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

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Speaker 1: You Did.

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Speaker 2: My name is Millie Jericho.

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Speaker 3: I'm Daniel Henderson, and this is a.

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Speaker 1: Film podcast once again, Danielle Hello.

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Speaker 2: Hello, how are you fine?

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Speaker 3: Just fine? I am weeks later, still tired from that

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Speaker 3: Pulp concert.

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Speaker 2: Yeah.

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Speaker 1: I was gonna say, like I texted you the other

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Speaker 1: day about how I had such a great time in Warwick,

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Speaker 1: but the trip was like super short, like I wish

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Speaker 1: I had honestly, like because I was only there for

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Speaker 1: like what forty eight hours, not eat barely, barely, And.

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Speaker 2: I mean, honestly, I wish I could have spent more time.

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Speaker 1: I mean, you know, I just started a new job recently,

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Speaker 1: so I don't have a lot of time off.

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Speaker 2: I also have.

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Speaker 1: A fourteen year old dog, who is you know, like

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Speaker 1: she's okay, but you know, she's I'm worried about leaving

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Speaker 1: her places, you know, with people, So going out of

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Speaker 1: town is kind of like a little weird for me

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Speaker 1: right now. But but yeah, but I wish, honestly I

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Speaker 1: had spent like at least another day there. I mean

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Speaker 1: it was great, but it was like I don't know,

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Speaker 1: could have had another day.

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Speaker 4: Well.

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Speaker 3: Also, most of it was spent in New York City,

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Speaker 3: like the full day that you did have here, we

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Speaker 3: weren't even in Warwick. So yeah, and next time you're

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Speaker 3: coming up to stay, stay longer. But you did get

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Speaker 3: to meet one of my oldest, closest friends. Yes, I

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Speaker 3: depend Tim, and we got to go to his house

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Speaker 3: for a minute.

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Speaker 2: He is lovely.

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Speaker 1: I don't know if he listens to the pod, but Tim,

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Speaker 1: you're my new favorite person. I'm sorry that we've become friends.

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Speaker 1: I've actually texted back and forth with him a little

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Speaker 1: bit since I left.

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Speaker 3: I love it, okay good. I love it when I

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Speaker 3: love it when my friends are friends. I can't help it.

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Speaker 3: I don't understand anyone who doesn't feel that way.

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Speaker 1: I listen, I hear you, and I've always and I think,

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Speaker 1: I don't know, maybe we have the same kind of vibe.

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Speaker 1: But you know, I always felt like I was kind

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Speaker 1: of a floater, you know, like I have friends from

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Speaker 1: like different kind of walks of life, and I in

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Speaker 1: my twenties and thirties, when I was going out all

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Speaker 1: the time, I always like wanted people to hang out

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Speaker 1: in big groups. Like I was like, oh, like my

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Speaker 1: friend from here, and then my friend from here for

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Speaker 1: better for worse. Sometimes you know, the vibe was off unfortunately,

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Speaker 1: but a lot of times it wasn't. And I liked

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Speaker 1: it when people made friends. But then you do come

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Speaker 1: across people who are like super territorial about that kind

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Speaker 1: of stuff, like both ways by the way, like either

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Speaker 1: they do not want you to go outside.

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Speaker 2: The group or bring anybody in, or.

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Speaker 1: They like capitalize they like meet somebody, they capitalize everything

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Speaker 1: about them and then kind of like form their own

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Speaker 1: little group with someone. Yeah, and I'm just like, why.

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Speaker 2: Can't we all just hang what's up?

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Speaker 3: And I'm all for both. I'm like, have your private time,

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Speaker 3: But like, there's no I there's nothing that I lose

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Speaker 3: by the people I love loving each other.

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Speaker 2: Yeah, I agree. I totally agree there. And it's like,

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Speaker 2: I don't know. To me, it feels like when I

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Speaker 2: when I have a.

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Speaker 1: Friend who has a really cool friend, I'm like, it

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Speaker 1: makes me feel much better and I make it makes

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Speaker 1: me love my original friend more knowing that they make

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Speaker 1: good friends.

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Speaker 2: Do you know what I'm saying?

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Speaker 3: You said that in the car we had we had

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Speaker 3: a couple of really great conversations in the car m

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Speaker 3: and you said that at one point where you're like

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Speaker 3: I understand you better because I've met Tim.

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Speaker 1: No, it's it's true because it's like if like, if

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Speaker 1: you're a good person, you bring good people in your orbit.

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Speaker 2: Right, Yeah, that's kind of how I feel.

