Speaker 1: Welcome to Movie Crush, a production of I Heart Radio. Hey, everybody,
Speaker 1: Welcome to Movie Crush. Friday, Casey a Dish, Casey and
Speaker 1: his Ridiculous history t shirts, sucking up to knowl Yeah
Speaker 1: about that. Like, I end up wearing this on an
Speaker 1: inordinate amount of like remote podcast recordings where there's a camera,
Speaker 1: just because this is one of the more comfy T
Speaker 1: shirts I have around at the moment um, and I'm
Speaker 1: always self conscious about it. But then I'm always going
Speaker 1: for comfort over wanting to, you know, not choose something
Speaker 1: that's so on brand. But there you have, right, Well,
Speaker 1: I'll tell NOL. I'll pass it along that your comfy
Speaker 1: as shirt is his. Well it's not his face, but
Speaker 1: I guess rescuing face. Yeah, it's rescuing wrapped up on
Speaker 1: your body. How you doing? You know, I'm doing Okay.
Speaker 1: I'm just kind of sick of, you know, being at
Speaker 1: home all the time. But that's everybody's, uh state of
Speaker 1: affairs if they're lucky enough to be able to stay home,
Speaker 1: so I can't complain too much. But yeah, I mean,
Speaker 1: I'm just eager to kind of, I don't know, be
Speaker 1: in the world again. I hear you me too, buddy.
Speaker 1: I appreciate these hangs with you that that makes life
Speaker 1: a bit more worth living, it really does it. Really, Um,
Speaker 1: you get that sense of connection back a little bit,
Speaker 1: which is super important. You know. Actually I saw you
Speaker 1: one time since this all started. We didn't we didn't speak,
Speaker 1: but I had to run by the office for something,
Speaker 1: and you happen to be in the studio, um, probably
Speaker 1: doing something remotely, and I was gonna like tap on
Speaker 1: the window, but I think you guys were actually like
Speaker 1: actively recording, so I just kind of kept it moving.
Speaker 1: But that's funny. I've been in there a couple of
Speaker 1: times and heard you know, the exit door is right
Speaker 1: there next door studio. I've heard that door open and shut,
Speaker 1: which is a little eerie. When it's you know, the
Speaker 1: walking dead town. You hear a door open and you're like,
Speaker 1: who is that? No. I'm always like when I'm going
Speaker 1: in the office now, which is not frequent, you know,
Speaker 1: once in every few weeks at most, but um, it
Speaker 1: is always sort of like, is somebody else here? Somebody
Speaker 1: gonna come come around the corner and scare the crap
Speaker 1: out of me? Well, uh, we're all masking up in there,
Speaker 1: and unless like there's nobody there, but if there's been
Speaker 1: a couple of times there's been like like Ben came
Speaker 1: by when I was in there the other day, and uh,
Speaker 1: ironically Ben's desk out of that huge office is the
Speaker 1: one closest to mine, which is probably like ten ft um.
Speaker 1: But yeah, Ben had a mask on and I had
Speaker 1: a mask on, and I was like, all right, good
Speaker 1: to see you. I'm going in the studio. Yeah. Yeah,
Speaker 1: it's weird. I mean that the social interactions now where
Speaker 1: there's like this low level like I kind of wish
Speaker 1: this other person wasn't here. H It's very very strange,
Speaker 1: but I've definitely gotten it where like I'm just walking
Speaker 1: around my building or something, and you know, you passed
Speaker 1: by somebody in the hallway and you have that moment
Speaker 1: of like I kind of wish, you know, if I
Speaker 1: don't know my mask with me or something. Yeah, there's
Speaker 1: like another person. There's an obstacle. Yeah, I went to
Speaker 1: get I was getting on the elevator. I had called
Speaker 1: the elevator at work and it opened and right when
Speaker 1: it dinged, I went to step on and this guy
Speaker 1: can kind of hustling up behind me, and I was like,
Speaker 1: go ahead, dude, I'm not getting on a fucking elevator
Speaker 1: with anybody. I'm not in that big of a hurry. Yeah, no,
Speaker 1: not at all. Well, but than that, I mean, I'm
Speaker 1: I'm having a good time. It's just um. Yeah. Like
Speaker 1: I said, I don't know, I missed going to the movies,
Speaker 1: and that's that's a big thing to kidding. I miss
Speaker 1: live music. Yeah yeah, oh and this is that's live music.
Speaker 1: See me the last thing, Casey, I know they're they're
Speaker 1: getting Do you see Gray White play the show? No?
Speaker 1: Who's that great White? This is an awful story. Why
Speaker 1: does the band that back in the two battle band?
Speaker 1: Yeah yeah, the one that played the show with the
Speaker 1: pyrotechnics and spire started like a hundred people died. They're
Speaker 1: playing a coronavirus show, are they? Well? I figured we
Speaker 1: we blasted people up. Yeah all right, dude, so you
Speaker 1: were here to your next movie pick was The two thousand.
Speaker 1: Hard to believe this movie is twenty years old, but
Speaker 1: the two thousand uh sibling indeed drama you can count
Speaker 1: on me From writer director playwright Kenneth Law Again, although
Speaker 1: this was not a play first, I believe this was
Speaker 1: just his first abbot of movie, right. I think he
Speaker 1: had written he had written some screenplays before this, like exactly. Yeah,
Speaker 1: And I'm sure he probably did script doctor and maybe
Speaker 1: sold some more that that we haven't heard about. Um,
Speaker 1: but this is certainly his first one as like writer
Speaker 1: direct here, you know, writing something that he himself wanted
Speaker 1: to put up on screen. Yeah. I read a little
Speaker 1: bit with him yesterday. He wrote, analyzed this and he
Speaker 1: wrote the Rocky and Bullwinkle movie, and uh, I think
Speaker 1: it was like a ten years on sort of piece
Speaker 1: and you can count on me, which those are always
Speaker 1: kind of fun to read, like retrospectives. But he said, yeah,
Speaker 1: he said, you know, I made my name sort of
Speaker 1: writing those movies that We're fine, but this is clearly
Speaker 1: when I got a chance to direct my own film.
Speaker 1: This is way more of my speed. Uh. And the
Speaker 1: he said, the initial idea just came to him very simply,
Speaker 1: which was, what about a story of two siblings where
Speaker 1: one is kind of a consummate funk up and one
Speaker 1: is always worried about him and they and they were
Speaker 1: orphaned when every young. And that's one of the things
Speaker 1: I love so much about this movie, and it's one
Speaker 1: of my favorite films. The first time I saw this
Speaker 1: movie in the theater twenty years ago, Uh, it resonated
Speaker 1: with me a lot because I talked about my brother
Speaker 1: a lot. But I have an older sister who's six
Speaker 1: years older than me, and we are very close as well.
Speaker 1: And I was always sort of the black sheep of
Speaker 1: the family, and I was the wanderer all over the country,
Speaker 1: and I never had a job that was not waiting
Speaker 1: tables or something, and everyone was always like, what's chucking
Speaker 1: to do? What's where is he going to end up?
Speaker 1: And low level worried. I wasn't getting in bar fights
Speaker 1: and thrown in jail, but you know, bopping around the
Speaker 1: country smoking weed and like just living my best life,
Speaker 1: which is not what they were doing. And she was
Speaker 1: one of those that got married young were young to me,
Speaker 1: you know, in her early twenties to our high school
Speaker 1: sweetheart and um, great dude that he's awesome and they're
Speaker 1: still married, but just different paths in life. So this
Speaker 1: movie really really resonated with me as uh, like I'm
Speaker 1: kind of him and she's kind of my sister, Michelle.
Speaker 1: It's a very very special movie to me. Absolutely the
Speaker 1: same with me. Um, I found myself watch it, you know,
Speaker 1: for the first time in a number of years last night,
Speaker 1: and it was it was just interesting. I mean we
Speaker 1: talked about this a lot on this show, with movies
Speaker 1: that I've seen maybe twenty years ago and then I'm
Speaker 1: seeing again now, although I have seen them in the
Speaker 1: years in between, but there's just something about the shift
Speaker 1: in perspective, and I felt like this time I could
Speaker 1: I could basically see everybody's side of it much more clearly,
Speaker 1: whereas before I was maybe a little bit more like,
Speaker 1: even though he's a funk up, I was still on
Speaker 1: you know, uh, what's yeah, Terry's Terry side of things, Like,
Speaker 1: you know, it's just like and the guy's cool, just
Speaker 1: give him a break, you know, And watching it last night,
Speaker 1: it was really like, No, he really does like he's
Speaker 1: kind of a he's kind of a trainer w reckon
Speaker 1: and he needs to pull it together and he is
Speaker 1: actually hurting people around him, so it's not as if
Speaker 1: it's just his own trip that he's on. But um,
Speaker 1: especially like his girlfriend is pregnant, that that whole part
Speaker 1: hit a lot heavier to me. Um, the way that
Speaker 1: he's clearly almost kind of running out on her in
Speaker 1: a way at least he's tempted to. First seen with
Speaker 1: him is really tough. Yeah yeah, and and just so
Speaker 1: well played. And this was the first time I had
Speaker 1: seen Mark Ruffalo, who, as I think, as the stuff
Speaker 1: you should Know listener. He tweeted out an episode of
Speaker 1: ours once, the Trail of Tears episode, and I got
Speaker 1: no further confirmation of anything, but I think he listens
Speaker 1: to stuff you should Know, which made me super super ou.
Speaker 1: Oh man, that's so cool, that's really great. I'd like
Speaker 1: to get him on this show. Yeah, yeah, killer, yeah,
Speaker 1: But I don't, I don't. I didn't look up his filmography.
Speaker 1: Do you know if this was his first role, it's
Speaker 1: like his breakout role. So he'd been some stuff up
Speaker 1: to then, but I don't think. I don't know if
Speaker 1: you necessarily had any leading roles, and he certainly hadn't
Speaker 1: had anything where, you know, he felt like he could
Speaker 1: fully embrace the material and become that character and and
Speaker 1: really give it like a thousand percent the way he
Speaker 1: does in this film. So this is definitely like a
Speaker 1: big breakthrough for him. Yeah, he's so great, and that
Speaker 1: the acting, I mean, Laura Lenny so good, it's so yeah, man,
Speaker 1: I'm just in love with her. She's as an artist,
Speaker 1: she's uh, she's one of those people that and she's
Speaker 1: so well cast in this and I think Ozark because
Speaker 1: of this quality, which is the warmest human you could
Speaker 1: imagine and the warmest smile. But there's also this thing
Speaker 1: where she's not to be trifled with and she's not
Speaker 1: to be fucked with a little bit. Oh yeah, and
Speaker 1: that's a that's a tough one, too punch to pull off.
