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Speaker 2: percent off. That's next Pick twenty six. Very difficult to

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Speaker 2: keep the line between the past and the price. You

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Speaker 2: believe that someone out of the past can enterned possession

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Speaker 2: of a living We may be true with the past,

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Speaker 2: but the past is not through with us. Welcome back

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Speaker 2: to the Next Picture Show. Movie the Week podcast devoted

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Speaker 2: to a classic film the way it shaped our thoughts

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Speaker 2: on a recent release. I'm Scott Tobias here again with

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Speaker 2: Keith Pepps.

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Speaker 3: I'm Genevieve Koski.

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Speaker 2: Our regular co host Tasha Robinson will be beamed back

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Speaker 2: down into her podcasting chair next week. In our last episode,

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Speaker 2: we discussed et the Extraterrestrial, Steven Spielberg's nineteen eighty two

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Speaker 2: science fiction classic about the deep connection between a ten

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Speaker 2: year old human boy and an alien visitor who's been

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Speaker 2: stranded on Earth. Now a full forty four years later,

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Speaker 2: Spielberg is once again considering humanity's capacity for handling displaced

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Speaker 2: aliens with Disclosure Day, a thriller that leads towards a

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Speaker 2: possible moment when the world finds out the truth about

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Speaker 2: extraterrestrials on Earth. Josh O'Connor stars as Daniel, a cybersecurity

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Speaker 2: specialist for the Wardex Corporation, a secret coverment agency that

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Speaker 2: has been guarding information about human alien contact for decades.

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Speaker 2: In concert with Hugo played by Coleman Domingo, and various

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Speaker 2: other whistleblowers who believe in the public's right to know

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Speaker 2: the truth, Daniel is racing to bring these revelations to life.

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Speaker 2: Hot on Daniel's trail is Noah, the head of Wardex

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Speaker 2: played by Colin Firth, who will do anything to keep

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Speaker 2: this bombshell under wraps. Meanwhile, Margaret, a Kansas City TV

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Speaker 2: meteorologist played by Emily Blunt, has been experiencing weird episodes

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Speaker 2: where she acts as a kind of conduit for the

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Speaker 2: aliens and figures into the story in increasingly profound ways.

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Speaker 2: Please stay with us as we discuss portentous cardinals and

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Speaker 2: alien devices.

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Speaker 3: What did you steal secrets?

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Speaker 2: The data they paid me to protect? Are they people? Okay?

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Speaker 2: So right off the top of I'm done to know,

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Speaker 2: jenn of you, let's start with you. What did you

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Speaker 2: think of Disclosure Day?

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Speaker 4: Oh?

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Speaker 3: I liked it. I had fun with Disclosure Day. Like

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Speaker 3: I don't think it's you know, top tier. Spielberg. Before

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Speaker 3: we started recording, we were looking at a list, Sir.

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Speaker 3: We were hearing about a list. Keith was looking out

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Speaker 3: of a Spielberg movies ranked. Where does Disclosure Day fall

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Speaker 3: on there? Keith, I'm curious.

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Speaker 4: It's a Hollywood Reporter one. It's like twenty eight out

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Speaker 4: of thirty five.

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Speaker 3: So I don't know if I'd go that low.

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Speaker 4: It's below some stuff I would definitely put it about.

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Speaker 4: But well, we'll get to that.

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Speaker 3: Yeah, yeah, I would. I would like place it solidly

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Speaker 3: like mid tier. Spielberg med like. I was very impressed

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Speaker 3: how well it moved, Like, you know, for a pretty

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Speaker 3: long movie, it never really felt like it was dragging,

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Speaker 3: and there was some very exciting sequences. It was pretty talky,

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Speaker 3: you know, in contrast to we were talking last week

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Speaker 3: about you know, how kind of economical yeah et is

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Speaker 3: and sort of light on exposition and kind of it

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Speaker 3: takes a show, don't tell approach. This is much more

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Speaker 3: tell approach, you know. But the stuff it's showing is

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Speaker 3: fun too. I think where it lands is nice. If

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Speaker 3: maybe a little corny, but that's not a bad thing,

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Speaker 3: you know, Like I can take a pretty decent helping

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Speaker 3: of corn in my movies, you know. And it was

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Speaker 3: the emotion of the ending. It did what it needed

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Speaker 3: to do in the context of the movie, even if

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Speaker 3: it wasn't necessarily something I like took away from the movie.

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Speaker 3: It's feeling really memorable, if that makes sense. Like it

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Speaker 3: felt like a good cap around this movie. I don't

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Speaker 3: think I came away from it feeling like it was

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Speaker 3: saying something profound or that I hadn't thought of. Before

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Speaker 3: it made me feel in the moment, it didn't necessarily

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Speaker 3: make me think that much afterwards about those feelings, because

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Speaker 3: how I would put it.

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Speaker 4: I loved it. I really, actually really love this movie.

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Speaker 4: You know, I beyond editing Scot's review. But as a

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Speaker 4: little bit about this movement as I could going in,

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Speaker 4: I kind of want it just to kind of experience

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Speaker 4: it as purely as I could. Part of what makes

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Speaker 4: it so compelling is kind of looking at it in

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Speaker 4: context of Spielberg's career, because which is, hey, hey, what

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Speaker 4: do I think We're going to be doing that a

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Speaker 4: little bit later in this episode? But I think just

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Speaker 4: on its own, I think it works as a really

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Speaker 4: well paced adventure film. It's really yeah, it's it's really

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Speaker 4: tense for a film that's ultimately doesn't have any real

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Speaker 4: bad guys in it, some misguided people who perhaps see

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Speaker 4: the errors of their ways, but not bad guys, and it,

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Speaker 4: you know, it feels very of the moment. I mean,

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Speaker 4: it's it's kind of deep in the not even deep,

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Speaker 4: but in the background. Never in the foreground is a

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Speaker 4: global crisis that we're told is as bad as the

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Speaker 4: Cuban missile I switch. Admittedly it's a little bit definitely telling.

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Speaker 3: Me much explicitly referred to as World War three.

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Speaker 4: Yeah, exactly, run the custom World War three? And boy,

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Speaker 4: doesn't it always feel like we're on the custom World

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Speaker 4: War three?

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Speaker 2: These days?

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Speaker 4: It feels like this is the alien movie for twenty

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Speaker 4: twenty six, but also the appropriate alien movie for uh,

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Speaker 4: you know, as part of a career that's spent quite

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Speaker 4: a bit of time thinking about aliens in one way

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Speaker 4: or another. And I almost feel like, like, you know,

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Speaker 4: I don't know, I think Spielberg has a lot of

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Speaker 4: movies left in him, but I you know, Scott, who

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Speaker 4: likes to talk about The Irishman is Scorsese has already

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Speaker 4: made his last film, and everything else is just you know,

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Speaker 4: misplaced chronologically, right? Is that is that you put it? Scott?

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Speaker 2: Yeah? Yeah, I really do feel like The Irishman is

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Speaker 2: Scorsese's last film?

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Speaker 4: Is this the equivalent for Spielberg in a way, because

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Speaker 4: it does feel like it's it's there's kind of a

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Speaker 4: bit of a summation going on.

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Speaker 2: Yeah, a reaffirmation of values, right, I mean, yeah, of things,

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Speaker 2: of things that he's believed in about this particular subject

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Speaker 2: and about humanity itself. Being reasserted and being researched at

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Speaker 2: a time that feels like you wouldn't be optimistic about

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Speaker 2: how humans might respond like this.

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Speaker 4: Aliens are always there's a spiritual element to them and

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Speaker 4: Spiller films, even if they're when they're demons like in

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Speaker 4: Word of the Worlds. But it's just like this, this

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Speaker 4: force is much bigger than humanity that we had to

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Speaker 4: kind of figure out what it means or what it

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Speaker 4: means for humanity to exist in the presence of these things.

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Speaker 4: It's very much always more than just aliens. So I

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Speaker 4: will return you to that with this film was after

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Speaker 4: a long time not really dealing with with aliens, was

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Speaker 4: I think really made it even more effective in many ways.

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Speaker 4: I mean some of the so you know, one of

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Speaker 4: the scenes that sticks with me though it's very well

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Speaker 4: played by Josh O'Connor and Only Blood especially, but like

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Speaker 4: one of my favorite scenes is that stow that when

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Speaker 4: they're stowing away on the train with the with the

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Speaker 4: pianos and she's freaking out because she feels like she's

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Speaker 4: you know, she saw her father so it succumbed to

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Speaker 4: Parkinson's and she's worried that's happening to her and like,

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Speaker 4: in some ways it's not you can take that away

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Speaker 4: from the movie and the plot still works. But I

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Speaker 4: mean it's it's moments like that that really, I think,

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Speaker 4: kind of deepen what this movie is doing. I don't know.

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Speaker 4: I think I was fantastically on board for this one

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Speaker 4: and really excited by watching it.

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Speaker 2: Yeah, I mean, I guess maybe I'm a little bit

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Speaker 2: in between the two of you on this because I

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Speaker 2: did really like it. I'm still wrestling with the end

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Speaker 2: of the film, which I guess puts me more into

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Speaker 2: Jennevie's camp. Just I don't I feel like I should

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Speaker 2: have been affected by it more than I was. And

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Speaker 2: I'm curious to see, you know, if you know on

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Speaker 2: repeat viewings, if you potentially it lands a little bit

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Speaker 2: better rather than feeling a little bit rushed in a

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Speaker 2: little corny I guess slash preachy. Maybe maybe all those

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Speaker 2: things get resolved. I mean, it's not it's not the

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Speaker 2: ending of Close Encounters. I will say that it's not

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Speaker 2: that elegant, and I think there was kind of a

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Speaker 2: mess to it in general. I mean, we talk about

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Speaker 2: the economy of Muslim Ethison's script for et this is

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Speaker 2: not really that, but uh, all the others, uh, you know.

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Speaker 2: On the other hand, I like how it just grabs

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Speaker 2: you by the sea of the pants immediately. I mean,

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Speaker 2: you get this. You can get these like shots inside

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Speaker 2: of a wrestling ring where you're where you're you're the

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Speaker 2: camera is getting body slammed to the mat. And I

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Speaker 2: think like that is the spirit of the movie. It's

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Speaker 2: a movie that reminds you plot wise of something in

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Speaker 2: between et and Close and Commons of the third kind.

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Speaker 2: But it has the pace of Minority Report. And then

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Speaker 2: it's going to get you going immediately, just like the

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Speaker 2: opening sequence of Minority Report does. And uh, it's going

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Speaker 2: to be this, this this journey in which Spielberg is

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Speaker 2: going to be able to show off his still powerful

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Speaker 2: capacity for kinetic filmmaking. I mean, you know, and and

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Speaker 2: all of the information that you need to know is

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Speaker 2: just going to be filled in gradually, you know, and

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Speaker 2: I think quite masterfully. As the film goes along. You know,

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Speaker 2: you get these little bits of information, these little breadcrumbs,

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Speaker 2: these little Reese's pieces as it were, that they kind

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Speaker 2: of lead you through the narrative. And I think that

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Speaker 2: I think all of that is extremely well handled. It

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Speaker 2: is it is, uh, you know, he has not lost

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Speaker 2: a bit of command. I just think there's I think

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Speaker 2: there's maybe just a little bit of magic that's not

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Speaker 2: there for me with this one, But I certainly appreciate

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Speaker 2: the craft of it. And the performances are really good,

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Speaker 2: you know, he you know, I you know, I think

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Speaker 2: we're all huge. Josh O'Connor and Coleman Domingo are two

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Speaker 2: actors that I know, we've all we've enthused about on

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Speaker 2: this podcast quite a bit. And uh, you know, and

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Speaker 2: Emily Blunt, who I've had mixed feelings about in the past.