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Speaker 3: So No, it was. It was great. And he's just

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Speaker 3: he's just the best. He and his husband both are

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Speaker 3: just awesome. And they had a barn sale. Uh so

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Speaker 3: the morning that I was shaking Emil into the airport.

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Speaker 2: We sat by their barn sale.

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Speaker 3: And this is how much of a g Millie is.

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Speaker 3: They were selling like a dance pot, like a you know,

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Speaker 3: like an actual pot that you've put on a stove.

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Speaker 3: Was like yeah, d A n sk and Millie was like, yeah,

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Speaker 3: I'm buying them. Put it in my luggage and I

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Speaker 3: was like what.

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Speaker 4: She put a whole pot in her carrier on hell,

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Speaker 4: two mugs and two mugs like very delicate pottery like

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Speaker 4: handmade munks, and a camera.

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Speaker 2: I bought a camera from the from them.

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Speaker 3: Camera O good, like an old SLR.

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Speaker 1: First of all, they're so cute, because the sign around

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Speaker 1: their sale was like so cute.

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Speaker 2: It reminded me so much of Georgia.

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Speaker 1: Like it was like you know, handmade like folksy signs

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Speaker 1: about a yard sale type of thing, and then so

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Speaker 1: we are like driving to the barn and then it

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Speaker 1: was basically advertised as a chic barn sale, which I

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Speaker 1: thought was really funny.

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Speaker 2: But then when we went there, I was like, Oh,

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Speaker 2: this is fucking she that.

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Speaker 1: These are two artists like living in the woods and

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Speaker 1: they have the coolest shit.

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Speaker 2: I honestly, if.

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Speaker 1: I had more luggage that was, I would have taken

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Speaker 1: home everything, everything, because I was like, Yo, this is

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Speaker 1: so cool. They had an entire basket of these old saws,

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Speaker 1: like hand sauce ah, and I was like, can I

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Speaker 1: bring that through TSA, a rusty old saw or ten?

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Speaker 3: Yeah, just say it's an instrument, put it on your knee,

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Speaker 3: bend it out. I know.

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Speaker 1: It was like I was recording in the Father John

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Speaker 1: Misty room with my.

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Speaker 2: With my band and I had I'm a saw player, sorry.

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Speaker 3: About that, and it's rusty, so tetanus is involved as

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Speaker 3: part of the magic. Yeah, just get on board, TSA.

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Speaker 2: No, it was listen.

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Speaker 1: I really loved, like I said this the last time

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Speaker 1: that I was at your house. But like, the vibe

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Speaker 1: up there is so great. There was Like I said,

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Speaker 1: at one point when we were at outside of Tim

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Speaker 1: and Corey's house, I was like, this is very Eric

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Speaker 1: Romeer movie, right, because it was just like and it's

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Speaker 1: like that at.

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Speaker 2: Your house too.

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Speaker 1: It's like in the woods, but it's very like well appointed.

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Speaker 1: It's like barns and like wild flowers and like, you know,

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Speaker 1: it's very peaceful.

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Speaker 2: And the thing that I did.

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Speaker 1: Tell you was that I was like, the thing about

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Speaker 1: Upstate New York, at least the part that I've experienced

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Speaker 1: so far, is that it's kind of like the best

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Speaker 1: of both worlds. It's like country, but not scary country

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Speaker 1: like it is down here exactly.

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Speaker 3: Well, because we went to eat at at a great

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Speaker 3: breakfast restaurant here and the interior, I guess the interior

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Speaker 3: and exterior if it were in the South, would to

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Speaker 3: me scream, do not come in here. Oh yeah, like

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Speaker 3: black women stay away. But Upstate it's like it was

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Speaker 3: so diverse, everyone welcome. Like the whole dining room was

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Speaker 3: filled with eighty five different kinds of people.

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Speaker 1: Oh yeah, it was run by latinas. The whole restaurant

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Speaker 1: was run by latinas. And I was like, on what

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Speaker 1: planet is this happening, because if this this country, you know,

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Speaker 1: folksy like Wooden restaurant with like all of the little

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Speaker 1: cracker barrel Accoutremont everywhere would in the South, if you

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Speaker 1: were in like North Georgia, that would be run by

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Speaker 1: like these maniac white people who are like super republican

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Speaker 1: and scary and racist and stuff. And I'm not trying

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Speaker 1: to stereotype, or maybe I am because I can because

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Speaker 1: I've lived here long enough, I get to criticize my home.

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Speaker 3: It's just your your lived experience. Man.

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Speaker 2: It is no, No, it's true.