Speaker 1: I think absolutely. Yeah, she she remains very warm and
Speaker 1: open and sympathetic, but at the same time, you don't
Speaker 1: want to cross her, and she's going to call you
Speaker 1: on your bs, so you better be on top of things. Yeah. Yeah.
Speaker 1: That scene later in the movie when Matthew Brodrick is
Speaker 1: essentially trying to fire her, and we'll get into all
Speaker 1: this stuff, but I love that because I remember the
Speaker 1: first time I even saw it thinking, oh, dude, don't
Speaker 1: do it, because you just had an affair with her
Speaker 1: and she could fucking take you down. Yeah. Not smart,
Speaker 1: he's he's he's very um. He's great in this too. Yeah.
Speaker 1: Matthew Broder. I love Matthew Broder, whose apparently he's um
Speaker 1: Kenneth Lanagan and he have known each other since they
Speaker 1: were like fifteen. Um they go way back and UM
Speaker 1: yeah yeah, they're like they went to the same school
Speaker 1: and um the school actually that they both went to, um,
Speaker 1: which I think we're sort of talking about making this
Speaker 1: a little mini directors series. Is that correct? Uh? Yeah,
Speaker 1: so we'll do Margaret Manchester by the Sea and then
Speaker 1: that'll be I haven't seen either one of those, No kidding,
Speaker 1: why did I see Margaret? Who was Margaret? Uh Anna
Speaker 1: Paquin is the is the lead and Margaret nothing in
Speaker 1: either one of those. And I avoided Manchester by the
Speaker 1: Sea on purpose because I knew it was such a downer,
Speaker 1: and uh, I was like, yeah, I'm gonna get to it.
Speaker 1: I'm gonna get to it, and then never got to it.
Speaker 1: Watching watching this again, it was it was definitely like, oh,
Speaker 1: this is almost like a companion film to Manchester by
Speaker 1: the Sea in a way. I mean, all his films
Speaker 1: center or own kind of prominent deaths and then the
Speaker 1: fallout the effect that that has on on the characters
Speaker 1: that are left alive. But um, definitely that one is
Speaker 1: in a in a heavier register than than this one,
Speaker 1: which remains a little more comic and light at times,
Speaker 1: even if beneath the surface there's there's real stuff, heavy
Speaker 1: stuff going on. Um Manchester by the Sea is a
Speaker 1: little bit more self consciously like bergman esque or something
Speaker 1: where it is kind of like pretty dark, and there's
Speaker 1: a lot of humor in it too, but no, no
Speaker 1: question a darker film. And Margaret, I want to say,
Speaker 1: is a little bit more of a blend of the two.
Speaker 1: Margaret has a more kind of expansive view of the world,
Speaker 1: even though it is still based on this one central character.
Speaker 1: There's so many like peripheral characters and they all kind
Speaker 1: of get their their moment to shine anyway. We'll we'll
Speaker 1: talk about that when we get to it. So but
Speaker 1: the thing that I the reason I brought up Margaret was, um,
Speaker 1: Matthew Broderick and Kenneth Lanagan went to the same kind
Speaker 1: of like prep school together, and there's a prep school
Speaker 1: and Margaret that is basically there see in that film
Speaker 1: that he's writing with his recollection of like class discussions
Speaker 1: and arguments and so on that happened to them when
Speaker 1: they were in school. And now is is he in
Speaker 1: either one of those? Because he plays the Priest in
Speaker 1: this movie. He's in both. Yeah, it's a great effect.
Speaker 1: I think him, he's he's very understated in this role.
Speaker 1: It's great, doesn't require some huge range, but uh, he's
Speaker 1: just so kind of perfectly played. I think now he's great.
Speaker 1: I love his his his character as the as the priest. Um,
Speaker 1: you get the feeling he has a crush on on Sammy. Yeah,
Speaker 1: and he seems he seems a little spaced out. He
Speaker 1: seems a little bit like he could be a stoner
Speaker 1: or something, or or maybe he just comes by that
Speaker 1: disposition naturally, you know, because he's he's very much like
Speaker 1: he he is so opposite the whole black and white,
Speaker 1: you know, good and bad sort of evaluation. He's not
Speaker 1: a fire and brimstone guy. He's like, uh, yeah, what
Speaker 1: do you think? You know, it's a little bit of
Speaker 1: this is a little bit of that. I can't really
Speaker 1: tell you the right answer, but you know, do with
Speaker 1: it what you will. And I'm trying to have to
Speaker 1: hurt anybody. That's that's about it. Ideal priests. Yeah, yeah,
Speaker 1: you know, it's like almost like a therapist really, you
Speaker 1: know for the town. Yeah. Absolutely, And that scene is
Speaker 1: great too, when she h when Sammy calls him in basically,
Speaker 1: and Terry is just so fucking pissed and it's just
Speaker 1: boiling beneath the surface. But there was also this, um
Speaker 1: there's so many layers, I think, to so many of
Speaker 1: these scenes, Like he was upset, but the way that
Speaker 1: the priest was challenging him was working and you could
Speaker 1: tell and that kind of made him a very sincere answer.
Speaker 1: Once once he kind of cracks that armor. Yeah. The
Speaker 1: the one thing that especially watching this last night and
Speaker 1: then watching it again immediately after with with the Lanagan
Speaker 1: commentary on the DVD, UM you you quickly realized that
Speaker 1: all these scenes have multiple layers happening at the same time.
Speaker 1: And Lanagan talks a lot about how in terms of
Speaker 1: writing the dialogue, like you really enjoys writing dialogue, but
Speaker 1: at the same time, on a certain level, the words
Speaker 1: are not what it's what is important. What's important is
Speaker 1: what the scene is quote unquote really about, and all
Speaker 1: the sort of behavioral stuff that's happening parallel to the dialogue.
Speaker 1: So you know, if somebody's telling a story, they were
Speaker 1: having a conversation about their day, it could just as
Speaker 1: easily be something different. Happened to them in their day.
Speaker 1: But it's more about how much is this character really
Speaker 1: listening to this other character? Is there something else on
Speaker 1: their mind? Um? Is there something that they're trying to
Speaker 1: get out of this interaction that's going on? Said and
Speaker 1: and but we as the audience are kind of becoming
Speaker 1: aware of it and so on. It's all that stuff
Speaker 1: that that you don't You don't just give an actor
Speaker 1: or a character one thing to do in a scene,
Speaker 1: because that's so flatten boring. It's sort of like you
Speaker 1: want things to be a kind of cross purposes or
Speaker 1: parallel to each other or um, just just to give
Speaker 1: the sense of like life is going on. It's not
Speaker 1: just that these people are chess pieces on a board.
Speaker 1: They're these three dimensional human beings and they have these
Speaker 1: kind of conflicting impulses um at any given moment, like
Speaker 1: they're being pulled in different directions and against their own
Speaker 1: like worst instincts are better instincts. So all of that
Speaker 1: gets thrown into the knicks um pretty much in all
Speaker 1: the scenes of the film. Yeah, I think that's um.
Speaker 1: When you start writing scripts, it's one of the biggest
Speaker 1: lessons you can learn, is uh, like you were saying
Speaker 1: the dialogue isn't and I don't want to say rarely,
Speaker 1: but um, a lot of times it's not even what
Speaker 1: is going on in the scene, and that's the best stuff.
Speaker 1: Otherwise it's too on the nose. And if you think
Speaker 1: about real life, how many times do you have, um,
Speaker 1: just even passing conversations with someone from work where what
Speaker 1: you're saying is not really what's either going on or
Speaker 1: what's on your mind exactly. Yeah, and it happens all
Speaker 1: the time. Yeah. People people talk around whatever it is
Speaker 1: that they're really thinking so often because maybe they're averse
Speaker 1: to confrontation in or they just don't want to worry
Speaker 1: the other person with whatever is actually traveling them, or
Speaker 1: they have a huge asshole and you can't let them
Speaker 1: know that. That's all right, that's right. You have to
Speaker 1: keep things kind of civil. So you know, you have
Speaker 1: the quote unquote professional relationship, but in the back of
Speaker 1: your mind, you're really thinking, by that guy is just
Speaker 1: a pain of the you know whatever. Um. Long Agan
Speaker 1: is so good at at doing that, and it's I
Speaker 1: think it's very rare for especially for a writer director
Speaker 1: to have that kind of attitude towards their language towards
Speaker 1: their words. He's he's definitely not like in the Coen
Speaker 1: Brothers school of like you left out a period or
Speaker 1: a comma sort of thing, um, which is works wonderfully
Speaker 1: for them as well. But you get the senset for
Speaker 1: Long again, if if if a line is is giving
Speaker 1: an act of trouble, it's sort of the thing of like, well,
Speaker 1: how would you say it, or how would the character
Speaker 1: say it? Or what what what would work better there?
Speaker 1: And adjusting things on the fly on set, as opposed
Speaker 1: to like the script is this thing that's written in
Speaker 1: stone every pause in comma and hesitation and has been
Speaker 1: like scripted out in advance. It's it's definitely not that.
Speaker 1: And I think that's that's something rare, like I said,
Speaker 1: for a writer director, because they tend to be very
Speaker 1: uh into the language and the words and the precision
Speaker 1: of of that and the control it gives them over
Speaker 1: the drama right exactly, um. And so for long Agan,
Speaker 1: he says that even though he is a screenwriter, he
Speaker 1: when he puts on that director's hat, it's sort of
Speaker 1: like it might as well be somebody else's script. He
Speaker 1: will cut stuff, he'll change stuff, he'll rework if it's
Speaker 1: not if it's not what he wants it to be.
Speaker 1: And um, yeah, it's it's great that people that some
Speaker 1: some directors can really have that level of perspective and
Speaker 1: not get overly like attached to play the words. Yeah. Um.
Speaker 1: Another thing that really knocks me about, knocks me out
Speaker 1: about this script is how much is not said. Um.
Speaker 1: There are a bunch of examples in this movie where um,
Speaker 1: and he does it in a bunch of different ways.