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Speaker 2: I think I think she's quite good here too, and

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Speaker 2: give you a lot of good comic relief too, comes

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Speaker 2: from from her. It's a very it's a very funny

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Speaker 2: performance and a little keeps you a little bit off

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Speaker 2: balance because Josh O'Connor is playing someone who is so

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Speaker 2: determined and on such a mission to get this information

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Speaker 2: across and Emily Blunt is coming into the situation in

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Speaker 2: such an offhand and strange and in sometimes a very

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Speaker 2: funny way. And I like the contrast between those two toes,

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Speaker 2: and I like how that was sort of you know,

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Speaker 2: present in the chemistry between them when they finally do meet.

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Speaker 4: Whys about only Blunt?

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Speaker 2: I share his I share she's incredibly boring. I mean,

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Speaker 2: Mary Mary Bobbins returns.

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Speaker 4: My god, I didn't, I didn't say that.

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Speaker 3: I actually have mixed feelings about her in this movie

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Speaker 3: that I can touch touch on. Like I agree that

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Speaker 3: all the performances are generally strong, I don't dislike this performance,

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Speaker 3: and I think when she is in that sort of

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Speaker 3: comic mode, when when she doesn't yet know what's going on,

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Speaker 3: I really enjoy her, you know. I think she does

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Speaker 3: a really good job kind of dialing into a very

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Speaker 3: specific comedic tone that, as you say, kind of like

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Speaker 3: keeps us on our toes and plays really well against

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Speaker 3: Josh O'Connor everything after the house that has been built

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Speaker 3: to kind of help Margaret and Daniel remember what happened

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Speaker 3: to them, and seemingly for no other reason, but basically

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Speaker 3: like once she is more aware of what is happening

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Speaker 3: to her and her role in it, almost like messianic

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Speaker 3: role in it, the performance kind of stopped working for

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Speaker 3: me a little bit. It felt maybe a little more

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Speaker 3: self conscious or it's all kind of like wrapped up

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Speaker 3: in My mixed feelings about the last act of the

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Speaker 3: movie and kind of the emotions it's trying to convey

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Speaker 3: and draw from the audience and me not fully connecting

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Speaker 3: with it, like I said, feeling it in the moment,

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Speaker 3: but afterwards being a little like maybe that was a

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Speaker 3: little cheap, you know, And her performance is a little

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Speaker 3: bit a part of that.

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Speaker 2: I think. You know what I'm always just thinking of

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Speaker 2: is that is that Coleman Domingo And this is basically

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Speaker 2: Nathan Fielder, right, is this not he should he be

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Speaker 2: walking around this this this house with like a little

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Speaker 2: like a computer strap to his chest or whatever, like

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Speaker 2: a little.

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Speaker 4: That's the thing though, I mean it is you know,

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Speaker 4: it's this where it feels really personal to me, is

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Speaker 4: like I have this, you know, I need to communicate

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Speaker 4: this thing to the whole world, and I do it

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Speaker 4: by building a film set. This feels like, you know,

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Speaker 4: this is this is sure, Okay, there's a meta element

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Speaker 4: to it in a way.

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Speaker 3: Yeah, And I mean like that and sort of the

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Speaker 3: final broadcast, like those are things that like make sense

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Speaker 3: in the context of this movie and a Spielberg movie specifically,

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Speaker 3: but they make less sense in the context of the

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Speaker 3: world that we live in. Right now. And this is

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Speaker 3: I forget where I read this that pointed it out,

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Speaker 3: but but this is his first movie set in the

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Speaker 3: present day, like in our current world since War of

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Speaker 3: the Worlds, and the way in which it engages with

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Speaker 3: our present reality as far as what news is these

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Speaker 3: days and what images are these days, and how much

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Speaker 3: trust or faith you can put into any of it

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Speaker 3: definitely feels, you know, of a different era and maybe

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Speaker 3: not quite as locked into our current situation.

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Speaker 4: I can push back on that a little bit because

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Speaker 4: it feels to me it's also kind of like there's

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Speaker 4: a lot of noise it has to get cut through

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Speaker 4: before this message can be heard. Obviously, yes, I understand

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Speaker 4: that a breaking news report on a network news channel

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Speaker 4: is doesn't have the effect that it used to have,

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Speaker 4: but I think that's but also you get all these

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Speaker 4: shots of people watching things on their phone as well.

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Speaker 4: There's the divided thing. Like to me, also, where it

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Speaker 4: gets really personal is like, ultimately it's a message to

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Speaker 4: have empathy, right, And yeah, it can be a little

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Speaker 4: and maybe a little cornball to put it that way,

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Speaker 4: and maybe a little cornball in the movie, but it's

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Speaker 4: sort of like this as the world falls apart and fractures.

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Speaker 4: We get sort of this desperate, you know, last attempt

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Speaker 4: to use this medium that's on its way out or

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Speaker 4: at least threatened by by things. You know, we get

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Speaker 4: like say, this wizened older alien who's on his last

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Speaker 4: legs trying to pass this tool of empathy on to

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Speaker 4: another generation. I mean, it's a really personal film, I think,

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Speaker 4: and it's at the moment in that way, even if

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Speaker 4: it's not necessarily gets every detail of how media works today.

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Speaker 3: Right, Yeah, And I agree, And I think like that's

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Speaker 3: kind of what I'm getting at when I say it

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Speaker 3: felt corny but not in a bad way. Yeah, you know,

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Speaker 3: And I will say for you know, however realistic it

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Speaker 3: may or may not be Courtney Grace's performances, the anchor

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Speaker 3: woman who's talking us through that, Like.

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Speaker 2: I was like waiting to bring that up because it

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Speaker 2: was like, like, you know, the whatever kind of emotions

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Speaker 2: are critical to sell at that moment, are entirely you know,

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Speaker 2: put on the on this actress that we have not

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Speaker 2: seen until now, and it's it's.

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Speaker 4: A former news actor I believe, who was transitioning into

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Speaker 4: acting or something. But definitely a lot of a lot

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Speaker 4: of trust, putting on you know, basically an unknown to

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Speaker 4: beat a heart of the movie for like the five

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Speaker 4: minute stretch toward the end.

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Speaker 2: She's like a grown up Henry Thomas. Sure, yeah, you know,

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Speaker 2: an unknown that a virtual unknown, I will say, but

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Speaker 2: it's a it's a great performance by a not well

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Speaker 2: known you know actor who who really know sells the

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Speaker 2: emotions of the movie, much like Henry Thomas does in ET.

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Speaker 2: So we're gonna go ahead and use that as an

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Speaker 2: opportunity to make this trans ourselves and bring et back

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Speaker 2: in to the next segment when we talk about connections

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Speaker 2: between Disclosure Day and ET. The Next Picture Show is

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Speaker 4: What happened to us?

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Speaker 3: My god?

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Speaker 2: Who is that?

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Speaker 1: Boy?

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00:19:07,685 --> 00:19:08,165
Speaker 2: Stop?

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00:19:08,805 --> 00:19:28,645
Speaker 3: Boy? We gotta I can't standing on the breaks? Oh

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00:19:28,725 --> 00:19:36,405
Speaker 3: my god, No no, no, no no, no, you work

349
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Speaker 3: it up.

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Speaker 2: Get on now, now it's time for connections when we

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Speaker 2: bring these two films together and talk about all the

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Speaker 2: things they have in common.

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Speaker 4: Uh.

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Speaker 2: Before as we were kind of preparing to do uh

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Speaker 2: this episode, we were kind of going did our usual

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Speaker 2: thing of thinking about movies that we could could talk about,

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Speaker 2: and uh, we talked about doing it pairing with ET.

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Speaker 2: We talked about close encounters and we were reminded that

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Speaker 2: we did close encounters.

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Speaker 4: Before, so we did so we we just did a

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00:20:05,925 --> 00:20:07,165
Speaker 4: couple more times.

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00:20:09,645 --> 00:20:13,405
Speaker 3: And then someone got really frustrated that it kept getting suggested.

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00:20:13,965 --> 00:20:18,925
Speaker 2: Yeah, the Genevieve uh you know book booked us both

364
00:20:19,325 --> 00:20:24,405
Speaker 2: to do a memory care facility. Anyway, Uh, so we

365
00:20:24,565 --> 00:20:28,085
Speaker 2: settled on ET. And I think that the main thread

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00:20:28,125 --> 00:20:31,285
Speaker 2: here that that is empathy as a theme. Empathy is

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Speaker 2: a superpower. This is this is this is really at

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00:20:33,845 --> 00:20:38,165
Speaker 2: the core of both movies, the core of the relationship

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Speaker 2: between Elliott and E. T. Which I think is is

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Speaker 2: something that becomes a learned trade. It was something. It's

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Speaker 2: something when I when I when I did the keynote

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Speaker 2: for E T. Last week, I talked about how children

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Speaker 2: respect have you know, are very sensitive, very emotional, but

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Speaker 2: those those emotions and those sensitivities have to usually have

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Speaker 2: to do with our own experience of the world. The

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00:21:01,405 --> 00:21:04,845
Speaker 2: ability to be empathetic is is more of a learned trade,

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00:21:04,965 --> 00:21:07,365
Speaker 2: is something that comes along, just like any other thing

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00:21:07,405 --> 00:21:11,005
Speaker 2: that that kids learn, you know, of reading and talking

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00:21:11,085 --> 00:21:13,405
Speaker 2: and you know, learning how to fend for themselves. All

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00:21:13,405 --> 00:21:16,565
Speaker 2: of these things kind of develop. And I think one

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00:21:16,605 --> 00:21:20,005
Speaker 2: of the powerful things about ET is how this connection

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00:21:20,125 --> 00:21:24,445
Speaker 2: that that Elliott makes with the alien like accelerates that

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00:21:24,485 --> 00:21:26,445
Speaker 2: process and it takes him to a place where he

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00:21:27,005 --> 00:21:31,605
Speaker 2: can really feel what this, you know, the creature from

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00:21:31,645 --> 00:21:34,885
Speaker 2: another galaxy is feeling, and and it makes and it's

386
00:21:34,885 --> 00:21:37,605
Speaker 2: such a powerful emotion to to to watch, and I

387
00:21:37,645 --> 00:21:39,765
Speaker 2: think it and I think it's also rooted in an

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00:21:39,885 --> 00:21:45,685
Speaker 2: optimism that Spielberg holds about humanity and in our own capacity,

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Speaker 2: you know, to speak to our better angels into into

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00:21:48,405 --> 00:21:51,125
Speaker 2: and to be able to have the empathy and the

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00:21:51,205 --> 00:21:54,605
Speaker 2: humility to make ourselves open to something this extraordinary. And

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Speaker 2: I think that's kind of what Disclosure Day is trying

393
00:21:58,765 --> 00:22:01,405
Speaker 2: to do, you know, and why I think it ultimately

394
00:22:01,485 --> 00:22:04,685
Speaker 2: aligns itself with the Josh O'Connor character, who is trying

395
00:22:04,685 --> 00:22:08,765
Speaker 2: to get this information out into the world despite the

396
00:22:08,765 --> 00:22:12,285
Speaker 2: the risks or the assumption that people are just simply

397
00:22:12,285 --> 00:22:15,405
Speaker 2: not going to be able to handle it, which is

398
00:22:15,485 --> 00:22:18,485
Speaker 2: kind of an assumption that I would make. Honestly, There's

399
00:22:18,525 --> 00:22:22,205
Speaker 2: something quite radical, something incredibly radical, all about that Spielberg

400
00:22:22,285 --> 00:22:26,605
Speaker 2: is suggesting here about our ability to do anything empathetically.

