

1217
01:08:21,880 --> 01:08:25,120
Speaker 1: funny film and it's just great. I love it. It's

1218
01:08:25,120 --> 01:08:29,000
Speaker 1: in black and white. It's one of my favorite movies

1219
01:08:29,280 --> 01:08:31,679
Speaker 1: and you should all check it out. Chan is Missing.

1220
01:08:32,520 --> 01:08:36,280
Speaker 2: Yes, love Wayne Wang. He looked so cool in the eighties.

1221
01:08:36,320 --> 01:08:38,240
Speaker 2: By the way, if you ever see old pictures of

1222
01:08:38,280 --> 01:08:40,400
Speaker 2: Wayne Wang, he looks so amazing.

1223
01:08:40,960 --> 01:08:44,280
Speaker 1: If you see even his Wikipedia picture, he looks incredible.

1224
01:08:44,320 --> 01:08:47,120
Speaker 1: He's got these cool glasses, he's got cool hair. He

1225
01:08:47,160 --> 01:08:48,719
Speaker 1: looks amazing. No, he's awesome.

1226
01:08:48,760 --> 01:08:51,639
Speaker 2: I think Chan's Missing is on Criterion right. Oh.

1227
01:08:51,680 --> 01:08:52,439
Speaker 1: I actually don't know.

1228
01:08:52,880 --> 01:08:54,560
Speaker 2: I feel like it might be, or maybe it was

1229
01:08:54,600 --> 01:08:55,200
Speaker 2: on the channel.

1230
01:08:55,240 --> 01:08:56,760
Speaker 1: I feel like there might be he might have been

1231
01:08:56,800 --> 01:08:59,439
Speaker 1: on the channel. But Chan is missing. It's so fun

1232
01:09:00,160 --> 01:09:03,599
Speaker 1: and it's great. I love it, and you really get

1233
01:09:03,600 --> 01:09:04,200
Speaker 1: to see San Francis.

1234
01:09:04,240 --> 01:09:05,559
Speaker 2: It's a blue ray. It's a blue ray.

1235
01:09:06,040 --> 01:09:12,920
Speaker 1: Great, great, checkout Chan is missing. Alrighty well that's us, Millie.

1236
01:09:12,960 --> 01:09:16,400
Speaker 1: We did it again. We recorded another episode of this show.

1237
01:09:16,760 --> 01:09:19,679
Speaker 2: Yes, we did well. Next week we have another great

1238
01:09:19,680 --> 01:09:21,760
Speaker 2: show for you. We are going to talk about one

1239
01:09:21,760 --> 01:09:30,000
Speaker 2: of my passions, passion, which is uh smoking in the movies.

1240
01:09:31,880 --> 01:09:34,800
Speaker 1: I thought you were going to say your passion was

1241
01:09:34,800 --> 01:09:37,639
Speaker 1: because we're talking about the Samurai from nineteen sixty seven

1242
01:09:38,240 --> 01:09:40,800
Speaker 1: starring a lend A Lawn and I seem to see

1243
01:09:40,840 --> 01:09:44,880
Speaker 1: a large human sized cutout of a Lendo Lawn the

1244
01:09:44,960 --> 01:09:48,120
Speaker 1: star of Les Samrae in the background of your zoom.

1245
01:09:48,200 --> 01:09:50,879
Speaker 1: Oh yeah, so I that might be another passion.

1246
01:09:51,000 --> 01:09:54,080
Speaker 2: Oh it's simply a passion. I'm just saying. I actually

1247
01:09:54,400 --> 01:10:00,360
Speaker 2: my double passion, my absolute bone breaking, orgasmic experien spence,

1248
01:10:00,479 --> 01:10:04,400
Speaker 2: is a lend Along smoking. But yes, I do have

1249
01:10:04,439 --> 01:10:07,080
Speaker 2: a kind of a cardboard cutout of him from Rocko

1250
01:10:07,160 --> 01:10:09,719
Speaker 2: and his Brothers that I stole from Turner Classic Movies

1251
01:10:10,080 --> 01:10:11,320
Speaker 2: before I got laid off.

1252
01:10:11,360 --> 01:10:13,679
Speaker 1: So no one deserves it more than.