Speaker 1: There's a few examples I can think of. There's at
Speaker 1: the very beginning after Uh, and of course we're spoilers
Speaker 1: as always everybody, but the very first thing that happens
Speaker 1: in the movie is is the parents are killed in
Speaker 1: a car crash. Um did not recognize that was Amy
Speaker 1: Ryan by the way, Yes, I know, I know. This
Speaker 1: is like a one minute scene, not even twenty second scene. Yeah,
Speaker 1: it's funny. Um, this is like the first of two
Speaker 1: that I can think of, Um, beloved things with both
Speaker 1: Amy Ryan and Steve Roll featured in some way the
Speaker 1: other way of course, Oh right, right, of course, yeah,
Speaker 1: all over this too, great effect. Yeah, and I didn't
Speaker 1: I didn't pick up on the Steve Roll until like
Speaker 1: the credit song. I was like, Oh, that's Steve Rolls singing,
Speaker 1: and then like as the songs are going by, I'm like, oh,
Speaker 1: there's like seven Steve roll songs movie. But um, the
Speaker 1: first example is when that that state trooper shows up, um,
Speaker 1: and you know that's sort of a trophy scene where
Speaker 1: the state trooper knocks at the door in the middle
Speaker 1: of the night, you know what's happening, and the babysitter
Speaker 1: answers the door and he asked, you know, to tell
Speaker 1: the kids you're going to be back in a second,
Speaker 1: and then he kind of inhales and it cuts like
Speaker 1: he you don't see him say it, so that's left unsaid. Um.
Speaker 1: Later on the Priest, when you have the woman priest
Speaker 1: during the wake, Uh, she's talking and giving a you know,
Speaker 1: I was about to stay performing the wake. Whatever you
Speaker 1: say leading the wake, and the music is is bad
Speaker 1: is laid over at this great classical score. And then
Speaker 1: the most famous of all is that the last scene
Speaker 1: of the movie, which we're going to get to. But um,
Speaker 1: the thing that they always said to each other as kids,
Speaker 1: clearly as you can count on me right, And I
Speaker 1: love that they never say it because that is how
Speaker 1: that would happen between those people. Yeah, you wouldn't say
Speaker 1: it out loud, no, I mean in in the really
Speaker 1: bad like corny notes from the studio version you would.
Speaker 1: But oh, I bet you somebody tried to get him
Speaker 1: to put that in there. Yeah, because it's almost like
Speaker 1: he's like rubbing your face in it that like, yeah, no,
Speaker 1: I'm not going to see the title of the movie.
Speaker 1: You're gonna have to fill that piece in yourself. But
Speaker 1: I mean it reflected those just how it's like in
Speaker 1: um in movies, you know, um or in real life,
Speaker 1: people don't really call each other by their names that often.
Speaker 1: And when you see that in screenplays where people are
Speaker 1: constantly like you know, or a couple is sort of
Speaker 1: like rehashing their recent history. That again, you would have
Speaker 1: no reason except for exposition, just to deliver. Yeah. So
Speaker 1: he's he's so um, he's so well attuned to those
Speaker 1: little subtle things, and it just I don't know why,
Speaker 1: but the effect is so powerful when you yourself have
Speaker 1: to kind of fill that gap in your mind because
Speaker 1: you know they're both thinking it, and it's you're almost
Speaker 1: like a participant in the scene in that way. And
Speaker 1: it's just it's so effective. It's you know, it gets
Speaker 1: me every time, every fucking time. That last scene destroys me.
Speaker 1: Emily went to bed last night because we had a
Speaker 1: big day yesterday with Ruby's birthday. But she, uh, she said,
Speaker 1: how was it? Seen it again? And I was like
Speaker 1: it was unbelievable. I said, I didn't wake you up
Speaker 1: at the end. She said, you know, I was like,
Speaker 1: I was fucking sobbing, dude. I was. I was losing it,
Speaker 1: like it midnight in the dark in my room. I
Speaker 1: was just could not keep it together in that scene,
Speaker 1: and I knew it was going to reckon me. It
Speaker 1: always does. Yeah, there's there's that moment in the film.
Speaker 1: There's the one a little bit earlier on where um
Speaker 1: he's sitting on the bed. She sits down next to
Speaker 1: him and she says, you know, maybe be a good
Speaker 1: idea if he stayed at home for a while. And
Speaker 1: he breaks almost immediately, and it's again like something about
Speaker 1: just the way he he performs that bit. I'm getting
Speaker 1: like goosebumps just thinking about it, because it's so a
Speaker 1: little bit like a little quiver in the way he
Speaker 1: lowers his head and he just like, you know that
Speaker 1: feeling where he can barely get the words out. It's
Speaker 1: just like he's having such a hard time, and yet
Speaker 1: he he wasn't gonna say anything. You know, he was
Speaker 1: going to just act like it was all fine, because
Speaker 1: he's always okay. That's who he is, no matter what's
Speaker 1: going on. Even if I went to jail, it was like,
Speaker 1: it's all fine, It's all fine, which is one of
Speaker 1: the things I love about that last scene between them.
Speaker 1: He says things a couple of ways that um make
Speaker 1: you realize that he knows this and he's not being
Speaker 1: uhum a Pollyanna and just saying everything's great and gonna
Speaker 1: be great. He says something like, you know, comparatively, it's
Speaker 1: not going to be that bad. Nothing that bad is
Speaker 1: going to happen. Nothing that bad is going to happen.
Speaker 1: He's just reassuring your like, you know, I'm going to
Speaker 1: go back to Wooster, I'm going to see this girl.
Speaker 1: I'm gonna be depending on how that goes, I might
Speaker 1: head out west, i might go to Alaska, I might
Speaker 1: do this, and might do that. But you know, throughout it,
Speaker 1: he's sort of saying like, and if that doesn't work,
Speaker 1: I'll figure something else. Out like I'm a grown up.
Speaker 1: You can relax. You don't have to like but hes
Speaker 1: or three lives, you know. For all, he wasn't saying
Speaker 1: I'm going to be awesome. He was saying I will
Speaker 1: be basically okay, I'll be a grown up and I'll
Speaker 1: deal with it as it as it comes. And it
Speaker 1: won't be perfect, it'll it'll be far from it. But
Speaker 1: you know you can you can rest assured that. Um,
Speaker 1: you know, you don't have to be there to supervise.
Speaker 1: It's not like it's that desperate of a situation. Yeah. Well,
Speaker 1: and this is a sister who keeps a file drawer
Speaker 1: labeled Terry Fun, which is just so sweet. Um, And
Speaker 1: what a jumping off point to have these two siblings
Speaker 1: that are in real life separated by about four years
Speaker 1: and you kind of get the picture. That's about what
Speaker 1: it is in the movie that just you know, they
Speaker 1: they're they only have each other. And that's such a
Speaker 1: powerful place to start a dramatic storyline. You know. Yeah,
Speaker 1: so many other family dramas you would have, like the
Speaker 1: kind of extended family to fill things out, or to
Speaker 1: complicate things, or maybe to kind of keep things a
Speaker 1: little bit beneath the surface or something. But because it
Speaker 1: really is the two of them and they are kind
Speaker 1: of alone in the world except for with each other. Um,
Speaker 1: it just makes it. Yeah, it just makes you emotion
Speaker 1: more palpable, and the relationships are that much more dynamic
Speaker 1: and um critical, you know, because that's like you said,
Speaker 1: all they have is each other in this world. Yeah. Uh.
Speaker 1: The other one another line that really stands out to
Speaker 1: me early on is when that that scene with the
Speaker 1: his girlfriend, Um in what that Gabby Hoffman, Yeah, I
Speaker 1: believe so, I believe so. But he says, and it's
Speaker 1: such a brilliant one liner that says so much about
Speaker 1: this character, was I'm not the kind of guy that
Speaker 1: everyone says I am. And that just says it all
Speaker 1: about this guy that's constantly defend having to defend um
Speaker 1: the things that he's done, knowing that he's done a
Speaker 1: lot of wrong things. Yeah. And it's it's the Lanigan
Speaker 1: talks about in the commentary. How it makes him even
Speaker 1: more interesting and maybe frustrating as a character is the
Speaker 1: level of self awareness he has about all this. And
Speaker 1: yet even with all that articulateness and self awareness and
Speaker 1: and just kind of knowing quote unquote the kind of
Speaker 1: guy he is and the kind of guy that people
Speaker 1: think he is, he seems like he's unable to kind
Speaker 1: of get a grip, get a hold on it. And
Speaker 1: men make those changes in mature a little bit and
Speaker 1: no longer be sort of like the professional screw up.
Speaker 1: But you know, it's like he he knows he's doing it,
Speaker 1: but he he can't he can't resist it in some ways.
Speaker 1: And I found myself, especially throughout this viewing, kind of
Speaker 1: feeling like at certain moments maybe he was going to
Speaker 1: take that next step and mature, and then he would
Speaker 1: just do something that would kind of like you go, oh, Terry,
Speaker 1: come on, man, like, you know, especially like after the
Speaker 1: Priests visit, for instance, where he's obviously angry at Sammy
Speaker 1: and he wants to get back at her in some way,
Speaker 1: and so he uses the kid by proxy the fishing trip,
Speaker 1: and it's like, man, that's such an immature, dickish move,
Speaker 1: you know. But I mean that that that he himself
Speaker 1: could see clearly for what it is, but maybe only
Speaker 1: with a little bit of removed because in the immediate
Speaker 1: moment he's just angry, you know, And of course it's
Speaker 1: it's it's so rich, like, Um, there's such an undercurrent
Speaker 1: of he is hyper aware that he is the black sheet,
Speaker 1: that he is the outcast and so on, and that
Speaker 1: she's looking at him as the failure, the thing I
Speaker 1: have to worry about and deal it and so on.
Speaker 1: So all throughout when he's living there, anything that she
Speaker 1: does that's not completely above board, he like sees on
Speaker 1: it to say, as if to say, like, look, you
Speaker 1: screw up, to like you make mistakes, you're having an
Speaker 1: affair with your boss, etcetera, etcetera. Um, he wants to
Speaker 1: kind of like break out of that that role as
Speaker 1: the screw up because if he feels like it's it's
Speaker 1: something that's mutually reinforcing, you know, like everybody perceives him
Speaker 1: as this thing, and then he just continues to be
Speaker 1: it and it wears him out. He talks about that
Speaker 1: in that first lunchtime scene when they first meet up. Yeah, yeah, totally. Um.