401
00:22:26,885 --> 00:22:29,445
Speaker 2: So it's a kind of amazing to have this movie

402
00:22:29,485 --> 00:22:31,485
Speaker 2: come out in twenty twenty six and think, Okay, we

403
00:22:31,525 --> 00:22:35,765
Speaker 2: get to actually for a moment, take a pause, react

404
00:22:35,805 --> 00:22:40,525
Speaker 2: to something as you know, a species, and you know,

405
00:22:40,725 --> 00:22:42,805
Speaker 2: potentially come to the right conclusion. That the movie doesn't

406
00:22:42,805 --> 00:22:45,125
Speaker 2: necessarily show us what that conclusion is. It sort of

407
00:22:45,205 --> 00:22:48,165
Speaker 2: ends before we see that, you know, the fallout or

408
00:22:48,205 --> 00:22:51,965
Speaker 2: the aftermath of what this disclosure actually means. But I

409
00:22:51,965 --> 00:22:54,765
Speaker 2: think anyway, the ramble here is that that empathy is

410
00:22:54,885 --> 00:22:57,605
Speaker 2: kind of the unifying theme here of these two movies,

411
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Speaker 2: is it not?

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00:22:58,325 --> 00:23:01,365
Speaker 3: For sure? And also what kind of drove home for

413
00:23:01,485 --> 00:23:04,285
Speaker 3: me why this was the pairing to do, Because I,

414
00:23:04,365 --> 00:23:08,125
Speaker 3: before rewatching ET, I was a little like, it's kind

415
00:23:08,125 --> 00:23:10,405
Speaker 3: of a bomber that we already did close encounters, that

416
00:23:10,565 --> 00:23:13,925
Speaker 3: just feels like a neater pairing, you know, But after

417
00:23:14,045 --> 00:23:16,285
Speaker 3: watching ET, I was like, oh no, This is perfect

418
00:23:16,365 --> 00:23:21,405
Speaker 3: because both of these films, the idea of understanding what

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00:23:21,525 --> 00:23:26,005
Speaker 3: another person or another being is feeling is literalized in

420
00:23:26,005 --> 00:23:30,165
Speaker 3: a like borderline supernatural way, like Elliott can literally feel

421
00:23:30,205 --> 00:23:33,085
Speaker 3: when eating gets gets drunk and can feel that he's

422
00:23:33,245 --> 00:23:36,725
Speaker 3: scared about being trapped and released the frogs, you know,

423
00:23:37,525 --> 00:23:40,085
Speaker 3: and they can literally feel what the other is feeling.

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00:23:40,765 --> 00:23:45,965
Speaker 3: And Emily Blunt's character and Disclosure Day can literally feel

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00:23:45,965 --> 00:23:49,245
Speaker 3: what people she's talking to are feeling and can know

426
00:23:49,365 --> 00:23:52,285
Speaker 3: everything about them and speak to them directly about what's

427
00:23:52,325 --> 00:23:55,085
Speaker 3: worrying them, like the scene with the cop that pulls

428
00:23:55,085 --> 00:23:58,365
Speaker 3: her over before again before she knows she can do this,

429
00:23:58,645 --> 00:24:02,965
Speaker 3: or the Korean guy that she is able to speak

430
00:24:03,005 --> 00:24:06,245
Speaker 3: to an influent Korean, like this is a superpower that

431
00:24:06,365 --> 00:24:09,925
Speaker 3: she has that is unlocked by the cardinal I guess,

432
00:24:10,485 --> 00:24:14,005
Speaker 3: but was given to her by aliens as a child,

433
00:24:14,005 --> 00:24:17,005
Speaker 3: as we find out. But you know, in both cases,

434
00:24:17,125 --> 00:24:20,485
Speaker 3: like I said, it is the idea of empathy as

435
00:24:20,525 --> 00:24:25,885
Speaker 3: a human trait is literalized in a kind of superhuman way.

436
00:24:26,165 --> 00:24:28,445
Speaker 4: But I think you know, you listen to empathy as

437
00:24:28,445 --> 00:24:31,125
Speaker 4: superpower and it is kind of it is kind of

438
00:24:31,125 --> 00:24:33,845
Speaker 4: that it is an Empathy in this is in these

439
00:24:33,885 --> 00:24:38,165
Speaker 4: films is never not a good thing. I mean, maybe

440
00:24:38,165 --> 00:24:41,205
Speaker 4: it's helpful that Emily Blunt's character doesn't encounter anyone nasty

441
00:24:41,525 --> 00:24:43,965
Speaker 4: that she has to has to talk to or has

442
00:24:44,005 --> 00:24:46,965
Speaker 4: to to feel what they're what they're feeling. But I

443
00:24:46,965 --> 00:24:49,045
Speaker 4: think there is just sort of the sense that that

444
00:24:49,205 --> 00:24:54,805
Speaker 4: it's misunderstanding more than evil that divides us, or or

445
00:24:54,805 --> 00:24:56,725
Speaker 4: at least, you know, empathy is sort of the beginning

446
00:24:57,005 --> 00:25:02,565
Speaker 4: of reaching beyond that, And uh, yeah, it may be naive,

447
00:25:02,645 --> 00:25:05,645
Speaker 4: but I think that both these films dramatize that very convincingly.

448
00:25:06,205 --> 00:25:08,445
Speaker 3: Yeah, Like the scene I mentioned, I think I think

449
00:25:08,485 --> 00:25:11,245
Speaker 3: it's the first expression of this ability when the cop

450
00:25:11,325 --> 00:25:16,045
Speaker 3: pulls her over and she says something like it wasn't

451
00:25:16,045 --> 00:25:18,885
Speaker 3: a mistake to have a baby, and you're you're not

452
00:25:19,165 --> 00:25:23,445
Speaker 3: going to be like your father us, something so deeply

453
00:25:23,605 --> 00:25:27,645
Speaker 3: personal and like right to the core of you know,

454
00:25:27,725 --> 00:25:31,485
Speaker 3: your your fears and doubts as a human, and you know,

455
00:25:31,725 --> 00:25:35,285
Speaker 3: being able to tap immediately into that and someone else

456
00:25:35,965 --> 00:25:38,325
Speaker 3: is wild to think about. I can't even like figure

457
00:25:38,325 --> 00:25:39,845
Speaker 3: out what that would would feel like, you know, I

458
00:25:39,845 --> 00:25:43,165
Speaker 3: can't empathize with being able to do that. You know,

459
00:25:43,645 --> 00:25:49,965
Speaker 3: but it's a really effective way to again like literalize

460
00:25:50,285 --> 00:25:52,285
Speaker 3: the idea of this film is that you just have

461
00:25:52,445 --> 00:25:55,005
Speaker 3: to understand what other people are going through.

462
00:25:55,365 --> 00:25:57,525
Speaker 2: This is like a micro connection really, but like it

463
00:25:57,605 --> 00:26:02,405
Speaker 2: maybe think like that scene specifically with her con you know,

464
00:26:02,645 --> 00:26:06,605
Speaker 2: being pulled over having to convince somebody in her car

465
00:26:06,805 --> 00:26:08,565
Speaker 2: in the way that she does, and then and then

466
00:26:08,605 --> 00:26:12,005
Speaker 2: you get and then the scene where Elliot is showing

467
00:26:12,005 --> 00:26:14,285
Speaker 2: Et all of all of his Star Wars action figures.

468
00:26:14,325 --> 00:26:17,165
Speaker 2: It it felt like it felt like very George Lucas

469
00:26:17,645 --> 00:26:20,685
Speaker 2: influenced both of those things. Right, There's something obi wan

470
00:26:21,205 --> 00:26:24,205
Speaker 2: power that she is, that she that she possesses at

471
00:26:24,205 --> 00:26:26,885
Speaker 2: this moment to get her you get herself out of

472
00:26:26,965 --> 00:26:29,525
Speaker 2: a jam. That felt like Star Wars. And of course

473
00:26:29,525 --> 00:26:33,085
Speaker 2: obviously you have this explicit reference to it in uh

474
00:26:33,125 --> 00:26:36,485
Speaker 2: an Et so uh big fan, big fan that Steven Spielberg.

475
00:26:36,725 --> 00:26:39,805
Speaker 2: They work together on the Indiana Jones films. Uh.

476
00:26:39,845 --> 00:26:43,925
Speaker 3: Anyway, there's also there's also the Yoda costume during of course.

477
00:26:43,765 --> 00:26:46,125
Speaker 2: That's the other thing. Yes, and yeah, just the idea

478
00:26:46,125 --> 00:26:48,125
Speaker 2: of it, just Et in general is very Yoda, like

479
00:26:48,165 --> 00:26:50,965
Speaker 2: you know this this kind of a wise and old

480
00:26:50,965 --> 00:26:52,605
Speaker 2: and yeah, child.

481
00:26:52,085 --> 00:26:56,484
Speaker 4: Child about how the Phantom Menace and the Parliament scene,

482
00:26:56,725 --> 00:26:58,525
Speaker 4: you know, deep in the mix there you could actually

483
00:26:58,525 --> 00:27:00,965
Speaker 4: see some et creatures and like, well, when I'm watching

484
00:27:00,965 --> 00:27:03,725
Speaker 4: it at this time, well, was e t recognizing an

485
00:27:03,765 --> 00:27:07,165
Speaker 4: alien species that he knows because we know they can anyway?

486
00:27:07,485 --> 00:27:11,885
Speaker 4: Go on someone more relevant than that? Please, Oh my.

487
00:27:11,765 --> 00:27:14,205
Speaker 2: God, I didn't think that. I didn't think about that.

488
00:27:14,365 --> 00:27:18,645
Speaker 2: Oh God help me anyway. Uh okay, what are the

489
00:27:18,645 --> 00:27:21,445
Speaker 2: other connections here that Genevieve brought up with I'm going

490
00:27:21,485 --> 00:27:23,165
Speaker 2: to talk about it. I'm just take away from her.

491
00:27:23,525 --> 00:27:27,725
Speaker 2: Is the idea of of these shadowy agency here?

492
00:27:27,765 --> 00:27:28,845
Speaker 3: They're not my connections?

493
00:27:28,885 --> 00:27:32,325
Speaker 2: There are there? There there, thank you? What's they become

494
00:27:32,405 --> 00:27:34,965
Speaker 2: part of the document? There are? Yeah, it doesn't matter

495
00:27:34,965 --> 00:27:37,165
Speaker 2: where there's no ownership here? Is that this idea of

496
00:27:37,205 --> 00:27:41,045
Speaker 2: shadowy agencies in pursuit and specifically the idea that they

497
00:27:41,205 --> 00:27:44,925
Speaker 2: seem villainous, but aren't you know that they have a

498
00:27:45,005 --> 00:27:49,325
Speaker 2: purpose and the purpose when you know, when revealed, is

499
00:27:49,365 --> 00:27:51,925
Speaker 2: not that sinister? I think I think you could probably

500
00:27:52,005 --> 00:27:55,525
Speaker 2: read into that. You know, Colin Firth is certainly a

501
00:27:55,525 --> 00:27:58,725
Speaker 2: little bit more coded, is villainous. For a good long

502
00:27:58,725 --> 00:28:02,325
Speaker 2: stretch of this movie as someone who's who is pursuing

503
00:28:02,325 --> 00:28:06,245
Speaker 2: our protagonists is using pretty diabolical methods to do so.