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Speaker 1: And I mean, like I'm not saying that everybody up

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Speaker 1: there is like that, but like by and large, every

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Speaker 1: time I've gone to North Georgia to go camping, to

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Speaker 1: go to cabins, to do i don't know, tubing and stuff,

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Speaker 1: if you like wander into like a diner or some

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Speaker 1: kind of restaurant that's like the off the road, you're

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Speaker 1: like way to beat because I don't know if this

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Speaker 1: is a place for me.

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Speaker 2: Whereas we go.

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Speaker 1: We went to this place and it was like there's

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Speaker 1: fucking everyone there. It's the most multicultural place I've ever

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Speaker 1: seen in my entire life.

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Speaker 3: And I feel like we saw the coolest kid, Oh my,

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Speaker 3: god of all time. This little kid was having breakfast

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Speaker 3: with his grandma. And this kid had on just a

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Speaker 3: long pinched ripe baseball jersey. It was too big. I

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Speaker 3: don't know if he was way too big. I don't

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Speaker 3: know if he was wearing shorts underneath or not. Could

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Speaker 3: not tell. And it was like a Mickey Mouse jersey.

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Speaker 3: And then he had on like dress, like brown dress

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Speaker 3: shoes and colorful socks and a cowboy hat that he

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Speaker 3: kept tipping at people when he would like talk to them.

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Speaker 2: I was so cute.

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Speaker 1: He might have been like, what eight years old or something. Yeah,

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Speaker 1: he had these like patent brown penny loafers with like

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Speaker 1: sports socks stuffed into them, and then like this cowboy

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Speaker 1: hat Eddie Eddie had. He just had that swag. He

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Speaker 1: just like knew he commanded a room.

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Speaker 3: Oh my, it was absolutely incredible. He was so funny

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Speaker 3: and so cute, and it was just like, I'm like,

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Speaker 3: I felt like we were seeing something happening where like

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Speaker 3: the evolution of post malone or something like. I don't know.

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Speaker 3: It just felt like this little kid is all ready

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Speaker 3: completely himself and I love it.

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Speaker 2: Oh yeah, he was like a full grown rizzly bear.

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Speaker 1: He was on it and he was like walking around

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Speaker 1: like he knew exactly what he was doing.

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Speaker 2: And he would be like looking at people and we

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Speaker 2: were like bye, and then he like tipped his hat

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Speaker 2: to us.

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Speaker 1: Like he was a sixty five year old cowboy. I

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Speaker 1: was like, this kid is incredible.

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Speaker 3: That was fell out of my chair. But yeah, I

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Speaker 3: think next time you come, you've got We've got you

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Speaker 3: got to stay longer and we have to go into town. Yeah,

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Speaker 3: because we didn't get to go to the witch Store

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Speaker 3: this time. Yeah, but we'll go to the witch Store.

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Speaker 3: There's a really delicious smelling new candle slash, body oil slash,

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Speaker 3: just delicious place. But I feel like we had a

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Speaker 3: We did a lot while you were here. We really

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Speaker 3: did it. And Pulp was amazing. Pulp was so much fun.

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Speaker 2: Yeah.

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Speaker 1: It's funny because I knew like several people from Atlanta

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Speaker 1: that were going to be there, like I, and I

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Speaker 1: also knew like friends from out of town, like you

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Speaker 1: know my friends Allison and.

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Speaker 2: Craig who are from Ohio.

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Speaker 3: You know.

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Speaker 1: My friends from DC, like my friends from Virginia, lest

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Speaker 1: So I knew. God, it was probably like at least

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Speaker 1: eight to ten different types of people, like separate groups

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Speaker 1: as I just mentioned, and I think I saw two

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Speaker 1: of them, like after the fact, Like people were texting

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Speaker 1: me like where were you?

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Speaker 2: And I was like where were you? Like I thought,

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Speaker 2: how was I? How did I not see anybody that

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Speaker 2: I knew?

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Speaker 3: Knew? It was really crazy. I had a similar experience

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Speaker 3: that I came when I came home and was on Instagram.

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Speaker 3: I saw a posts from a bunch of people who

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Speaker 3: were there and I did not know they were there,

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Speaker 3: like friends. Yeah, And I'm like, what do I have

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Speaker 3: to do to get my life together so that I

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Speaker 3: can make sure I see people when we're in the

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Speaker 3: exact same space, even if it's only to say hello

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Speaker 3: for a second.

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Speaker 2: Yeah, I know.

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Speaker 1: But it was it was pretty I mean it was

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Speaker 1: sold out, so I figured, Okay, there's probably a lot

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Speaker 1: of people here. And like King's Theater in Brooklyn is

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Speaker 1: where they played, and it was gorgeous. It looked like

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Speaker 1: an old movie.

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Speaker 3: Palace or something.