Speaker 1: The other thing that I feel like, because there's the
Speaker 1: reference to her being the wild child, but she's gotten
Speaker 1: it together. But there's something about his presence that I
Speaker 1: think has allowed her to be bad a little bit. Um,
Speaker 1: maybe because he's so much worse. Um, but she's I
Speaker 1: think she kind of brings out that wild in him,
Speaker 1: and you know, smoking a little pot with them, something
Speaker 1: that she sounds like she hasn't done a long time,
Speaker 1: starts this affair. She can't decide whether to marry this
Speaker 1: guy who's just sort of I mean, he's not a
Speaker 1: bad guy at all, but you know, she's boring. Yeah,
Speaker 1: and then that line that she has when she's talking
Speaker 1: to the priest really says it all. She's like, I
Speaker 1: feel sorry for them, yes, and that's why she's sleeping
Speaker 1: with him. I mean, that's she feels sorry for for
Speaker 1: both the guys. She feels sorry for her brother. You know,
Speaker 1: she she she basically feels like she has the whole
Speaker 1: world on her shoulders. It's not she's an impact, Yeah,
Speaker 1: it's it's not just her life that she's living. But
Speaker 1: she's really trying to manage and make sure that all
Speaker 1: these other people are going to be okay. And I
Speaker 1: think that I hadn't really thought about it before, but
Speaker 1: I think there's such a deeper connection there in terms
Speaker 1: of them having lost their parents at such a young age.
Speaker 1: I think for her that just drove her to feel
Speaker 1: like it was on her as the older sibling right
Speaker 1: to to be this kind of guardian for everybody. So
Speaker 1: that's a role that she feels very comfortable in, and
Speaker 1: that has extended to just her boss at work or
Speaker 1: this guy that she's dating. You know. It's just like
Speaker 1: the mode that she operates in is that, um, I
Speaker 1: don't know. She she likes uh, she likes a flawed person,
Speaker 1: a project somebody that. Yeah, and it's like she she
Speaker 1: sees that and she's kind of like, well, nobody else
Speaker 1: is gonna take care of this person. So I guess
Speaker 1: it's got to be me because it the thought of
Speaker 1: somebody just being out there in the world without anybody
Speaker 1: to look after them brings to mind like her in
Speaker 1: his situation as kids. So I think that's you know,
Speaker 1: to a large extent where where that impulse comes from. Yeah,
Speaker 1: for sure, I mean she's she's definitely someone who makes
Speaker 1: for him being the funk up. She makes us just
Speaker 1: a series of bad decisions. And then when we meet
Speaker 1: uh an asset ex husband they probably weren't even married,
Speaker 1: but um, Rudy sr And that that great kind of
Speaker 1: short scene by Josh Lucas, that is a bad mistake,
Speaker 1: you know, she's clearly drawn to the wild side a
Speaker 1: little bit and had a kid with this guy, and
Speaker 1: uh that scene, man, talk about another heartbreaking scene. The
Speaker 1: whole time that Mark Ruffalo is in the car and
Speaker 1: you know, there's a good launching off point to talk
Speaker 1: a little bit about Rory Culkin and one of my
Speaker 1: favorite kid performances and kid relationships with an adult in
Speaker 1: a movie. But the whole time where he's like talking
Speaker 1: about wanting to become meet your dad. He didn't live
Speaker 1: far from here. I'm just going, no, no, no, don't
Speaker 1: do this, don't do it. And and it's just so
Speaker 1: fucking tough to watch that scene. I was thinking about
Speaker 1: that too last night, Like the the argument that um
Speaker 1: he and in Sammy have afterwards where she says, like, look,
Speaker 1: he's going he's eight or nine years old. He's going
Speaker 1: to realize soon enough that the world is is terrible
Speaker 1: and people are shitty and you know, there's there's no good,
Speaker 1: there's no everything is bad about this world. He's going
Speaker 1: to figure that stuff out soon. Why do you have
Speaker 1: to like go and ub his nose in it? But honestly, like,
Speaker 1: whether whether he's thought about it consciously or not, he's
Speaker 1: kind of re enacting the same sort of bubble bursting
Speaker 1: that he and she experienced as kids. Too. It's almost
Speaker 1: like they didn't really get to have a childhood. They
Speaker 1: had to grow up real fast after they lost their parents. Yeah,
Speaker 1: that's what he knows, and that's he kind of thinks,
Speaker 1: like that ought to be the natural state of a kid,
Speaker 1: is being confronted with reality, being confronted with like the
Speaker 1: screwed up nature of things, as opposed to He's so
Speaker 1: angry with his sister for quote unquote sheltering him, you know,
Speaker 1: And and I think partly it's maybe because he's had
Speaker 1: a rough life, and so he thinks of the world
Speaker 1: that way as something that's going to chew you up
Speaker 1: and spit you out, and you better be tough to
Speaker 1: deal with it. And he sees this kid who's kind
Speaker 1: of living this charmed existence, very sheltered, and he wants
Speaker 1: to toughen him up a little bit. But at the
Speaker 1: same time, what he's really doing is kind of, you know,
Speaker 1: reenacting his own trauma in a way of like it's
Speaker 1: not the same thing exactly, but it is both about
Speaker 1: they're both kind of quote unquote losing a parent in
Speaker 1: a way or never having one to begin with. Um, yeah, well,
Speaker 1: Terry kind of Um. He he punishes other people when
Speaker 1: he feels bad about himself. Uh. He lashes out, um
Speaker 1: like you were saying earlier when he's mad at Sammy.
Speaker 1: So he's taking it out on Rudy and she that
Speaker 1: scene where she calls him on it in the hallway
Speaker 1: is so great where she's just like, he's son of
Speaker 1: a bitch, Like he's a child and I know you're
Speaker 1: mad at me, but like and that flips him. You know.
Speaker 1: He shows up the next day with the fishing poles
Speaker 1: after church and kind of just shrugs. You know that
Speaker 1: that's such a great exchange because there's another another dialogue
Speaker 1: less just you know, an exchange of of looks basically
Speaker 1: absolutely um. But yeah, he he feels bad about himself
Speaker 1: a lot through this film, and it feels a lot
Speaker 1: of guilt and then takes that out on other people. Yeah,
Speaker 1: which is a human thing to do, you know, absolutely,
Speaker 1: And whether he even consciously realizes that's what he's doing,
Speaker 1: that he has this pattern of punishing people for his
Speaker 1: own shortcomings, you know, it's it's I mean I love
Speaker 1: that about about this film that the characters really are
Speaker 1: three dimensional. We can see that they have some very
Speaker 1: deep flaws in some cases, but they're never really unsympathetic.
Speaker 1: It's just like we we recognize our own kind of
Speaker 1: foibles in that as well. I think, yeah, and I
Speaker 1: think he's a character who, um, in a very non
Speaker 1: Hollywood way, does end up at a slightly different place
Speaker 1: than where he came in. UM, not in some great place.
Speaker 1: But that line early on is such a sad line
Speaker 1: where he says, I'm just trying to get on with it,
Speaker 1: like that's what life is to him. And I feel
Speaker 1: like at the end he and he even says this, Um,
Speaker 1: he wants to see her again, He wants to see
Speaker 1: Rudy again. He wants to spend Christmas with them, not
Speaker 1: something he's going to do out of obligation. And you
Speaker 1: can tell what's important for him that she knows that
Speaker 1: that he is, that this stay there changed him just
Speaker 1: like this much. It's you know, it's kind of like
Speaker 1: the whole Boyo cried wolf thing a little bit, because
Speaker 1: he's probably made these same promises and so on many
Speaker 1: many times before in his life, and it's hard in
Speaker 1: a way to know, well, is he going to really
Speaker 1: make good on these promises, because you still can't, even
Speaker 1: even when you're supposed to, like go see the kid
Speaker 1: before he leaves his last day. He's late by like
Speaker 1: an hour and they almost leave, and then he finally
Speaker 1: shows up and he's like sorry, I'm like, you know this,
Speaker 1: that is just his state of being is to be
Speaker 1: perpetually like a little bit behind where the rest of
Speaker 1: the world is, and to be very apologetic about it,
Speaker 1: and yet seem incapable of making any changes to to
Speaker 1: improve on that. And you know, it reminded me of
Speaker 1: a line. Um, there's a line in a Wilco song,
Speaker 1: all my lives are always wishes, you know that one
Speaker 1: from Yeah it really he is true. It's the sort
Speaker 1: of thing where like it's kind of an attic thing too,
Speaker 1: where every time there it's like, this is the time
Speaker 1: I'm going to quit, or this is the time I'm
Speaker 1: gonna stop doing that, or that's never gonna happen again, etcetera, etcetera, etcetera.
Speaker 1: You know, you wake up with a hangarbar That's the
Speaker 1: last time I'm ever gonna drink, And then it's sort
Speaker 1: of like it just it just floats into the ether
Speaker 1: and then the same behavior happens over and over again,
Speaker 1: and um, so I don't I don't know. It's part
Speaker 1: of the human condition, I think, Oh yeah, yeah, absolutely,
Speaker 1: it's it's for for a lot of people. Yeah yeah, yeah,
Speaker 1: to be to be caught in a in a perpetual
Speaker 1: cycle of something that's not great for you, um, and
Speaker 1: and to to to realize that and yet yeah, you
Speaker 1: haven't quite yet reached the point where you can actually
Speaker 1: change that, and some people of course never do. Yeah. Absolutely, Um.