504
00:28:06,925 --> 00:28:10,125
Speaker 2: But there's a reason why they've this information has been

505
00:28:10,285 --> 00:28:13,725
Speaker 2: under wraps for as long as it has and and uh,

506
00:28:13,805 --> 00:28:16,685
Speaker 2: and there is a a not ridiculous rationale for thinking

507
00:28:16,725 --> 00:28:18,885
Speaker 2: that that it should be a secret and has been

508
00:28:18,885 --> 00:28:21,405
Speaker 2: a secret for a reason. So there's that. And then

509
00:28:21,445 --> 00:28:24,125
Speaker 2: of course, you know, you have, as we talked about

510
00:28:24,165 --> 00:28:28,365
Speaker 2: in the previous episode, you have Peter Coyote and his agents,

511
00:28:28,365 --> 00:28:31,205
Speaker 2: scientists or whatever, who are who are you know, keenly

512
00:28:31,245 --> 00:28:34,845
Speaker 2: interested in this alien who's crash landed and are performing

513
00:28:35,245 --> 00:28:37,965
Speaker 2: various procedures experiments on him or trying to save his

514
00:28:37,965 --> 00:28:40,845
Speaker 2: life at a certain point too. Uh, they're there, but

515
00:28:40,925 --> 00:28:46,365
Speaker 2: also you know, again presented to us initially as something

516
00:28:47,005 --> 00:28:49,885
Speaker 2: scary and threatening and disruptive, but there are also is

517
00:28:50,205 --> 00:28:52,725
Speaker 2: irrational there, and there's there's a real warmth in fact

518
00:28:52,765 --> 00:28:56,325
Speaker 2: there that we discover from Peter Coyote's character that you know,

519
00:28:56,805 --> 00:28:59,365
Speaker 2: makes both of these films films without.

520
00:28:59,205 --> 00:29:04,165
Speaker 3: Villains technically, yes, although like I don't know that Colin

521
00:29:04,565 --> 00:29:09,405
Speaker 3: First's character like fully de villainizes for me versus just

522
00:29:09,485 --> 00:29:13,405
Speaker 3: kind of like gives up, you know, Like I think

523
00:29:13,445 --> 00:29:16,045
Speaker 3: we just kind of see him like like lean back

524
00:29:16,085 --> 00:29:18,605
Speaker 3: in a chair and be like, oh, this is nicer something,

525
00:29:18,645 --> 00:29:20,485
Speaker 3: you know, Like it's just like a facial expression. We

526
00:29:20,525 --> 00:29:23,725
Speaker 3: don't get like like a moment or an interaction like

527
00:29:23,765 --> 00:29:27,125
Speaker 3: the one we get with Keys and Elliott and him

528
00:29:27,165 --> 00:29:30,045
Speaker 3: talking about how he's been you know, waiting for this

529
00:29:30,125 --> 00:29:33,685
Speaker 3: since he was ten, and like just that one line

530
00:29:33,725 --> 00:29:39,125
Speaker 3: of dialogue humanizes that character and like kind of tells

531
00:29:39,165 --> 00:29:42,685
Speaker 3: you what you need to know about why he's doing this.

532
00:29:43,245 --> 00:29:47,885
Speaker 3: Whereas Colin Firth's character, you know, he's the head of

533
00:29:47,925 --> 00:29:51,245
Speaker 3: this organization that are at least very high up in

534
00:29:51,285 --> 00:29:56,005
Speaker 3: this organization that has been covering up look like some

535
00:29:56,005 --> 00:30:00,445
Speaker 3: pretty bad atrocities toward aliens and stealing their tech. And

536
00:30:01,045 --> 00:30:04,525
Speaker 3: they're pretty solidly I would call them an evil corporation,

537
00:30:04,885 --> 00:30:09,365
Speaker 3: you know, in their and he is the representative of it,

538
00:30:09,445 --> 00:30:12,285
Speaker 3: you know. And to go back last week when we

539
00:30:12,285 --> 00:30:15,565
Speaker 3: were talking about et like the you know, when these

540
00:30:16,645 --> 00:30:21,805
Speaker 3: agents bust in with their spacesuits, you know, it's it's

541
00:30:21,845 --> 00:30:24,925
Speaker 3: scary at first, but then once they're there, they don't

542
00:30:24,965 --> 00:30:29,045
Speaker 3: seem like villains. You know, they're they're there to save

543
00:30:29,085 --> 00:30:32,325
Speaker 3: ET's life TBD what they would want to do with

544
00:30:32,405 --> 00:30:35,565
Speaker 3: him after that, But you know they're not. They don't

545
00:30:35,605 --> 00:30:39,125
Speaker 3: seem to be causing active or want to cause active harm,

546
00:30:39,685 --> 00:30:42,565
Speaker 3: And so that I think makes the turn for Peter

547
00:30:42,645 --> 00:30:48,125
Speaker 3: Coyote's character feel more believable, whereas, like I said, Colin

548
00:30:48,165 --> 00:30:51,365
Speaker 3: Firth's character, it's just like he's feeling what everyone else

549
00:30:51,445 --> 00:30:54,165
Speaker 3: is feeling in that moment. And Okay, so yes, he

550
00:30:54,365 --> 00:30:57,325
Speaker 3: is having his moment of empathy. I guess you know

551
00:30:57,565 --> 00:31:02,925
Speaker 3: that's it completes the arc of the character as it

552
00:31:02,965 --> 00:31:06,845
Speaker 3: fits into the story this movie is telling, but it

553
00:31:06,965 --> 00:31:11,725
Speaker 3: also maybe doesn't tell us much about how that character

554
00:31:11,805 --> 00:31:15,605
Speaker 3: has changed differently from how everyone else has been changed

555
00:31:15,605 --> 00:31:16,405
Speaker 3: by this experience.

556
00:31:16,485 --> 00:31:20,965
Speaker 4: If I can defend that character and the Warducks Corporation

557
00:31:21,245 --> 00:31:24,445
Speaker 4: a little bit, is they make Yeah, they've done bad

558
00:31:24,485 --> 00:31:27,725
Speaker 4: things over the years, but I feel like also they're

559
00:31:27,965 --> 00:31:30,245
Speaker 4: not trying to profit off this. They're not trying to

560
00:31:30,445 --> 00:31:33,405
Speaker 4: you know, leverage this for power. They're trying to keep

561
00:31:33,445 --> 00:31:35,845
Speaker 4: it from the people because the rest of us because

562
00:31:35,845 --> 00:31:38,285
Speaker 4: they feel like we can't handle it. So, like, you know,

563
00:31:38,805 --> 00:31:43,845
Speaker 4: their motives aren't necessarily self interested there they they think

564
00:31:43,845 --> 00:31:48,205
Speaker 4: they're doing the right thing, I suppose, and I guess

565
00:31:47,965 --> 00:31:50,045
Speaker 4: the other thing, the other moment you get with with

566
00:31:50,205 --> 00:31:54,085
Speaker 4: him is the vision of his dead wife, which was

567
00:31:54,245 --> 00:31:56,125
Speaker 4: I think that kind of changes things. So it's not

568
00:31:56,325 --> 00:31:59,165
Speaker 4: just that leaning back from it, there's kind of there

569
00:31:59,245 --> 00:32:01,005
Speaker 4: is kind of a process there. It's not the I

570
00:32:01,045 --> 00:32:03,565
Speaker 4: don't think it's the most clearly developed element of the film,

571
00:32:03,565 --> 00:32:06,285
Speaker 4: but it's definitely definitely part of it there. Well, you know,

572
00:32:06,325 --> 00:32:08,805
Speaker 4: it wasn't until afterwards my wife said, well, you know,

573
00:32:08,805 --> 00:32:12,125
Speaker 4: he's obviously coded coded to be Elon Musk, like like,

574
00:32:12,925 --> 00:32:15,085
Speaker 4: I didn't see that. But then, you know, the more

575
00:32:15,085 --> 00:32:17,845
Speaker 4: I thought about, yeah, it's a private corporation, the ward Dex.

576
00:32:18,005 --> 00:32:20,965
Speaker 4: You know, it's right there, you know, if someone used

577
00:32:21,205 --> 00:32:24,245
Speaker 4: enormous wealth, you know, in conjunction with the government to

578
00:32:24,285 --> 00:32:27,725
Speaker 4: accomplish things. But I don't know. I like Noah Scanlon

579
00:32:27,805 --> 00:32:30,205
Speaker 4: more than I like Elon Musk, no matter what what

580
00:32:30,525 --> 00:32:32,245
Speaker 4: horrible thanks he's done to aliens.

581
00:32:32,965 --> 00:32:36,565
Speaker 2: No, it's more like the real Elon Musk character is

582
00:32:36,925 --> 00:32:41,005
Speaker 2: the villain in The Naked Gun. Remain sure that that

583
00:32:41,205 --> 00:32:44,605
Speaker 2: was much more unambiguous to be I didn't really I

584
00:32:44,605 --> 00:32:47,245
Speaker 2: didn't really pick up on that because because I think,

585
00:32:47,525 --> 00:32:50,685
Speaker 2: you know, there's a solid rationale here that work, even

586
00:32:50,725 --> 00:32:53,005
Speaker 2: if even if the methods that he's using in the

587
00:32:53,045 --> 00:32:56,445
Speaker 2: manner which he's you know, sort of addressing his adversaries

588
00:32:56,445 --> 00:32:59,685
Speaker 2: feels sinister for sure at times.

589
00:32:59,885 --> 00:33:06,085
Speaker 3: So what is the non sinister reason for him having

590
00:33:06,125 --> 00:33:10,205
Speaker 3: and using that device that allows him to you know,

591
00:33:10,325 --> 00:33:12,365
Speaker 3: the the rod, the glowing.

592
00:33:13,085 --> 00:33:16,205
Speaker 4: Artifact or whatever. Yeah, just I think it's all still

593
00:33:16,245 --> 00:33:19,885
Speaker 4: in service of keeping the secret that he feels that

594
00:33:19,925 --> 00:33:23,365
Speaker 4: we can't. We can't have that Jackie Gleason can handle, apparently,

595
00:33:23,805 --> 00:33:26,205
Speaker 4: but the rest of us can't. That's what I love

596
00:33:26,285 --> 00:33:28,725
Speaker 4: that they wove that weird bit of Hollywood.

597
00:33:28,805 --> 00:33:29,085
Speaker 2: Lauren.

598
00:33:29,645 --> 00:33:32,965
Speaker 3: Yeah, well, yeah, I guess I think it was an

599
00:33:33,045 --> 00:33:36,485
Speaker 3: ending piece for culture. Noted that, like all of the

600
00:33:36,645 --> 00:33:42,085
Speaker 3: alien encounters that we see footage of are based on actual,

601
00:33:42,725 --> 00:33:46,845
Speaker 3: I guess historical alien encounters. You know, however real you

602
00:33:46,925 --> 00:33:50,765
Speaker 3: want to claim those are, but let's just say they are.

603
00:33:51,085 --> 00:33:55,525
Speaker 3: They are based in reality as this movie sees it to.

604
00:33:55,485 --> 00:33:56,645
Speaker 4: Be actual incidents.

605
00:33:56,925 --> 00:34:00,605
Speaker 2: Yeah, we have a few more connections we like to

606
00:34:00,725 --> 00:34:02,725
Speaker 2: make here, but we've talked for a bit, so we're

607
00:34:02,725 --> 00:34:15,884
Speaker 2: going to take a break and come right back. And

608
00:34:15,925 --> 00:34:21,844
Speaker 2: we're back. We have something here about childhood encounters, which

609
00:34:21,965 --> 00:34:26,564
Speaker 2: which of course happened early in ET but later in

610
00:34:26,605 --> 00:34:27,404
Speaker 2: Disclosure Day.