1253
01:10:13,640 --> 01:10:16,679
Speaker 2: No fuck, no fuck that you think any of those

1254
01:10:16,800 --> 01:10:20,840
Speaker 2: fools deserve that shit. I can't wait to talk about

1255
01:10:20,920 --> 01:10:23,680
Speaker 2: this topic because I feel like you and I have

1256
01:10:24,000 --> 01:10:28,440
Speaker 2: kind of danced around are uh our sort of fascination

1257
01:10:28,600 --> 01:10:31,519
Speaker 2: with with cigarette smoking in the movies, so we got

1258
01:10:31,520 --> 01:10:32,360
Speaker 2: to talk about it, go.

1259
01:10:32,400 --> 01:10:36,040
Speaker 1: Real hard, much like a pack of cigarettes. Will put

1260
01:10:36,040 --> 01:10:39,479
Speaker 1: a warning at the top of the episode, do not

1261
01:10:39,600 --> 01:10:43,360
Speaker 1: promote smoking but uh or we.

1262
01:10:43,360 --> 01:10:48,479
Speaker 2: Would never promote it publicly. How about that? Yes, but

1263
01:10:49,400 --> 01:10:52,960
Speaker 2: listen if you want to email us for any reason

1264
01:10:53,760 --> 01:10:58,160
Speaker 2: film advice, if you have a gripe right in at

1265
01:10:58,200 --> 01:11:00,960
Speaker 2: Deer Movies that exactly right media dot com. You can

1266
01:11:01,040 --> 01:11:04,840
Speaker 2: also leave a voicemail. So what you do is just

1267
01:11:04,920 --> 01:11:07,879
Speaker 2: record a voicemail on your phone, on your like notesap

1268
01:11:07,960 --> 01:11:11,160
Speaker 2: or whatever, make sure it's under a minute, and email

1269
01:11:11,200 --> 01:11:14,120
Speaker 2: it to that address Dear Movies at exactly rightmedia dot com.

1270
01:11:14,880 --> 01:11:17,800
Speaker 1: That's right, And please follow us on our socials at

1271
01:11:17,840 --> 01:11:22,200
Speaker 1: Dear Movies I Love You on Instagram and Facebook. Our

1272
01:11:22,439 --> 01:11:27,959
Speaker 1: individual letterbox handles are Casey, le O'Brien and m de Cheriico.

1273
01:11:28,800 --> 01:11:31,960
Speaker 1: And please listen to Dear Movies, I Love You on

1274
01:11:32,000 --> 01:11:37,800
Speaker 1: the iHeartRadio app, Apple Podcasts or wherever you get your podcasts.

1275
01:11:38,000 --> 01:11:42,639
Speaker 2: Well, Casey, congratulations on another great show.

1276
01:11:43,280 --> 01:11:45,320
Speaker 1: Thank you right back at you, Millie.

1277
01:11:45,560 --> 01:11:48,160
Speaker 2: Yes, see you guys next time.

1278
01:11:49,520 --> 01:11:49,920
Speaker 1: Bye.

1279
01:11:52,439 --> 01:11:55,600
Speaker 2: This has been an Exactly Right production hosted by me

1280
01:11:56,040 --> 01:11:59,639
Speaker 2: Millie to Cherico and produced by my co host Casey O'Brien.

1281
01:11:59,800 --> 01:12:03,679
Speaker 1: This episode was mixed by Tom Bryfogel. Our associate producer

1282
01:12:03,720 --> 01:12:07,080
Speaker 1: is Christina Chamberlain, our guest booker is Patrick Cottner, and

1283
01:12:07,120 --> 01:12:09,000
Speaker 1: our artwork is by Vanessa Lilac.

1284
01:12:09,160 --> 01:12:12,080
Speaker 2: Our incredible theme music is by the best man in

1285
01:12:12,120 --> 01:12:13,960
Speaker 2: the entire world, The Softies.

1286
01:12:14,240 --> 01:12:18,160
Speaker 1: Thank you to our executive producers Karen Kilgareff, Georgia Hartstark,

1287
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Speaker 1: Daniel Kramer and Millie to Jerico, We love you.

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Speaker 2: Goodbye Beker