Speaker 1: I love that scene earlier to where he's first kind
Speaker 1: of gotten into town and he smokes the joint in
Speaker 1: the alleyway and then kind of goes out to the
Speaker 1: main street and he sees the sheriff is an old
Speaker 1: friend and he sees the old man, and you know,
Speaker 1: it's a small town and everyone knows the orphans. Um,
Speaker 1: everyone knows these two, uh, Sammy and Terry. And one
Speaker 1: of my favorite sort of plots and movies is the
Speaker 1: or at least themes is that you can't go home
Speaker 1: again thing. And this is about a lot more than that,
Speaker 1: but it definitely has that thread and it's always impactful
Speaker 1: to me. There's something about leaving and coming home that's
Speaker 1: just really resonates with me. I think in films that
Speaker 1: scene where you know, it's it's very early, it's I
Speaker 1: think it's maybe his first night or second night at
Speaker 1: home where he goes out to the bar by himself. Yeah,
Speaker 1: and he's just sitting there wordlessly, like drinking the beer,
Speaker 1: smoking the cigarette. Nobody's sitting next to him. There's really
Speaker 1: nothing going on. He's looking across it like one guy,
Speaker 1: and he's doing that thing where he kind of nods
Speaker 1: and he's like bouncing around, but there's really nothing to
Speaker 1: be excited about. And you can just tell he's like
Speaker 1: he's so alone, he's so utterly alone, and yeah, um,
Speaker 1: maybe that's a bar that he used to go to
Speaker 1: with friends and so on, but it's it's completely not
Speaker 1: the same anymore. And um, and he obviously he feels
Speaker 1: very very ill at ease and like uncomfortable in his
Speaker 1: skin in that moment of just being confronted with like
Speaker 1: there's not really any distractions. I just have to like
Speaker 1: sit here and you know, think about the time that's
Speaker 1: past and what has or hasn't gotten better changed for
Speaker 1: for the better in my life and so on. Yeah,
Speaker 1: there's that scene in the bar and then the other
Speaker 1: great great bar scene when he takes really out to
Speaker 1: shoot pool and uh, I mean that that's one of
Speaker 1: the really sweet, sort of great moments of this movie
Speaker 1: is because you're waiting for something bad to happen, and
Speaker 1: nothing bad happens. It doesn't getting a bar fight, he
Speaker 1: bonds with him, the kid wins the pool game, and
Speaker 1: uh they get busted trying to trying to sneak up
Speaker 1: the stairs, and um, it's such a great scene, but
Speaker 1: it also plants the seed of uh something that comes
Speaker 1: back around later, which is he really gets Piste off
Speaker 1: because he thinks Rudy has sold him out. Yeah and
Speaker 1: read it on him. He didn't do it. And I
Speaker 1: love that part where Laura Lenny it's like he didn't
Speaker 1: fucking do that, you know, Sheriff what's it called? Told me?
Speaker 1: And he's he's just he plays it so well because
Speaker 1: he's like, well, uh, and he says something dumb and
Speaker 1: she's just like, you're an idiot, Like she's just so
Speaker 1: over him at that point. Yeah, that's that's such a
Speaker 1: real moment when um, I mean, I love that. That's
Speaker 1: always very interesting to me in movies where you have
Speaker 1: kind of an adult child relationship that gets beyond just
Speaker 1: the sort of niceties of like you know, authority and
Speaker 1: and and so on, where where they're really having a
Speaker 1: more of a connection as quote unquote equals, although they're
Speaker 1: not equals, but they meet each other where on this
Speaker 1: ground where it is possible for them to have arguments
Speaker 1: and get angry with each other and for one to
Speaker 1: feel like they disappointed the other one and so on.
Speaker 1: And um, yeah, I love I of that moment where
Speaker 1: the various moments where he really he really treats the
Speaker 1: kid like an adult, for better and for worse, you know, yeah,
Speaker 1: in times where it's appropriate, in times where it's not
Speaker 1: so appropriate. But um, definitely like he's he's he's treating
Speaker 1: him as as somebody that he doesn't just have to
Speaker 1: talk down to. Yeah, it's up here. He can really
Speaker 1: be honest with him. And it's great a lot though
Speaker 1: that first scene when he comes home from the bar
Speaker 1: when he had been out by himself and he goes
Speaker 1: to his room and the and the rant about yeah,
Speaker 1: and Rudy wakes up and he's like, you know, this
Speaker 1: used to be my room. He's actually want it back,
Speaker 1: you know. And then Rudy has one of the best
Speaker 1: lines in there when he's talking about what a ship
Speaker 1: town it is and uh, and he says, he's like,
Speaker 1: what do you even like it? Like, He's like, I
Speaker 1: don't know, I like it. He's like, what do you
Speaker 1: like about it? And he goes, I don't know. My
Speaker 1: friends are here. I like the scenery. Yea, so great?
Speaker 1: So yeah, I love yeah. And and of course the
Speaker 1: rant that he's going on where he's like this this
Speaker 1: place is so small minded and all these people are
Speaker 1: so con chanel and they don't you know, there's a
Speaker 1: big world out there and I've seen a lot of
Speaker 1: it and these people know nothing of it and um,
Speaker 1: and that's when he and and he says. It's a
Speaker 1: great line too though, when he says so, he's like,
Speaker 1: but your mom is the best. He's like, so you
Speaker 1: had some bad luck and he got some read luck. Yeah,
Speaker 1: two parents in one with the super mom. Yeah yeah, absolutely. Um.
Speaker 1: The other part that I loved when they went to
Speaker 1: smoke the joint was and this is one of those
Speaker 1: movie moments that just you can't plan for and it
Speaker 1: just happens and you use that take. But when the
Speaker 1: moth lands on him. Yep, it's so cool. I didn't
Speaker 1: even remember that from from when I had seen it before,
Speaker 1: and yeah, watching it again, I was like, oh my god,
Speaker 1: Like that probably only happened that one take the way
Speaker 1: that Ruffalo was so in the scene and the character
Speaker 1: in the moment, Yeah, he could just take that and
Speaker 1: use it and not even there's a moment even later
Speaker 1: I'm where I think the moth kind of comes back.
Speaker 1: It lands on Laura Lennie for a second. It really
Speaker 1: kind of flies off past Ruffalo's head. And at that point,
Speaker 1: they've they've kind of the scene is taken a turn
Speaker 1: and they's gotten a little more serious and he's really
Speaker 1: paying more close attention to what she's saying. He's intent
Speaker 1: on her, and so the moths just kind of goes
Speaker 1: past him without acknowledgment. It's really really interesting the the
Speaker 1: way that even within that one scene, even within that
Speaker 1: kind of like semi improvised thing with the moth, that
Speaker 1: like it was all oriented around the character and the
Speaker 1: tone of the scene and his motivation from from moment
Speaker 1: to moment is just like really really great work. Yeah,
Speaker 1: and he didn't like if I was outside talking to
Speaker 1: Emily and a moth landed on me. I'd say, oh
Speaker 1: my god, look exactly like I've got this moth. But
Speaker 1: he just sort of cares for it for a brief
Speaker 1: moment and then it goes away and he stays in character.
Speaker 1: Um did Lonegans mention that in the commentary? You know,
Speaker 1: I didn't. I don't believe so. But I'm also not
Speaker 1: sure if I got quite as far as that scene
Speaker 1: this time with the commentary, I don't think so. I
Speaker 1: think actually, um, he was talking about something something different,
Speaker 1: But I do know, like in in interviews, I think
Speaker 1: it's it's come up once or twice. Yeah. Uh so
Speaker 1: let's chat about Broderick for a bit. Um, he's so
Speaker 1: great in this, and this is sort of the Matthew
Speaker 1: Broderick that I love the most. It reminded me a
Speaker 1: little bit of the election character. But you know, this
Speaker 1: guy that is doing all the wrong things as the
Speaker 1: new boss, but he's not aggressive, he's not coming in
Speaker 1: there and yelling at people, but he's just and she's
Speaker 1: she said later, she's like, you're making everybody miserable. It's
Speaker 1: like he's he's enacting whatever his own internal like uh,
Speaker 1: dysfunction and and sort of neuroses or whatever like whatever
Speaker 1: that whatever that sense of Um, I don't know. He
Speaker 1: feels like he feels like in order to be a boss,
Speaker 1: he has to micromanage everybody obviously, or maybe it's a
Speaker 1: control he needs because his wife does not like him
Speaker 1: very much exactly. Yes, he's like domestically, maybe he feels powerless,
Speaker 1: and so in the office that's like his domain. And
Speaker 1: so even though it's just like backwater branch that like
Speaker 1: nobody's really even paying that close of attention to, He's like,
Speaker 1: we're gonna get this thing up to like major market standards,
Speaker 1: and you know, I'm going to run a tight ship
Speaker 1: around here. And the fact that everybody has his attitude like, oh,
Speaker 1: it doesn't really matter. It's a small town. Like that's
Speaker 1: the thing we need to take care of, you know.
Speaker 1: And like if you're going to get your kid at
Speaker 1: three fifteen, that is just just non negotiable. We can't
Speaker 1: have that, you know. Yeah, which is such the wrong
Speaker 1: way to come in. Uh, you you need to come
Speaker 1: in and say like you know, of course you can
Speaker 1: go get your kid, because that's important. Um. I love
Speaker 1: the part where they go to dinner later and they
Speaker 1: finally kind of are breaking bread and having a beer
Speaker 1: together in a shot. And it's another way things that
Speaker 1: sort of left unsaid is when she goes, oh, well,
Speaker 1: you know, it's hormones with your wife and she's pregnant
Speaker 1: and it's a lot, and instead of really getting in
Speaker 1: to it, he just goes, now that it's not that.
Speaker 1: He's like, it's not it's it's more than that. But
Speaker 1: we'll exactly and that's all you need to know. And
Speaker 1: that one little brief moment when she's in the office
Speaker 1: and you see her just kind of shove his hand away,
Speaker 1: you know they're they're gonna get divorced before she even
Speaker 1: has that kid, maybe, you know, and he kind of
Speaker 1: glances back at Sammy like, well you see what I
Speaker 1: have to deal with here, and again like that, even
Speaker 1: that little moment, it's like he has more of a
Speaker 1: connection with her than he does with his wife. It's
Speaker 1: right next to him. Yeah. Yeah. So they start the affair, um,
Speaker 1: and you know she likes being bad for a little while.
Speaker 1: She uh, you can tell that she's she's partially like
Speaker 1: and she even has that one line where she's like
Speaker 1: this is unbelievable or whatever. After they have sex, like
Speaker 1: that what I'm talking about. But she can't believe that
Speaker 1: she's in this situation where she's between these two guys
Speaker 1: that she doesn't even really like either one of them
Speaker 1: that much, and goes to the priest and asks about
Speaker 1: like she goes I feel like she goes to the
Speaker 1: priest because she needs somebody to tell her to stop. Yeah,
Speaker 1: she wants like some absolutism, you know, she doesn't want
Speaker 1: shades of gray. She just wants very clear, black and white,
Speaker 1: like you're in the wrong, You're going to hell if
Speaker 1: you don't fix this. That that sort of thing. Which
Speaker 1: is interesting though, because she admonishes Terry for doing the
Speaker 1: same stuff, Like she can't stop it on her own.