611
00:34:28,485 --> 00:34:31,045
Speaker 3: Yeah, yeah, and I mean, just broadly speaking, you know,

612
00:34:31,205 --> 00:34:35,404
Speaker 3: ET is a movie broadly about children, and Disclosure Day

613
00:34:35,485 --> 00:34:38,525
Speaker 3: is movie broadly about adults. But in the case of

614
00:34:38,565 --> 00:34:42,325
Speaker 3: Disclosure Day, these are adults who have been who are

615
00:34:42,365 --> 00:34:45,245
Speaker 3: in the situation they are in because they did have

616
00:34:45,365 --> 00:34:50,165
Speaker 3: a childhood alien encounter that they learn about, like you say,

617
00:34:50,365 --> 00:34:54,285
Speaker 3: late in the film. And it feels notable, especially in

618
00:34:54,325 --> 00:35:00,045
Speaker 3: tandem with these films ideas about empathy and by extension,

619
00:35:00,125 --> 00:35:04,845
Speaker 3: curiosity about others, that children are sort of the conduit

620
00:35:05,205 --> 00:35:10,925
Speaker 3: for that first contact. You know, last week, Scott, you

621
00:35:10,925 --> 00:35:15,005
Speaker 3: you asked, like why it was Elliott that ET connected

622
00:35:15,045 --> 00:35:17,285
Speaker 3: to and vice versa, and I said, it was, like,

623
00:35:17,365 --> 00:35:20,645
Speaker 3: because he's the right age for it, you know, he's

624
00:35:20,725 --> 00:35:23,725
Speaker 3: just like open to this experience and curious about it

625
00:35:23,725 --> 00:35:27,405
Speaker 3: and excited about it. And that's not quite how it

626
00:35:27,885 --> 00:35:32,165
Speaker 3: happens in Disclosure Day when we see the flashback of

627
00:35:33,205 --> 00:35:37,525
Speaker 3: Margaret and Daniel being abducted basically and.

628
00:35:38,365 --> 00:35:42,924
Speaker 4: Benevolent but definitely yeah, yeah, definitely probe, but definitely taking

629
00:35:42,965 --> 00:35:45,805
Speaker 4: against their will and poked and brought it.

630
00:35:46,045 --> 00:35:50,205
Speaker 3: Yeah, exactly, and in another filmmaker's hands, it's a horror scenario,

631
00:35:50,685 --> 00:35:54,285
Speaker 3: but here it's the heart of the movie. You know.

632
00:35:54,365 --> 00:35:55,325
Speaker 2: That played a.

633
00:35:55,285 --> 00:35:57,605
Speaker 4: Little bit of ominousness to it though, And I don't

634
00:35:57,605 --> 00:35:58,085
Speaker 4: think it's.

635
00:35:58,045 --> 00:36:00,125
Speaker 3: Entirely in Disclosure Day for sure.

636
00:36:00,205 --> 00:36:02,365
Speaker 4: Yeah, oh yeah, well, I mean, I guess something that

637
00:36:02,365 --> 00:36:04,765
Speaker 4: Speedplework films have in common is is childhood. I think

638
00:36:04,885 --> 00:36:07,884
Speaker 4: child is presented as a sort of unique state where

639
00:36:07,925 --> 00:36:10,805
Speaker 4: you're more open to things, or you see the world differently,

640
00:36:11,485 --> 00:36:14,205
Speaker 4: whether it's e t or saying like Empire the Sun,

641
00:36:14,325 --> 00:36:18,045
Speaker 4: which which depicts the a child's experience of being in

642
00:36:18,125 --> 00:36:21,525
Speaker 4: a u A war camp during World War or two.

643
00:36:21,845 --> 00:36:24,444
Speaker 4: I think that I think he's just really been really

644
00:36:24,445 --> 00:36:29,245
Speaker 4: interested throughout his career in that perspective and what that

645
00:36:29,325 --> 00:36:33,245
Speaker 4: allows you to see that a more adult perspective can't.

646
00:36:33,325 --> 00:36:36,965
Speaker 4: I think it's interesting that that Disclosure Day kind of

647
00:36:37,485 --> 00:36:40,525
Speaker 4: rewinds to that, you know, really late in the film,

648
00:36:40,805 --> 00:36:44,805
Speaker 4: but it still seems really essential to the story it's telling.

649
00:36:45,685 --> 00:36:50,165
Speaker 3: And also in both cases, like connected to a childhood

650
00:36:50,165 --> 00:36:55,005
Speaker 3: trauma of some sort, you know, the broken family and

651
00:36:55,685 --> 00:37:00,085
Speaker 3: et and the death of Margaret's father in Disclosure Day,

652
00:37:00,165 --> 00:37:02,605
Speaker 3: and it's wrapped up in the formativeness of that.

653
00:37:03,125 --> 00:37:06,685
Speaker 2: Yeah, there's there's an alien insight into exactly the sort

654
00:37:06,805 --> 00:37:11,685
Speaker 2: of child that would be right for the message it's

655
00:37:11,685 --> 00:37:15,605
Speaker 2: trying to send or what it's trying to do. And

656
00:37:16,125 --> 00:37:19,605
Speaker 2: the film's kind of established that pretty well. The other

657
00:37:19,965 --> 00:37:22,605
Speaker 2: thing I think films do, and maybe this is just

658
00:37:23,125 --> 00:37:26,125
Speaker 2: a part of this is is Spielberg's facility as a

659
00:37:26,205 --> 00:37:28,685
Speaker 2: director of action. But this is there's some chase sequences

660
00:37:28,725 --> 00:37:31,205
Speaker 2: in these movies. If you could probably say that this

661
00:37:31,245 --> 00:37:34,725
Speaker 2: Closure Day is almost all chase sequence, it's very uh,

662
00:37:34,965 --> 00:37:38,525
Speaker 2: it's it's got you kind of rolling from the start.

663
00:37:38,765 --> 00:37:41,045
Speaker 2: But I wonder, like what it is about these chase

664
00:37:41,325 --> 00:37:44,645
Speaker 2: scenes that make them special, because certainly they're there, you know,

665
00:37:44,685 --> 00:37:48,085
Speaker 2: the chase scenes are a convention of action movies, and

666
00:37:48,125 --> 00:37:50,364
Speaker 2: I think that we've kind of touched on a little

667
00:37:50,525 --> 00:37:53,725
Speaker 2: little bit. But like, you know, like I was saying

668
00:37:53,725 --> 00:37:56,205
Speaker 2: about about, you know, when when the when the boys

669
00:37:56,245 --> 00:37:58,725
Speaker 2: and e t are all in their bikes and they're

670
00:37:58,765 --> 00:38:01,845
Speaker 2: they're they're they're trying to get away from from the

671
00:38:01,885 --> 00:38:05,165
Speaker 2: police and from from government agents and and and uh,

672
00:38:05,605 --> 00:38:08,605
Speaker 2: Spielberg uses that opportunity to show us more of the

673
00:38:08,605 --> 00:38:11,285
Speaker 2: world that he's created, of the of the suburbia that

674
00:38:11,405 --> 00:38:14,605
Speaker 2: is still under development. I think that gives you something

675
00:38:14,685 --> 00:38:17,165
Speaker 2: more than just a shot of adrenaline, which is something

676
00:38:17,165 --> 00:38:19,045
Speaker 2: you can handle. And then and then, you know, if

677
00:38:19,045 --> 00:38:22,485
Speaker 2: you think about like the real standout chase scene in

678
00:38:23,125 --> 00:38:26,285
Speaker 2: Disclosure to Day with the train, that's where you get

679
00:38:26,285 --> 00:38:28,485
Speaker 2: the scene that you all were talking about inside the

680
00:38:28,525 --> 00:38:31,805
Speaker 2: train car and the emotion emotional beats that that hits too.

681
00:38:31,885 --> 00:38:34,765
Speaker 2: So kind of he kind of is able to not

682
00:38:34,805 --> 00:38:38,045
Speaker 2: only have these chase scenes that sort of whisk you

683
00:38:38,165 --> 00:38:41,565
Speaker 2: around and in this very classic way, but you can

684
00:38:41,605 --> 00:38:45,805
Speaker 2: also hit these kind of interesting beats and do some

685
00:38:45,885 --> 00:38:48,725
Speaker 2: world building, you know, amid all of the action.

686
00:38:49,125 --> 00:38:51,085
Speaker 4: I think in a lot of movies, chase scenes or

687
00:38:51,085 --> 00:38:54,525
Speaker 4: where character development stops or at least pauses, whereas I

688
00:38:54,525 --> 00:38:59,565
Speaker 4: think in Spielberg's films, chase scenes are where characters get developed.

689
00:38:59,605 --> 00:39:01,805
Speaker 4: I mean, I mean, the bond between Elliott and et

690
00:39:02,005 --> 00:39:04,685
Speaker 4: is solidified. Well, I guess it's not chase scene, but

691
00:39:04,605 --> 00:39:07,685
Speaker 4: the first flight scene. It's definitely a scene that's in

692
00:39:07,765 --> 00:39:10,364
Speaker 4: motion where that happens. And then I think the chase

693
00:39:10,365 --> 00:39:13,805
Speaker 4: scene at the end, it's definitely a matter of, you know,

694
00:39:13,805 --> 00:39:16,005
Speaker 4: Elliott feeling less alone in the world because he has

695
00:39:16,045 --> 00:39:19,445
Speaker 4: all these people helping him out for this this common cause.

696
00:39:20,005 --> 00:39:22,725
Speaker 4: And then certainly there's a lot of bonding between the

697
00:39:22,765 --> 00:39:26,645
Speaker 4: two lead characters in close disclosity that happens on the run,

698
00:39:26,805 --> 00:39:30,364
Speaker 4: just as a quick aside, and I think I undernoticed,

699
00:39:30,405 --> 00:39:32,484
Speaker 4: or at least I haven't seen you us talk about

700
00:39:32,525 --> 00:39:35,965
Speaker 4: like Speeld loves to put vehicles off road like it

701
00:39:36,165 --> 00:39:37,925
Speaker 4: it's like, you know, he loves like it's all over

702
00:39:37,965 --> 00:39:41,405
Speaker 4: close encounters. It's in Sugarland Express, his first theatrical film.

703
00:39:42,005 --> 00:39:44,805
Speaker 4: It's an et it's here. He loves to watch cars

704
00:39:44,885 --> 00:39:46,685
Speaker 4: go where cars aren't supposed to go.

705
00:39:47,085 --> 00:39:51,765
Speaker 3: So that brings me to another chase scene and by extension,

706
00:39:51,845 --> 00:39:54,725
Speaker 3: character that we haven't talked about yet in Disclosure Day,

707
00:39:55,165 --> 00:40:00,685
Speaker 3: which is Jane played by Eve Houston, who is Daniel's girlfriend,

708
00:40:01,285 --> 00:40:04,325
Speaker 3: and you know, sort of the earlier scenes of the

709
00:40:04,365 --> 00:40:08,885
Speaker 3: film involve the two of them on the run from

710
00:40:08,965 --> 00:40:14,525
Speaker 3: Noah Scanlon, and then Jane has a sort of telepathic

711
00:40:14,605 --> 00:40:21,485
Speaker 3: interaction with Noah and he manipulates her into trying to

712
00:40:21,565 --> 00:40:25,765
Speaker 3: kill Daniel, which kind of culminates in this escape scene

713
00:40:25,765 --> 00:40:28,165
Speaker 3: where she is in the back seat of the car

714
00:40:28,285 --> 00:40:32,205
Speaker 3: with a knife, presumably preparing to use it on Daniel

715
00:40:32,245 --> 00:40:38,645
Speaker 3: as he is just making a terrible getaway, just bashing

716
00:40:38,685 --> 00:40:42,485
Speaker 3: into one thing after another. I laughed a lot during

717
00:40:43,085 --> 00:40:49,685
Speaker 3: the very clumsy car chase, just bashing through legacy of

718
00:40:49,965 --> 00:40:53,725
Speaker 3: black sedans, one after another. But I actually don't recall

719
00:40:53,765 --> 00:40:57,645
Speaker 3: exactly how she snaps out of that state when they're

720
00:40:57,645 --> 00:41:00,525
Speaker 3: in the car, But what I do remember is as

721
00:41:00,605 --> 00:41:02,965
Speaker 3: they reach the end, as they reach a cliff and

722
00:41:03,005 --> 00:41:05,884
Speaker 3: have to bail, she is the one who has the

723
00:41:06,325 --> 00:41:09,685
Speaker 3: presence of mind to put the car in drive and

724
00:41:09,725 --> 00:41:12,365
Speaker 3: send it over the cliff into the water, thus throwing

725
00:41:12,365 --> 00:41:16,364
Speaker 3: the agents off of their tail, which is a very

726
00:41:16,405 --> 00:41:19,205
Speaker 3: good move in a car chase. So I was glad

727
00:41:19,245 --> 00:41:21,725
Speaker 3: that Jane thought of that, because Daniel's certainly didn't.

728
00:41:22,245 --> 00:41:26,965
Speaker 2: He's a cybersecurity guy, he's an expert driving.

729
00:41:27,125 --> 00:41:28,605
Speaker 3: But there, I guess what I'm getting is there were

730
00:41:28,685 --> 00:41:32,165
Speaker 3: just like a lot of sort of levels to that

731
00:41:32,245 --> 00:41:35,525
Speaker 3: whole sequence. You know, it was exciting. There was a

732
00:41:35,565 --> 00:41:38,485
Speaker 3: sense of danger, of uncertainty of what was going to

733
00:41:38,525 --> 00:41:42,205
Speaker 3: happen with with Jane. There was humor in it, and

734
00:41:42,285 --> 00:41:46,045
Speaker 3: then you know they got away, so you know, a

735
00:41:46,085 --> 00:41:47,245
Speaker 3: sense of victory in the end. So it was just

736
00:41:47,285 --> 00:41:50,805
Speaker 3: a very I thought, well modulated escape chase scene.

737
00:41:50,965 --> 00:41:54,645
Speaker 2: You get a lot of different looks there from from Spielberg.

738
00:41:54,885 --> 00:41:57,364
Speaker 4: He's pretty good, Spielberg, he's good.

739
00:41:57,805 --> 00:42:00,325
Speaker 2: Anything else here, Keith. Is something about the imagery here

740
00:42:00,365 --> 00:42:04,045
Speaker 2: that is Disney fairy tale just there there.

741
00:42:04,165 --> 00:42:07,205
Speaker 4: If we're doing a triple feature close encounters in but

742
00:42:07,205 --> 00:42:12,605
Speaker 4: but there's definitely close encounter references, Pinocchio et references, Peter Pan,

743
00:42:12,925 --> 00:42:16,005
Speaker 4: and and then we get snow White and this one

744
00:42:16,605 --> 00:42:18,605
Speaker 4: as as well. I mean, it's just like he loves

745
00:42:18,645 --> 00:42:20,925
Speaker 4: his Disney references, but also like although it is.

746
00:42:21,125 --> 00:42:24,405
Speaker 3: The Disney Peter Pan, she's reading the book, Yeah it's not,

747
00:42:24,765 --> 00:42:27,445
Speaker 3: but it's it falls under the umbrella.

748
00:42:27,245 --> 00:42:30,885
Speaker 4: Yeah exactly. But but he loves to make that connection

749
00:42:30,965 --> 00:42:34,045
Speaker 4: between uh, these you know, these stories that are grounded

750
00:42:34,365 --> 00:42:37,285
Speaker 4: in our in the real world, to these you know,

751
00:42:37,325 --> 00:42:40,285
Speaker 4: Disney visions and fairy tale visions, and and you to

752
00:42:40,365 --> 00:42:42,325
Speaker 4: find the connections between the two of them. And that's

753
00:42:42,525 --> 00:42:45,125
Speaker 4: that is a characteristic. You'll find this one as well.

754
00:42:45,645 --> 00:42:48,405
Speaker 3: A part of that is a minor connection that I

755
00:42:48,445 --> 00:42:50,885
Speaker 3: didn't put on this list because it felt a little

756
00:42:50,965 --> 00:42:53,765
Speaker 3: too minor, but it does maybe feel like a subset

757
00:42:53,765 --> 00:42:58,045
Speaker 3: of this, which is all of the animals observing, you know,

758
00:42:58,125 --> 00:43:01,205
Speaker 3: and and of course the cardinal and disclosure day like

759
00:43:01,405 --> 00:43:04,605
Speaker 3: snow White with you know, the bird landing on her fingers,

760
00:43:04,805 --> 00:43:08,445
Speaker 3: very sort of tied of in in that you know

761
00:43:08,565 --> 00:43:12,605
Speaker 3: idea as well. But in E T there's just many

762
00:43:12,645 --> 00:43:17,525
Speaker 3: many shots of forest creatures observing what's happening, you know,

763
00:43:17,885 --> 00:43:21,685
Speaker 3: and thematically it kind of connects to this idea of

764
00:43:21,805 --> 00:43:26,445
Speaker 3: just like we're all connected, whether alien or human or animal,

765
00:43:26,885 --> 00:43:29,845
Speaker 3: you know, we're all kind of part of the same universe,

766
00:43:30,005 --> 00:43:33,565
Speaker 3: I guess. So I think if I had to give

767
00:43:33,565 --> 00:43:37,245
Speaker 3: a reason for the focus on wildlife in both of

768
00:43:37,285 --> 00:43:40,085
Speaker 3: these films, that's maybe what I would point to. But

769
00:43:40,925 --> 00:43:42,965
Speaker 3: also it just means there's a lot of cute animals

770
00:43:43,045 --> 00:43:43,605
Speaker 3: to look at.

771
00:43:44,605 --> 00:43:48,005
Speaker 2: Yeah, he just you know, Steven Spielberg always giving the

772
00:43:48,045 --> 00:43:51,765
Speaker 2: audience what we crave and want. That's it. That's something

773
00:43:52,445 --> 00:43:53,525
Speaker 2: something he's never lost.

774
00:43:53,885 --> 00:43:57,285
Speaker 3: Before we start to wrap up, there's just a couple

775
00:43:57,405 --> 00:44:02,525
Speaker 3: other things I wanted to touch on here, one being

776
00:44:02,685 --> 00:44:06,925
Speaker 3: sort of the idea of very important transmissions that need

777
00:44:07,005 --> 00:44:11,045
Speaker 3: to happen. In ET's case, he famously wants to phone

778
00:44:11,045 --> 00:44:16,525
Speaker 3: home and creates a device that allows him to do that.

779
00:44:17,725 --> 00:44:21,605
Speaker 3: And Disclosure Day is just sort of all about one

780
00:44:22,365 --> 00:44:26,285
Speaker 3: very important broadcast to the world, you know, to to

781
00:44:26,405 --> 00:44:30,765
Speaker 3: tell them what's happening, and to in a way save

782
00:44:30,925 --> 00:44:34,725
Speaker 3: an alien or save aliens. You know, there's presumably there

783
00:44:34,725 --> 00:44:38,844
Speaker 3: are other captive aliens besides the one big one we meet.

784
00:44:38,565 --> 00:44:39,685
Speaker 3: I don't know.

785
00:44:40,005 --> 00:44:43,685
Speaker 4: It's stuff, isn't it like it's it's really not interested

786
00:44:43,925 --> 00:44:47,325
Speaker 4: in giving us the full scope of what's happened, just

787
00:44:47,405 --> 00:44:50,565
Speaker 4: it's it's just these glimpses, which, as you say, are

788
00:44:50,885 --> 00:44:54,645
Speaker 4: taken from actual accounts, you know, I don't want to

789
00:44:54,645 --> 00:44:57,885
Speaker 4: say real because that might be a stretch, but actual

790
00:44:57,925 --> 00:45:01,844
Speaker 4: accounts of alien and encounters, and well, the specifics don't

791
00:45:01,845 --> 00:45:03,205
Speaker 4: really matter that much. But I think it's a really

792
00:45:03,205 --> 00:45:04,685
Speaker 4: interesting choice for this film.

793
00:45:04,805 --> 00:45:07,925
Speaker 3: And that leads me to note that in both of

794
00:45:07,965 --> 00:45:12,485
Speaker 3: these cases, we know very little about these alien races.

795
00:45:12,565 --> 00:45:15,445
Speaker 3: You know that we spend Ets case a lot of

796
00:45:15,485 --> 00:45:20,125
Speaker 3: time with in Disclosure Day, not very much. But I

797
00:45:20,165 --> 00:45:23,525
Speaker 3: think the fact that we don't really know anything about

798
00:45:23,525 --> 00:45:26,285
Speaker 3: where they came from or why they came here, why

799
00:45:26,285 --> 00:45:29,364
Speaker 3: they can't leave, and all these you know, questions that

800
00:45:29,765 --> 00:45:32,685
Speaker 3: kind of would seem to naturally arise, is that these

801
00:45:32,765 --> 00:45:36,485
Speaker 3: are not stories about aliens. There's stories about humans and

802
00:45:36,565 --> 00:45:40,245
Speaker 3: what humans do in the face of something like this.

803
00:45:41,205 --> 00:45:43,565
Speaker 3: If it was about the aliens, it would be a

804
00:45:43,725 --> 00:45:47,805
Speaker 3: completely different story and maybe not set on Earth, though, I.

805
00:45:47,725 --> 00:45:49,845
Speaker 2: Will say, I mean, we do get a glimpse in

806
00:45:50,125 --> 00:45:55,285
Speaker 2: et of the aliens collecting samples of plants and things

807
00:45:55,365 --> 00:45:56,925
Speaker 2: they find on the forest floor, which is kind of

808
00:45:57,525 --> 00:45:58,005
Speaker 2: love their.

809
00:45:59,165 --> 00:46:01,245
Speaker 3: It's very silent running it is.

810
00:46:01,205 --> 00:46:05,045
Speaker 2: Yeah, yeah, and it's got it's got the dramatic entry

811
00:46:05,325 --> 00:46:07,045
Speaker 2: way too, where you can just kind of stand there

812
00:46:07,085 --> 00:46:11,365
Speaker 2: and prof in silhouette and get get everything. You know. Anyway,

813
00:46:11,605 --> 00:46:14,005
Speaker 2: Uh yeah, it's a it's a nice it's a nice ship.

814
00:46:14,045 --> 00:46:16,125
Speaker 2: But I mean, but but I think they're also they're

815
00:46:16,405 --> 00:46:18,525
Speaker 2: they be they're interested in the planet. See, they seem

816
00:46:18,525 --> 00:46:20,045
Speaker 2: interested in the planet in the way that we might

817
00:46:20,085 --> 00:46:24,085
Speaker 2: be if we were exploring somewhere else. I mean, I

818
00:46:24,085 --> 00:46:25,924
Speaker 2: think there might be more of a you think there'd

819
00:46:25,925 --> 00:46:29,205
Speaker 2: be more of an interesting in human animal life than

820
00:46:29,245 --> 00:46:31,685
Speaker 2: plant life. There's something a little more visceral. I think that.

821
00:46:31,805 --> 00:46:34,725
Speaker 4: Uh, I think it's what they do. People I think explored.

822
00:46:35,205 --> 00:46:38,005
Speaker 4: I think I think there're more there, plant creatures there, they're.

823
00:46:37,805 --> 00:46:41,325
Speaker 3: They're botanists, interactive botanists.

824
00:46:40,925 --> 00:46:44,005
Speaker 2: They are. And but you know, but they also they

825
00:46:44,125 --> 00:46:48,245
Speaker 2: enjoyed junk food as well. Clearly, you know, that's that's

826
00:46:48,285 --> 00:46:50,965
Speaker 2: something we learned about ET. He likes to eat, is

827
00:46:51,005 --> 00:46:53,045
Speaker 2: a big slob. He likes the junk food and beer.

828
00:46:54,485 --> 00:46:56,565
Speaker 2: So I don't know it would be you know, that's

829
00:46:56,565 --> 00:47:00,565
Speaker 2: what's something that's something that ET two could have explored

830
00:47:00,565 --> 00:47:04,565
Speaker 2: and didn't. So we'll, uh well, we'll live with the regret.