Speaker 1: She knows it's the wrong thing to do, but she
Speaker 1: needs a priest to tell her, like, you can't do this,
Speaker 1: and he doesn't really do that. Actually, he doesn't really
Speaker 1: do that. And even after the conversation, she kind of
Speaker 1: keeps it going for a little while. So, yeah, you know,
Speaker 1: she's she's slowly moving in that direction, but it's just
Speaker 1: gonna take time. It's it's not like anything that somebody
Speaker 1: else can sider her. She has to do it for herself,
Speaker 1: you know. She has to learn that lesson or make
Speaker 1: that decision to really um change things. Yeah, there's something
Speaker 1: about that role reversal with her being the irresponsible one
Speaker 1: and then as Terry is starting to be a little
Speaker 1: responsible that I think that's sort of such a key
Speaker 1: crux of the film that moment. It's hardly I mean,
Speaker 1: they're they're both enabling the other one to do that.
Speaker 1: So she's had to be the single mom who's just
Speaker 1: ultra responsible, never lets loose, never never relaxes, is always
Speaker 1: just having to be on top of the next thing
Speaker 1: coming and um hit bye bye Terry being there. Now
Speaker 1: she's got a babysitter, right, she's got somebody that can
Speaker 1: like get him after school and you know keep keep yeah,
Speaker 1: maybe keep keep him occupied and and and entertained and um,
Speaker 1: you know, nothing too bad. It's going to happen presumably
Speaker 1: when it's just the it's just Terry and the kids.
Speaker 1: So she can she can relax a little bit, even
Speaker 1: though not really, but she can rox a little bit
Speaker 1: and then you know, start up like these flings and
Speaker 1: just kind of like have that have that aspect of
Speaker 1: her life that she really hasn't had before. And on
Speaker 1: the flip side with him. You know, you think about
Speaker 1: that scene very early on when he's just gotten home
Speaker 1: and he's in the bathtub, and it's it's just a
Speaker 1: quick scene, but he's in that blue tile bathroom with
Speaker 1: like the blue towels hanging on the towel hanger, and uh,
Speaker 1: you know, it's this moment of like serenity, of quietude,
Speaker 1: and he kind of looks around like he's on like
Speaker 1: a different planet, like how he grew up in. Its
Speaker 1: probably the tubby grew up bathing himself in. Yeah, but
Speaker 1: he feels like a million miles away from that, you know,
Speaker 1: it all feels so strange. Well, one thing I've always
Speaker 1: noticed about like my child at home, which my parents
Speaker 1: still live in, is that going back as an adult,
Speaker 1: the room's always seems so much smaller than they did
Speaker 1: when you were a kid. I don't know if you
Speaker 1: had the same have the same phenomenon, but um, it
Speaker 1: is very much that thing if you can't go home again.
Speaker 1: So whatever this bathroom meant to him at some other
Speaker 1: point in his life, it doesn't feel that same way now.
Speaker 1: And it's it's more like, I think it's less about
Speaker 1: what that room even is like when he's in it
Speaker 1: versus him just thinking like these he's in such ordered, clean,
Speaker 1: calm surroundings, and everything in his life before then has
Speaker 1: just kind of we get the feeling it's been chaos
Speaker 1: and disordered disarray. Yeah, and he you know, he operates
Speaker 1: in chaos, but I feel like and he operates as
Speaker 1: someone who's continually sucking up. But I feel like he
Speaker 1: wants to be more. You don't see him strive to
Speaker 1: be more much. But I think one of the key
Speaker 1: sequences is when um, it kind of spells that out
Speaker 1: as the plumbing thing, Like he's trying to fix his
Speaker 1: plumbing upstairs and it really really upsets him that he
Speaker 1: can't do it, and then he has to call that
Speaker 1: plumber in. And that's just such a so symbolic I
Speaker 1: think of who he is is like I couldn't even
Speaker 1: do this one thing that I was trying to do
Speaker 1: the right thing. It hurts his pride because I mean,
Speaker 1: that's you you get the sense that he's been kind
Speaker 1: of like a handyman, just like doing odd jobs a
Speaker 1: lot of the time for work and um, and so
Speaker 1: he takes a certain amount of pride in that, I'm
Speaker 1: sure and um, and it hurts him that, um, you know,
Speaker 1: here he is back with his big sister her and
Speaker 1: he wants to show that, hey, I can do stuff too,
Speaker 1: I know how to do stuff. And she doubted him,
Speaker 1: you know, and she was like when we just call
Speaker 1: it plumber and he was like, he's gonna do the
Speaker 1: same thing I'm doing. But but he was wrong. He
Speaker 1: couldn't do it. And then when the plumber is there
Speaker 1: and he's downstairs smoking the joint, just like seething, but
Speaker 1: seething how Terry seethes like Mark. Mark Ruffalo is just
Speaker 1: so great in this there's so much below the surface.
Speaker 1: The only time you really see him, uh let loose
Speaker 1: is when he kicks the ship out of Josh Josh Lucas,
Speaker 1: which was great, yeah, but also awful because it was
Speaker 1: right in front of Rudy. Yeah. That one, that one
Speaker 1: is definitely feels like he he crosses a line big
Speaker 1: time in that scene. And that is kind of the
Speaker 1: moment where you're like, man, maybe he really can't be
Speaker 1: trusted with the kid unfortunately, as great as he is
Speaker 1: with a kid in so many other ways. And it's
Speaker 1: such a contrast to see like the quote unquote father
Speaker 1: figured that he is able, is capable of being for
Speaker 1: his kid versus you know, the Josh Lucas like, I
Speaker 1: don't know that kid like even though it's heartbreak clearly.
Speaker 1: I mean they even have like a little bit of
Speaker 1: a physical resemblance, I think, but he has that moment where,
Speaker 1: you like, the only thing he really ever says to him,
Speaker 1: he's like, there you saw me, see me? Great? Like,
Speaker 1: are we done here? That was hard? It's brutal, um.
Speaker 1: And you know, the thing that's so frustrating when you
Speaker 1: watch this movie is that Laura Lenny. She's she's starting
Speaker 1: to get the one thing she wants more than anything,
Speaker 1: which is Terry to be in Rudy's life with some
Speaker 1: kind of consistency, uh and even some kind of influence,
Speaker 1: even though she doesn't always agree with it. Uh, Like
Speaker 1: when she's early on, when you know, she doesn't think
Speaker 1: he gets picked up from school and it's frantic and
Speaker 1: goes and he's at the house building site together teaching
Speaker 1: him how to swing a hammer. Again, I don't think
Speaker 1: any dialogue there when she shows up. It's just that's
Speaker 1: what she wants more than anything. She wants Terry to
Speaker 1: be okay, and she wants Terry to be in her
Speaker 1: life in some way and in her son's life. Yeah,
Speaker 1: that's that's what she wants more than anything in the world.
Speaker 1: And she feels like she's almost going to have that
Speaker 1: and then it just doesn't happen. And um, yeah that
Speaker 1: that that scene is interesting because the way it cuts,
Speaker 1: like she she kind of comes up behind them as
Speaker 1: you know, as he's started showing him how to swing
Speaker 1: the hammer and everything. She doesn't say anything, and then
Speaker 1: the next cut she's like back in the office again.
Speaker 1: So I almost wondered, like, did she just kind of
Speaker 1: turn around and leave them alone and like not even
Speaker 1: acknowledge that She's Yeah, she's just kind of like, oh,
Speaker 1: this is fine. I don't have to like worry so
Speaker 1: much about He's got it. He's gotta handle on it,
Speaker 1: you know, he's I mean, she's she's very happy to
Speaker 1: see that moment between the two of them, so it
Speaker 1: kind of makes everything okay. Um, but yeah, I love that.
Speaker 1: That's That's something that the movie does a number of
Speaker 1: times where rather than like hearing the next line that
Speaker 1: we all know is coming, we just cut to the
Speaker 1: next scene. There's you know, there's uh, like I said,
Speaker 1: there's there's many moments the one you talked about at
Speaker 1: the very beginning with the sheriff at the door and
Speaker 1: you know where he's like he's about to make his speech,
Speaker 1: he's about to say whatever he's gonna say, and there's
Speaker 1: nothing to say, and so it just cuts away. And
Speaker 1: there's there's the moment where, um, it's the it's the
Speaker 1: date with with Bob, the first time that they're kind
Speaker 1: of back together, and there's just sort of like a
Speaker 1: little pause in their relationship and she goes to take
Speaker 1: a you know, a little simple wine or something, and
Speaker 1: then it just cuts to the two of them that afterwards,
Speaker 1: and in that cut, we we we can just fill
Speaker 1: in the whole evening how things progress from there and
Speaker 1: um um. In an interview I read uh the Tenures
Speaker 1: on Thing where he was talking about going into a
Speaker 1: film for the first time as a director. He said,
Speaker 1: everything that I had written looked great on paper, and
Speaker 1: it read great, and he said, but I realized that
Speaker 1: every scene had a beginning, in middle and an end,
Speaker 1: and he said, so it kept. He said, it felt
Speaker 1: like they were I was always stopping and starting and
Speaker 1: stopping and starting, and there was no flow. And he
Speaker 1: really credited his editor. I think with a lot of
Speaker 1: those choices, which was lopping off that end or maybe
Speaker 1: lopping off that beginning and letting the audience in fur
Speaker 1: the rest. And that's such a valuable lesson for UM
Speaker 1: and I bet you, I bet that helped us writing.