831
00:47:04,285 --> 00:47:07,525
Speaker 3: Of that one last thing here before we wrap up.

832
00:47:07,565 --> 00:47:10,565
Speaker 3: And we have kind of talked about this to a

833
00:47:10,685 --> 00:47:13,165
Speaker 3: degree with with both films already, so this can just

834
00:47:13,205 --> 00:47:15,964
Speaker 3: sort of be a capra on it, but just sort

835
00:47:16,005 --> 00:47:19,925
Speaker 3: of the idea of home in both films, and I

836
00:47:19,965 --> 00:47:22,485
Speaker 3: don't necessarily mean in the case of ET phone home,

837
00:47:22,525 --> 00:47:25,685
Speaker 3: but I mean like an actual house that you live in.

838
00:47:26,205 --> 00:47:29,525
Speaker 3: And we talked a lot last week just about Elliott's

839
00:47:29,525 --> 00:47:33,565
Speaker 3: house in his room and suburbia and just the lived

840
00:47:33,605 --> 00:47:37,325
Speaker 3: in feeling of this setting and how real it felt.

841
00:47:37,365 --> 00:47:41,925
Speaker 3: And then in disclosure day, obviously we're all over the place.

842
00:47:42,005 --> 00:47:44,805
Speaker 3: You know, it's a Chase movie. But there is this

843
00:47:45,005 --> 00:47:49,045
Speaker 3: central image of this house that is being built, Margaret's

844
00:47:49,085 --> 00:47:52,685
Speaker 3: childhood home, that is being built specifically so that she

845
00:47:52,805 --> 00:47:58,285
Speaker 3: can have this experience related to her childhood. And you know,

846
00:47:58,325 --> 00:48:02,525
Speaker 3: it's just as important to the story. The film is

847
00:48:02,565 --> 00:48:06,725
Speaker 3: telling this idea of her home, her childhood home, even

848
00:48:06,765 --> 00:48:10,005
Speaker 3: though we spend much less time in it and in

849
00:48:10,045 --> 00:48:14,045
Speaker 3: a very different way, it is very central in a

850
00:48:14,085 --> 00:48:15,925
Speaker 3: similar way, for sure, and.

851
00:48:16,325 --> 00:48:20,485
Speaker 2: It does seem like some kind of like foundational emotional

852
00:48:20,565 --> 00:48:24,005
Speaker 2: piece to it is to some of Spielberg's work as well,

853
00:48:24,485 --> 00:48:28,645
Speaker 2: and into our lives. It's not just Spielberg. That's not

854
00:48:28,725 --> 00:48:30,844
Speaker 2: just Spielberg. The idea of home and in the forum

855
00:48:31,005 --> 00:48:31,525
Speaker 2: think home is.

856
00:48:32,165 --> 00:48:33,205
Speaker 3: Say it's where the heart is.

857
00:48:33,765 --> 00:48:36,005
Speaker 4: Homes important you guys to.

858
00:48:35,445 --> 00:48:41,405
Speaker 3: Me too, Bring us home, Scott Well.

859
00:48:41,205 --> 00:48:43,645
Speaker 2: I mean, you know you can bring E. T. The

860
00:48:43,685 --> 00:48:47,445
Speaker 2: Extraterrestrial into your home because it's available on DVD and

861
00:48:47,565 --> 00:48:48,844
Speaker 2: Blu Ray. I have the Blu Ray.

862
00:48:49,045 --> 00:48:51,805
Speaker 4: Please should I just add it for our other physical

863
00:48:51,845 --> 00:48:54,285
Speaker 4: media nerds out there. If you're on the fence about

864
00:48:54,645 --> 00:48:57,405
Speaker 4: four K Blu ray, this will this will put you

865
00:48:57,445 --> 00:49:00,085
Speaker 4: over it's such a beautiful version of the film.

866
00:49:00,365 --> 00:49:01,925
Speaker 2: Or you know, if you don't have any that stuff,

867
00:49:01,925 --> 00:49:05,165
Speaker 2: you can also rent it digitally. That's there for you.

868
00:49:06,485 --> 00:49:09,565
Speaker 2: Disclosure Day is currently in theaters and you can see it.

869
00:49:09,765 --> 00:49:11,965
Speaker 4: Can I just add to my, to my, to my,

870
00:49:12,645 --> 00:49:15,365
Speaker 4: But this kind of thing seventy millimeters. It's gorgeous and

871
00:49:15,405 --> 00:49:16,525
Speaker 4: seventy millimeters if you get a.

872
00:49:16,565 --> 00:49:18,245
Speaker 3: Chance to see it, Disclosure Day.

873
00:49:18,325 --> 00:49:20,325
Speaker 4: Yeah, it's only playing in a few theaters in the country,

874
00:49:20,365 --> 00:49:22,005
Speaker 4: but if if you're near one of them, go see

875
00:49:22,005 --> 00:49:22,605
Speaker 4: it that way.

876
00:49:23,245 --> 00:49:25,725
Speaker 2: Yeah, I love it. We'll be right back. Can I

877
00:49:25,765 --> 00:49:30,924
Speaker 2: just add, No, No, you can't, you can't add. We'll

878
00:49:30,925 --> 00:49:44,125
Speaker 2: be right back with your next Picture show. Finally, it's

879
00:49:44,165 --> 00:49:46,285
Speaker 2: time to recommend a film or a film related item

880
00:49:46,325 --> 00:49:48,205
Speaker 2: that compliments the set of episodes. We call it your

881
00:49:48,245 --> 00:49:52,565
Speaker 2: next Picture Show. Hopes it'll put something interesting on your radar. Keith, Again,

882
00:49:52,605 --> 00:49:56,245
Speaker 2: we are sort of, you know, pinging some title possibilities

883
00:49:56,245 --> 00:49:58,925
Speaker 2: back and forth here, and one that we did not

884
00:49:59,085 --> 00:50:01,725
Speaker 2: do is maybe one that you might recommend to people. Right.

885
00:50:02,045 --> 00:50:06,045
Speaker 4: Yeah, it's a film that influenced both these films et,

886
00:50:06,245 --> 00:50:09,205
Speaker 4: but especially Disclosure Day, and that's a nineteen fifty one

887
00:50:09,205 --> 00:50:12,365
Speaker 4: classic to day Ersten Still story directed by Robert Wise,

888
00:50:12,805 --> 00:50:15,885
Speaker 4: in which an alien in Klawtu played by Michael Rennie,

889
00:50:16,525 --> 00:50:20,725
Speaker 4: lands on Earth with a message for the people everywhere.

890
00:50:20,365 --> 00:50:23,285
Speaker 4: He's he wants. He's trying to stage his own Disclosure Day,

891
00:50:23,325 --> 00:50:26,965
Speaker 4: but he runs into problems because humans are problematic people,

892
00:50:27,045 --> 00:50:30,285
Speaker 4: and he walks among us, you know, as a human

893
00:50:30,325 --> 00:50:32,885
Speaker 4: to learn more about us. And it's sort of Uh,

894
00:50:33,205 --> 00:50:34,845
Speaker 4: I don't want to give away the ending, but it

895
00:50:34,885 --> 00:50:37,125
Speaker 4: has it ends on a very sort of like open

896
00:50:37,205 --> 00:50:40,725
Speaker 4: ended way, and in much the way Disclosure Day does.

897
00:50:41,005 --> 00:50:44,165
Speaker 4: Like e t there's definitely a Christ metaphor at work

898
00:50:44,445 --> 00:50:47,645
Speaker 4: and here as as as this creature walks among humans

899
00:50:47,645 --> 00:50:50,965
Speaker 4: to better understand us, and uh, it's really good. It's

900
00:50:51,005 --> 00:50:53,285
Speaker 4: it's I'm seeing in a few years act I kind

901
00:50:53,325 --> 00:50:55,485
Speaker 4: of want to go back and watch it again after

902
00:50:55,605 --> 00:50:59,365
Speaker 4: this discussion. It also is has a great Bernard Hermann's score.

903
00:51:00,045 --> 00:51:02,045
Speaker 4: It's which is one you know, it's it's a piece

904
00:51:02,045 --> 00:51:04,365
Speaker 4: of music that it's it's his music is one of

905
00:51:04,405 --> 00:51:07,125
Speaker 4: the reasons we associate the therem and with fifties science fiction.

906
00:51:07,285 --> 00:51:09,445
Speaker 4: I think he's the first to do it with this score.

907
00:51:10,285 --> 00:51:13,085
Speaker 4: I certainly became a cliche certainly after this, but it's

908
00:51:13,125 --> 00:51:16,925
Speaker 4: still really fresh here, so I would definitely recommend The

909
00:51:17,045 --> 00:51:18,365
Speaker 4: Day the Earth Stood Still.

910
00:51:19,005 --> 00:51:22,005
Speaker 2: Yeah, I've seen this one again, like you a long

911
00:51:22,125 --> 00:51:24,005
Speaker 2: time ago, but it does. It is the sort of

912
00:51:24,085 --> 00:51:27,485
Speaker 2: movie that asked us to look at ourselves from the

913
00:51:27,525 --> 00:51:30,645
Speaker 2: perspective of someone who is landing on Earth and trying

914
00:51:30,645 --> 00:51:32,364
Speaker 2: to figure it, figure things out.

915
00:51:32,885 --> 00:51:35,845
Speaker 4: And it's definitely a work about Earth on the brink

916
00:51:35,845 --> 00:51:39,045
Speaker 4: of destroying itself in some ways too, so there's there's

917
00:51:39,125 --> 00:51:40,565
Speaker 4: that connection as well.

918
00:51:40,765 --> 00:51:42,645
Speaker 3: Keith or Scott, I'm curious to either of you have

919
00:51:42,685 --> 00:51:45,605
Speaker 3: any experience with the two thousand and eight remakes starring

920
00:51:45,685 --> 00:51:46,565
Speaker 3: Keanu Reeves.

921
00:51:46,685 --> 00:51:52,485
Speaker 4: I skipped it. I didn't hear great things. I'm kind

922
00:51:52,485 --> 00:51:55,125
Speaker 4: of curious about it though. I mean, Reeves is pretty

923
00:51:55,125 --> 00:51:58,045
Speaker 4: good casting as as claw Tou. He does have that

924
00:51:58,125 --> 00:52:03,245
Speaker 4: kind of otherworldly quality to him sometimes, but I've yet

925
00:52:03,245 --> 00:52:03,485
Speaker 4: to check.

926
00:52:03,605 --> 00:52:03,844
Speaker 2: I didn't.

927
00:52:03,845 --> 00:52:06,005
Speaker 4: I didn't catch the review for that one when we

928
00:52:06,045 --> 00:52:08,125
Speaker 4: were at the EV Club, I think at that point,

929
00:52:08,165 --> 00:52:10,205
Speaker 4: and so I didn't hear great things.

930
00:52:10,205 --> 00:52:13,005
Speaker 2: So I either got to see it or I reviewed

931
00:52:13,005 --> 00:52:16,765
Speaker 2: it basically the way things go for me, But I

932
00:52:16,805 --> 00:52:18,245
Speaker 2: have no memory of it. If I saw it.

933
00:52:18,445 --> 00:52:24,125
Speaker 3: Unfortunately, it has a twenty one percent on Rotten Tomatoes.

934
00:52:24,845 --> 00:52:26,005
Speaker 2: Rotten, pretty rotten.

935
00:52:26,045 --> 00:52:28,525
Speaker 4: Yeah, you know what if you talked to us about it.

936
00:52:28,605 --> 00:52:31,965
Speaker 4: Tasha Robinson who did the review.

937
00:52:32,005 --> 00:52:33,525
Speaker 3: What did she give it?

938
00:52:33,565 --> 00:52:38,404
Speaker 4: A letter grade C plus C plus didn't love it.