Speaker 1: I mentally like from that point on as well, you know,
Speaker 1: oh yeah, I mean he talks on the commentary about
Speaker 1: there was a tremendous amount of material that was cut
Speaker 1: from the film because so much of it there would
Speaker 1: there would be a scene that he had written to
Speaker 1: make sure the audience understood this or that about the character,
Speaker 1: and maybe that entire scene could be replaced just with
Speaker 1: a glance with a certain look or a certain gesture
Speaker 1: that was nonverbal in a different scene while something else
Speaker 1: was going on. But if we're paying attention as viewers,
Speaker 1: that will pick up on and so, you know, a
Speaker 1: lot of it ended up being redundant, even though as
Speaker 1: a writer it felt good to kind of fill in
Speaker 1: all those gaps and and just kind of make sure
Speaker 1: he covered all the bases. When you're thinking about it
Speaker 1: as a film, and there is so much that can
Speaker 1: be done visually on verbally and so on. Um so
Speaker 1: much of that material could be could be lopped out,
Speaker 1: and it is very very elegantly done the way um
Speaker 1: the film is edited. I mean that's something that for instance,
Speaker 1: during the big initial lunchtime conversation scene, the way that
Speaker 1: the rhythm of that scene, the way it's edited. Suddenly
Speaker 1: it's very like kinetic in a way that most of
Speaker 1: the rest of the film never is. It's much more
Speaker 1: still and calm, and he likes to sit on shots
Speaker 1: for a longer time. But with that conversation and argument
Speaker 1: is kind of like heating up, and Terry is really
Speaker 1: nervous because he knows he's got to like drop this
Speaker 1: bombshell at any moment now. Um, the pacing of the
Speaker 1: editing and the way that he's overlapping dialogue and clearly
Speaker 1: using different takes and so on to kind of construct
Speaker 1: this scene that never quite happened the way it happens
Speaker 1: on screen. When they were actually performing it. He says
Speaker 1: that there were like four minutes in the middle of
Speaker 1: that scene somewhere that they just lopped out because again,
Speaker 1: like emotionally, they were already where they needed to be
Speaker 1: without having to do any of that stuff. So, yeah, man,
Speaker 1: this makes me want to write again. A movie like
Speaker 1: this really inspires me. So let's talk a little bit
Speaker 1: about the music. The there's a great mix of classical pieces,
Speaker 1: notably Bach, the very famous one performed by Yo Yo Ma,
Speaker 1: that cello piece, and then um, a lot of the
Speaker 1: Steve Earle and I think Loretta Lynn and just some
Speaker 1: sort of fringe country stuff and it really all works
Speaker 1: well together somehow. And it doesn't seem like those two
Speaker 1: things would fit together great, but um, yeah, you wouldn't
Speaker 1: wouldn't work but one one sort of you know, you
Speaker 1: could say classical is a little bit more high brow
Speaker 1: and countries a little bit more just like popular. Um,
Speaker 1: but like you said, it works great. It shows the
Speaker 1: two tones in a way that the film is working on,
Speaker 1: Like there is this small town, folksy kind of feeling
Speaker 1: to it it. But at the same time, you know,
Speaker 1: the film is taking a little bit more of like
Speaker 1: a cosmic view of things, and I think that's where
Speaker 1: some of the classical stuff comes in to give it
Speaker 1: just another another another tone, another level um of feeling
Speaker 1: into kind of um, I don't know, just just bring
Speaker 1: our minds somewhere else, because I feel like if this
Speaker 1: were all country and all kind of um, you know,
Speaker 1: diegetic music. Let's say he wouldn't have the same feeling
Speaker 1: nearly as as having this kind of like outside classical
Speaker 1: music that's almost a little bit more of a commentary
Speaker 1: on things or it just it comes from a different
Speaker 1: place than than the country music does. But they both
Speaker 1: have their place in the film. Yeah, and when he
Speaker 1: chooses to use the classical pieces are really impactful too. Um,
Speaker 1: Like the last the last set of sequences, like the
Speaker 1: last maybe ten or twelve minutes of this movie are
Speaker 1: just so beautiful when he when he goes to the
Speaker 1: cemetery and like hikes up that hill. Um. I got
Speaker 1: this script, yes, today, and I was reading it and
Speaker 1: it was all very much written to direct, you know,
Speaker 1: which is a very different thing than just writing a
Speaker 1: script to submit. You can be a lot more flowery
Speaker 1: and you can just add a lot more stuff in there.
Speaker 1: But he talks about walking up the hill to the
Speaker 1: grave sites, putting his hands on the graves, the gravestones,
Speaker 1: and that's where you've got that great classical vocal piece,
Speaker 1: and the sun's kind of going down, but it's not
Speaker 1: you know, you see the sort of cat's low level
Speaker 1: cat skills in the background, but it's not set up
Speaker 1: to be all right, this is going to be the
Speaker 1: most beautiful shot you've ever seen, and we're gonna have
Speaker 1: this great pink sunset. The movie is very subtly beautiful,
Speaker 1: I think, but not because he's trying to wow you
Speaker 1: with shots. Yeah, I mean, I think it's it's beautiful
Speaker 1: in the way that a place that is beautiful is
Speaker 1: beautiful to the people who live there, right, yeah, man,
Speaker 1: so you're not. It's it's not just that like you're
Speaker 1: the tourists from out of town who's like taking all
Speaker 1: these postcard pictures. It's more something that it almost becomes
Speaker 1: a part of you, this natural beauty, and you can
Speaker 1: still notice it at times, but it's it's a little
Speaker 1: bit more subdued, even though you do enjoy it. Um.
Speaker 1: It just it just makes the backdrop of your life
Speaker 1: as opposed to like the main attraction. So it doesn't
Speaker 1: really call attention to itself in that way. Even if
Speaker 1: it's I mean, you can tell him that scene, maybe
Speaker 1: he's thinking like, oh, this is like a really nice,
Speaker 1: peaceful resting place for them, Like at least they have this,
Speaker 1: you know, it could be could be worse, there's that
Speaker 1: there's that scene, um, and I only kind of noticed
Speaker 1: at this time when he's initially coming into town on
Speaker 1: the bus he's driving by stuff, that he goes past
Speaker 1: that cemetery and he kind of he looks out the
Speaker 1: window at it, and even though there's no words spoken,
Speaker 1: we can kind of assume because we've already seen uh,
Speaker 1: Sammy there, that it's the same place and so on.
Speaker 1: But UM, yeah, I really like that scene. That's another
Speaker 1: scene that by another director in another film could be
Speaker 1: very very cliched or overwrought, but another just right in
Speaker 1: this film. I think he would have talked to the gravestones,
Speaker 1: you know, like it could have been that on the nose. Um,
Speaker 1: what you just mentioned that when he was going into town.
Speaker 1: There's something about the way that these characters feel so
Speaker 1: real in this space. Um, there's just it's hard to define.
Speaker 1: I don't think you can even direct it necessarily, But
Speaker 1: when he's walking down that sidewalk earlier, or when he's
Speaker 1: smoking that joint in the alley, you get this feeling
Speaker 1: that he has smoked a hundred joints in that alley,
Speaker 1: or had a hundred, you know, a thousand Budweisers in
Speaker 1: that maybe same barstool that he was sitting in. It
Speaker 1: just feels like these people have grown up there without
Speaker 1: being on the nose about it. It's so lived in
Speaker 1: and I don't know how they managed to pull that
Speaker 1: off because of magic. I think, yeah, it's it's magic.
Speaker 1: And I mean even in terms of like the shooting, Um,
Speaker 1: you know, this being a smaller budget film, that's being
Speaker 1: a first film and so on independent. Um, I don't
Speaker 1: think they had like the luxury of a ton of time, right.
Speaker 1: I think I think every day there in that indie
Speaker 1: situation of like we have to get all these shots.
Speaker 1: There's even there's even a moment on the commentary where, uh,
Speaker 1: it's the moment where he's trying to fix the plumbing
Speaker 1: and uh, the pipe kind of comes out of the
Speaker 1: ground and it's sprayser skirt that she's just kind of
Speaker 1: put on, right, and uh and Longagan on the commentary
Speaker 1: talks about we only had like four of those. You know,
Speaker 1: it was reversible, so we had to one color to
Speaker 1: the other color and uh, and and like even in
Speaker 1: terms of like the cutting of the scene whatever whatever,
Speaker 1: it's like he has to pick because it was the
Speaker 1: other color skirt and the other two takes right, so
Speaker 1: it's you really only get like two times of two
Speaker 1: takes to to do it. And you know they were
Speaker 1: having trouble with like the water coming out of the
Speaker 1: pipe correctly and everything, and like it's just one of
Speaker 1: those things where you realize all the things that he's
Speaker 1: having to juggle just on very real practical levels at
Speaker 1: the same time that they're trying to do this very subtle, emotional,
Speaker 1: heartfelt thing. Um. And it really is just it's just
Speaker 1: super impressive that despite all that, you know, despite shooting
Speaker 1: had a sequence and all the rest of it, that
Speaker 1: it just feels like the relationship between the two of
Speaker 1: them is so real and solid and genuine. Um. He
Speaker 1: he talks a little bit about how, in terms of
Speaker 1: the scheduling of the scenes, he didn't want to have
Speaker 1: any of the major big set pieces too early in
Speaker 1: the schedule. Um. I think I think it was either
Speaker 1: the lunchtime scene or one of the other kind of
Speaker 1: big blowout scenes in the movie was originally scheduled to
Speaker 1: be like the first thing in week two, and he
Speaker 1: had the a D moving back to like end of
Speaker 1: week three so that they could at least, you know,
Speaker 1: build that rapport a little bit before they had to
Speaker 1: jump into the deep end. Um. But it's yeah, I
Speaker 1: mean he despite the fact that they're all under pressure
Speaker 1: at every moment to like get the shot, move on
Speaker 1: to the next setup, and so on, do it is
Speaker 1: in his few takes as needed and so on. Um
Speaker 1: that it's it's still has this like lived in feeling
Speaker 1: as if the crew in the cast have been hanging
Speaker 1: out there for like months on end and just like
Speaker 1: getting to know the place, getting to know the people,
Speaker 1: getting comfortable with everything. Uh. It's it's it's very interesting
Speaker 1: how how that all manages to kind of coalesce. Yeah.
Speaker 1: I think sometimes, man, there's there is a bit of
Speaker 1: magic that happens and you just can't these movies come
Speaker 1: along that just it all comes together. Uh and and
Speaker 1: a lot of times they are these little indies, um
Speaker 1: that are so dear to my heart. And you know,
Speaker 1: first movie as a writer director is just pitch perfect.