939
00:52:38,645 --> 00:52:41,965
Speaker 2: That's rotten. That's rotten. But that's not as rotten as

940
00:52:41,605 --> 00:52:42,845
Speaker 2: it's barely rotten.

941
00:52:42,925 --> 00:52:45,125
Speaker 4: If it was a banana, you might like, cut off

942
00:52:45,165 --> 00:52:47,165
Speaker 4: the pitch you didn't really like, and still you did

943
00:52:47,165 --> 00:52:47,645
Speaker 4: it anyway.

944
00:52:47,725 --> 00:52:51,125
Speaker 2: You know, why don't they have that nuance on Why

945
00:52:51,165 --> 00:52:52,805
Speaker 2: don't they have like a like kind of an old

946
00:52:52,805 --> 00:52:53,805
Speaker 2: banana rating.

947
00:52:54,165 --> 00:52:56,525
Speaker 3: It should be it should be rotten bananas. You can

948
00:52:56,525 --> 00:52:57,485
Speaker 3: get a lot more.

949
00:52:58,805 --> 00:53:01,165
Speaker 2: Banana bread. It should be like a banana bread level

950
00:53:01,205 --> 00:53:02,125
Speaker 2: of like it's.

951
00:53:01,965 --> 00:53:04,005
Speaker 3: Still a pretty no matter how, no matter how bad

952
00:53:04,005 --> 00:53:05,965
Speaker 3: a movie is, you can still make banana bread out

953
00:53:05,965 --> 00:53:06,405
Speaker 3: of it.

954
00:53:06,765 --> 00:53:08,365
Speaker 2: You just you can put it in the freezer. You

955
00:53:08,365 --> 00:53:09,725
Speaker 2: can put the movie in the freezer and you can

956
00:53:09,725 --> 00:53:11,565
Speaker 2: take it out and you can make another.

957
00:53:11,885 --> 00:53:15,445
Speaker 4: Can I say that? Oh, here's a connection the the

958
00:53:15,485 --> 00:53:17,925
Speaker 4: two thousand and eight Day There should still remake inspired

959
00:53:17,965 --> 00:53:21,845
Speaker 4: one of my favorite asylum mockbusters. You don't want to

960
00:53:21,845 --> 00:53:24,525
Speaker 4: talk about the rip offs. Yeah, it's called The Day

961
00:53:24,645 --> 00:53:29,045
Speaker 4: the Earth Stopped, which is directed by See Thomas Howell,

962
00:53:29,205 --> 00:53:31,485
Speaker 4: who is actually one of the kids in ET.

963
00:53:32,525 --> 00:53:34,364
Speaker 2: Yes, that's great.

964
00:53:34,445 --> 00:53:36,485
Speaker 3: You can always count on Keith to bring us full

965
00:53:36,565 --> 00:53:37,765
Speaker 3: circle with some casting.

966
00:53:37,885 --> 00:53:38,245
Speaker 2: I did it.

967
00:53:38,325 --> 00:53:40,405
Speaker 4: I did it again, guys, you did it.

968
00:53:40,405 --> 00:53:49,765
Speaker 2: That's incredible. Wow, soul man star see Thomas how all right,

969
00:53:50,285 --> 00:53:53,365
Speaker 2: that's it for this edition of the Next Picture Show, Genevieve,

970
00:53:53,405 --> 00:53:54,725
Speaker 2: Can you tell us about a next pairing?

971
00:53:55,085 --> 00:53:57,765
Speaker 3: Supergirl the second feature film, and a second attempt to

972
00:53:57,765 --> 00:54:01,444
Speaker 3: build a cinematic universe using characters from DC Comics, send

973
00:54:01,525 --> 00:54:05,125
Speaker 3: Superman's cousin Kara Zurel played by Millie Alcock, into the

974
00:54:05,165 --> 00:54:08,005
Speaker 3: far reaches of the Cosmos for a space western adventure

975
00:54:08,085 --> 00:54:11,245
Speaker 3: with a familiar model. Its plot, in which Kara helps

976
00:54:11,245 --> 00:54:14,085
Speaker 3: a young orphan seek revenge, draws from Tom King and

977
00:54:14,125 --> 00:54:17,965
Speaker 3: Bill key'se Ebila's comic book limited series Supergirl Woman of Tomorrow,

978
00:54:18,245 --> 00:54:21,885
Speaker 3: which was itself inspired by Charles Porto's classic nine True Grit.

979
00:54:22,445 --> 00:54:25,045
Speaker 3: That book has been adapted twice and both versions are

980
00:54:25,045 --> 00:54:27,205
Speaker 3: worth your time, but we decided to go with Joel

981
00:54:27,245 --> 00:54:30,205
Speaker 3: and Ethan Cohen's twenty ten version starring Jeff Bridges as

982
00:54:30,285 --> 00:54:33,685
Speaker 3: the grumpy, reluctant hero Rooster Cogburn. For our next episodes,

983
00:54:34,285 --> 00:54:36,565
Speaker 3: we hope you'll follow us into the West, then up

984
00:54:36,605 --> 00:54:37,445
Speaker 3: to the stars.

985
00:54:37,805 --> 00:54:40,445
Speaker 2: For now, we welcome your feedback on ET Disclosure Day

986
00:54:40,485 --> 00:54:42,845
Speaker 2: and anything else film related you'd like to talk about.

987
00:54:43,205 --> 00:54:45,685
Speaker 2: Email us at comments at next pictureshow dot net, or

988
00:54:45,725 --> 00:54:48,285
Speaker 2: leave us a voicemail at seven to seven three two

989
00:54:48,285 --> 00:54:51,285
Speaker 2: three four at nine seven three zero before we close

990
00:54:51,325 --> 00:54:53,965
Speaker 2: out this week's episode. Where can we find everyone these

991
00:54:54,085 --> 00:54:56,005
Speaker 2: days at Genevieve.

992
00:54:55,845 --> 00:54:57,965
Speaker 3: Oh, you can find me. I mean, mainly you can

993
00:54:58,005 --> 00:55:00,765
Speaker 3: find me on the Next Picture Show, but if you're

994
00:55:01,085 --> 00:55:04,125
Speaker 3: interested in my day job, I am the TV editor

995
00:55:04,765 --> 00:55:10,165
Speaker 3: at Vulture, primarily behind the scenes there, editing writers such

996
00:55:10,205 --> 00:55:14,325
Speaker 3: as Keith and Scott, mostly on TV, but sometimes movies

997
00:55:14,365 --> 00:55:18,924
Speaker 3: too these days. So yeah, and I am parking on

998
00:55:19,205 --> 00:55:22,805
Speaker 3: Blue Sky at Genevievkas and who knows, one of these

999
00:55:22,885 --> 00:55:25,325
Speaker 3: days you should follow me, just in case one of

1000
00:55:25,365 --> 00:55:29,645
Speaker 3: these days I decided to post something on there. Keith,

1001
00:55:29,685 --> 00:55:30,245
Speaker 3: what about you?

1002
00:55:30,325 --> 00:55:30,445
Speaker 2: Oh?

1003
00:55:30,565 --> 00:55:33,325
Speaker 4: I write about film and sometimes television for variety of

1004
00:55:33,325 --> 00:55:37,005
Speaker 4: publications like Vulture and TV Guide, and I had a

1005
00:55:37,005 --> 00:55:40,445
Speaker 4: piece of a relevant piece on Slate recently about the

1006
00:55:40,445 --> 00:55:44,805
Speaker 4: Spielberg Poltergeist Toby Hooper controversy. But mostly you can find

1007
00:55:44,845 --> 00:55:48,125
Speaker 4: me at the Reveals a Reveal dot film, which is

1008
00:55:48,125 --> 00:55:51,845
Speaker 4: the newsletter I co write with Scott Tobias where we

1009
00:55:51,885 --> 00:55:55,165
Speaker 4: do reviews, we do interviews, we do all kinds of

1010
00:55:55,205 --> 00:55:59,005
Speaker 4: fun things there. And subscriptions are we're giving them away practically,

1011
00:55:59,085 --> 00:56:02,485
Speaker 4: Well we're not, but they're not expensive. The Reveal dot

1012
00:56:02,525 --> 00:56:05,045
Speaker 4: film we give your money's worth for just a little

1013
00:56:05,045 --> 00:56:06,325
Speaker 4: bit of money. We give you a lot of a

1014
00:56:06,325 --> 00:56:08,725
Speaker 4: lot of cool stuff. I think. I think it's cool. Scott,

1015
00:56:08,725 --> 00:56:10,844
Speaker 4: do you think it's cool? And also work find you?

1016
00:56:10,925 --> 00:56:12,805
Speaker 2: Oh sure, well you find me at the Reveal at

1017
00:56:12,845 --> 00:56:18,125
Speaker 2: the Revealed dot film. Recently did a piece you know,

1018
00:56:18,445 --> 00:56:21,925
Speaker 2: we've done a few like pieces looking back Keith and

1019
00:56:21,965 --> 00:56:27,205
Speaker 2: I have on various points in our lives and careers.

1020
00:56:27,205 --> 00:56:30,205
Speaker 2: And I did a piece about my student newspaper days

1021
00:56:30,445 --> 00:56:33,285
Speaker 2: that ran this week. It's free to read and so

1022
00:56:33,325 --> 00:56:35,525
Speaker 2: you can check out what it was like to for

1023
00:56:36,565 --> 00:56:39,565
Speaker 2: me to write for the Red Black newspaper in Athens,

1024
00:56:39,565 --> 00:56:44,405
Speaker 2: Georgia circa nineteen ninety three. It's my first movie review

1025
00:56:44,485 --> 00:56:47,765
Speaker 2: was Cop and a half with Burt Reynolds and Norman

1026
00:56:47,805 --> 00:56:50,884
Speaker 2: Gold in the Second. You can find me also at

1027
00:56:51,125 --> 00:56:57,005
Speaker 2: publications such as New York Times, Vulture, and Guardian. And

1028
00:56:57,085 --> 00:56:58,565
Speaker 2: you can find me on Blue Sky where where I

1029
00:56:58,605 --> 00:57:00,525
Speaker 2: do post? I post on I post on Blue Sky

1030
00:57:00,685 --> 00:57:04,325
Speaker 2: at Scott Tobias. Our absent co host, Tasha Robinson is

1031
00:57:04,325 --> 00:57:07,725
Speaker 2: a freelance editor and writer. You can find her on

1032
00:57:07,805 --> 00:57:11,285
Speaker 2: Blue Sky at Tasha Robinson. You can stay updated on

1033
00:57:11,325 --> 00:57:13,364
Speaker 2: the Next Picture Show at Next Picture Show dot net

1034
00:57:13,365 --> 00:57:15,884
Speaker 2: and on Blue Sky at the Next Picture Show. Get

1035
00:57:15,925 --> 00:57:18,765
Speaker 2: bonus content and open discussion at Patreon dot com slash

1036
00:57:18,885 --> 00:57:22,125
Speaker 2: Next Picture Show, And as always, we appreciate your ratings,

1037
00:57:22,165 --> 00:57:25,525
Speaker 2: interviews on Apple podcasts or Spotify or wherever you listen

1038
00:57:25,565 --> 00:57:29,525
Speaker 2: to the show. Five Stars, Everybody, Five Stars. Thanks to

1039
00:57:29,645 --> 00:57:32,565
Speaker 2: Dan the Bake Jakes for his assistants producing this podcast.

1040
00:57:32,885 --> 00:57:34,805
Speaker 2: The Next Picture Show is proud to be part of

1041
00:57:34,885 --> 00:57:38,885
Speaker 2: the Film Spotting family of podcasts. Please tune in next time.

1042
00:57:50,965 --> 00:57:53,365
Speaker 2: That was a good movie. Yeah, I seen here before

1043
00:57:53,365 --> 00:57:53,645
Speaker 2: once