Speaker 1: Everything about this movie is perfect. There's not a single
Speaker 1: false note. No, there's there's no moments where you're kind
Speaker 1: of like, oh, that's like a first director thing to
Speaker 1: do or yeah, there's there's no like there's no shots
Speaker 1: that are just you know, here's my big like steadicam
Speaker 1: one take thing that doesn't really need to be here,
Speaker 1: but I'm just gonna show off as a director. There's
Speaker 1: none of that. It's not flashy. Um. And the kids too,
Speaker 1: it's to bite off such a um, such a substantial
Speaker 1: role for a child in the first movie. Is that's
Speaker 1: tough to pull off. Everybody would tell you, don't do
Speaker 1: it right, don't do it, but it's yeah, he just
Speaker 1: he just he nailed it in every way, such a
Speaker 1: beautiful movie. Um. I encourage you, Casey to read the
Speaker 1: script or at least read parts of it. The I'm
Speaker 1: gonna read a bit from the end and this is
Speaker 1: after and by all means read that whole last scene
Speaker 1: as it's written. Like. I don't know if this was
Speaker 1: transcribed afterward or not, but he's very much has every
Speaker 1: single word sort of nailed down. Um. But after they
Speaker 1: embrace and he gets on the bus, um, Sammy you know,
Speaker 1: waves goodbye to him, and then she gets in her
Speaker 1: car for that last bit and that same sort of
Speaker 1: shot driving into town and she's late for work. This
Speaker 1: is one thing you got to remember for this part.
Speaker 1: She's blown off work again, and it says interior Sammy's
Speaker 1: car moving day. The morning sunlight flickers through the windshield
Speaker 1: into the car. As Sammy drives along toward work, she
Speaker 1: passes the town hall clock and sees that it's She
Speaker 1: drives her damp cheek with a forearm and rolls down
Speaker 1: her window to let the morning breeze blow through, squaring
Speaker 1: her shoulders a little. She drives through town at a
Speaker 1: slow and easy pace. That's great. Boom, So they have it?
Speaker 1: Do you have? Like there has been changed? There has
Speaker 1: been She's learned to like ease up a little bit,
Speaker 1: you know, it's not hearing back to work, and of
Speaker 1: course her situation with the boss has changed, so she
Speaker 1: probably knows she has a little bit of that leeway.
Speaker 1: But even if she didn't, you get the sense that
Speaker 1: she's kind of reoriented herself a little bit, and she's
Speaker 1: no longer going to be quite as tense and you know,
Speaker 1: just like yeah, panic from moment to moment. She can
Speaker 1: kind of slow down experienced life again, not just as
Speaker 1: this never ending series of like tasks and things that
Speaker 1: she has to worry about all the time, but really
Speaker 1: just like feel the sunlight coming in through the window
Speaker 1: and enjoy the music and see the town and you
Speaker 1: know the cliche stuff stopping smaller roses all that, but
Speaker 1: it really is true. Yeah, and that's when Steve Orrel
Speaker 1: comes in. Uh. And then the very beginning of the movie,
Speaker 1: you know, the very first line, I think this is uh,
Speaker 1: there's like there's something about what are you doing the
Speaker 1: moment you die? And they get they get hit by
Speaker 1: this truck and you know the mom It opens the
Speaker 1: movie with the mom just saying they're clearly like coming
Speaker 1: back home. I guess after a date. She goes, why
Speaker 1: do they always put braces on teenage girls at the
Speaker 1: exact moment whether the most self conscious about their appearance,
Speaker 1: And it's just such a real moment. And he goes,
Speaker 1: I don't know. And then four seconds later they're dead. Yeah.
Speaker 1: It's so um the way the way you would think
Speaker 1: it would probably go down, like yeah, there there, you
Speaker 1: have no idea they're about to die. They're just making
Speaker 1: small talk in the car from right, Not even small talk.
Speaker 1: I mean, it's it's a genuine thing like she she
Speaker 1: had this thought pop into her head. Yeah, and and
Speaker 1: he um. His response is kind of like, I don't know,
Speaker 1: like that's a good point and and then it's all
Speaker 1: over and um, yeah, it's interesting that I read one
Speaker 1: one review I said that the kind of framing device
Speaker 1: of the film of the parents death to him felt
Speaker 1: maybe a little bit overdetermined, like everything that follows is
Speaker 1: just cast in the shadow of this happened. Therefore their
Speaker 1: relationship is like this, or their lives turn out this way. Yeah,
Speaker 1: I don't know. That's yeah, it's a big it's a
Speaker 1: big deal when your parents die in a car wreck
Speaker 1: like that. I mean, like that, that's just that's just
Speaker 1: the way it is. I mean, I can I do
Speaker 1: understand his point that if the same exact thing happened
Speaker 1: to someone else, maybe they still grow up to be
Speaker 1: fully functioning, well adjusted adult that you know, move past it.
Speaker 1: Let's saying the age that they were at and everything,
Speaker 1: and and just the fact that the two of them
Speaker 1: had to go through this together, and um, there doesn't
Speaker 1: seem to have been I mean, we don't really learn
Speaker 1: how what happened to them after that. It seems like
Speaker 1: they did stay in that small town. It's not really
Speaker 1: clear exactly who raised them after that, right, there doesn't Yeah, yeah,
Speaker 1: and I think you know, they may have shot that,
Speaker 1: who knows, But I think a lesser writer would have
Speaker 1: put that stuff in there, or in the in the
Speaker 1: scene right before the wreck in the car, he would have.
Speaker 1: A lesser writer would have been way more on the
Speaker 1: nose about like talking about the kids in a certain
Speaker 1: way that really kind of gives you a bunch of
Speaker 1: information about who they are, rather than this just sort
Speaker 1: of beautiful moment about talking about braces and how funny
Speaker 1: it is in life. You know how cruel it is
Speaker 1: in life to get the braces when you are self conscious.
Speaker 1: And they don't have to say the names of the
Speaker 1: kids or anything. It's it's so part of who they
Speaker 1: are in every moment they're living that obviously it goes
Speaker 1: without saying that's who she's talking about, but she doesn't
Speaker 1: have to say it that way, which is great. It's wonderful.
Speaker 1: All right, dude, I got nothing else. See this movie everyone.
Speaker 1: It's on Amazon Prime right now. Yes, it's yeah, it's
Speaker 1: on Prime. It's a nice like HD transfer. It looks
Speaker 1: considerably better than the DVD. Um, I've got to sign
Speaker 1: DVD from Mark Ruffalo. No way. Yeah, my friend's amazing.
Speaker 1: My friend worked with him on which one was that
Speaker 1: I can't remember. My friend Stacy, who's as a wardrobe supervisor,
Speaker 1: worked with him and told she knew it was one
Speaker 1: of my favorites and said, my friend Chuck is just
Speaker 1: like you can count on me as one of his
Speaker 1: favorite movies. And she brought in the DVD and he
Speaker 1: signed it to me personally, and it was very very sweet.
Speaker 1: Oh that's great. That's so many many many years ago. Man,
Speaker 1: before he was a story. I mean, that's yeah, yeah,
Speaker 1: I'm gonna dig that thing up. And I think rewatching this,
Speaker 1: I mean, Ruffalo was still great, but it was almost
Speaker 1: like rediscovering in a way, just like how amazing he
Speaker 1: was right out of the gate. Um. He's made a
Speaker 1: number of films that I really like, but I still
Speaker 1: kind of wish that there were more films like this
Speaker 1: that he was able to do that are just still
Speaker 1: character driven and small and perfect. And I mean, it's
Speaker 1: this is it's hard to top this, right. So I
Speaker 1: understand that careers move on and people take on bigger
Speaker 1: roles and so on, and like I said, I mean,
Speaker 1: he's he's done a number of things that I really like,
Speaker 1: but at the same time, I still sort of feel
Speaker 1: like man like, there's there's even more potential there um
Speaker 1: that that I hope he will. He will be able
Speaker 1: to um to tap into you know, in in the
Speaker 1: and and what's what's left of his career. Yeah, he's
Speaker 1: got a long way to go and he's made all
Speaker 1: that marble juice. So that's right. You got to be
Speaker 1: able to do some some small stuff now, right. Uh
Speaker 1: So I agree, Man, let's continue with long again. I
Speaker 1: have not seen those other movies, so that's perfect. Um
Speaker 1: Margaret is um is that next? Yeah, Margaret is next.
Speaker 1: And there's there's a lot, a lot to say about
Speaker 1: that film, a lot of the backstory. I don't know
Speaker 1: if you're you're aware of much of the difficulty and
Speaker 1: even getting that film made, uh ended up in court
Speaker 1: with re cuts and arguments with the studio and all
Speaker 1: kinds of stuff. And it actually it will. It will
Speaker 1: play into how we watched the film, because there's a
Speaker 1: theatrical version that I think is about two and a
Speaker 1: half hours long, and there's the director's cut that's a
Speaker 1: little over three hours, and and they're not even it's
Speaker 1: not even that there's thirty minutes more scenes in the
Speaker 1: longer version. It's essentially like a different movie. The there
Speaker 1: there's different sequences, there's different takes, there's different music. Um,
Speaker 1: the sound mixing is is extremely different. He goes for
Speaker 1: this like altmnesque kind of twelve tracks of dialogue, all
Speaker 1: overlapping kind of thing in in the longer cut. In
Speaker 1: the theatrical version, all that stuff is rained in and
Speaker 1: it's much more just about one character. So both versions
Speaker 1: are available. Ideally we would maybe watch both, but but
Speaker 1: I know that's a tall order, so maybe maybe we'll
Speaker 1: just go with the the extended version because I really
Speaker 1: is like his vision of the film and the one
Speaker 1: that he was in court for multiple years battling to
Speaker 1: get this thing out there the way he wanted it to. Um,
Speaker 1: So yeah, that'll that'll be next up. Sweet. All right,
Speaker 1: thanks brother. This is as I say, you're one of
Speaker 1: my favorite people to talk movies with. Man and I
Speaker 1: really really really uh enjoy these a great deal. So yeah,
Speaker 1: me too, brother. So let's uh thank everyone else for listening,
Speaker 1: and uh, I encourage you all to watch this film
Speaker 1: and go ahead and get Margaret the Director's Cut going
Speaker 1: and Manchester by the Sea and get prime for those,
Speaker 1: and I'll have you back in and whatever five or
Speaker 1: six weeks. Awesome, looking forward to it all right, See
Speaker 1: Buddy See a Man movie. Brush is produced editing an
Speaker 1: engineered by Ramsey Yutt here in our home studio at
Speaker 1: Pont City Market, Atlanta, Georgia. For I Heart Radio. For
Speaker 1: more podcasts For my heart Radio, visit the I Heart
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Speaker 1: favorite shows.