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Speaker 2: Maybe it was I don't know.

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Speaker 3: Oh, it's like very baroque feeling. It was great and

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Speaker 3: they just they played so many great hits. I feel

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Speaker 3: it just so good.

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Speaker 1: Yeah, no, I feel like Jarvis Cocker is our people,

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Speaker 1: hands down right fully, like really intelligent, has great taste,

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Speaker 1: very horny, you know, like committed to a signature style

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Speaker 1: like we'll always wear a seventies bell bottom corduroy suit,

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Speaker 1: it doesn't matter how old he is.

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Speaker 3: And like our friend Maggie Serota posted this when she

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Speaker 3: saw them the following night, but her paraphrasing, but she

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Speaker 3: wrote something to the effect of, like this motherfucker would

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Speaker 3: rather die than phone it in like just high energy,

255
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Speaker 3: doing the most.

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Speaker 2: Yeah, and he's always like he's always to me like.

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Speaker 1: I like he sort of knows like how to be

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Speaker 1: good at looking like the way he looks.

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Speaker 2: Does does that make sense?

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Speaker 1: Absolutely? Because he's like a bean pole, Let's get serious.

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Speaker 1: He's like how I don't know how tall. He's probably

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Speaker 1: like six or four or something and like maybe like

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Speaker 1: one hundred and seventy five pounds. He's like very thin

264
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Speaker 1: and willowy, and but he has like.

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Speaker 2: This this body confidence or this like way of being

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Speaker 2: that he just knows how to like work his shit.

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Speaker 3: Yeah, you know, Oh he's throwing some shapes. I love it.

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Speaker 1: Yeah, it's he's so great and like I don't know

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Speaker 1: to me, I, I'm finally glad I got to see them.

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Speaker 2: I mean they I have never seen them before and

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Speaker 2: I have loved them for a very long time.

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Speaker 3: So yeah, that's how I felt last year. I was like,

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Speaker 3: I gotta because someone in the band has died, Like

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Speaker 3: I gotta.

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Speaker 1: I've since the show, I have been so deep in

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Speaker 1: my feelings about britpop.

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Speaker 3: Have you really?

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Speaker 2: Oh my God?

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Speaker 1: Like I you know, I have a couple Brit Pop

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Speaker 1: playlists and stuff on my Spotify, and I like when

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Speaker 1: I was driving home from like you know, when I

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Speaker 1: was in Florida, I left, came home. I was driving

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Speaker 1: home and I was like listening to like seven hours

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Speaker 1: of brit pop and I was like crying. I was

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Speaker 1: like crying at certain.

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Speaker 5: Points, like I and it was like all the old bands,

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Speaker 5: Like it was like Pulp Blur Swayed, you know, Like

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Speaker 5: I literally like when every time I hear the song

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Speaker 5: she Bangs the drums.

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Speaker 2: By the Stone Roses, which I think is like one

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Speaker 2: of the most romantic songs ever written.

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Speaker 3: Yeah, it kind of is.

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Speaker 1: I get emotional like when I hear it, and so

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Speaker 1: I was like listening to it over and over and

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Speaker 1: over again. I was alone by the way in the

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Speaker 1: car with the dog, and I was like, if there's

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Speaker 1: not a better way to be in your feelings, it's that.

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Speaker 2: But I was like, I.

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Speaker 1: Couldn't stop listening to it, and I was listening to

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Speaker 1: over and over and I was like tearing.

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Speaker 2: Up in my car.

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Speaker 3: Oh, hell yeah, I've done that. Oh absolutely absolutely have

303
00:15:23,840 --> 00:15:28,200
Speaker 3: done that. I just love that it kicked off this

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Speaker 3: renewed britpop phase of life for you.

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Speaker 2: Well, like that was my shit.

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Speaker 1: So you know, maybe we haven't talked about britpop enough

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Speaker 1: on this podcast because I have noticed recently it seems like,

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Speaker 1: and I don't want to, like, I don't want to

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Speaker 1: call it too early or maybe miscall it, but it

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Speaker 1: feels like the kids have discovered britpop.

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Speaker 3: That's what you said to me when you were here.

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Speaker 2: I was like, wait, what, yeah, Because first of all,

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Speaker 2: I think it has everything to do with Oasis, because

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Speaker 2: for some reason, the kids love Gallagher and I mean,

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Speaker 2: which I get it.

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Speaker 3: Oasis to me is barely britpop.

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Speaker 2: You know, it's so interesting.

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Speaker 1: I feel like if we like, I can't reveal my

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Speaker 1: true thoughts about Oasis because I feel like we would

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Speaker 1: definitely get trolled. And docks because there are some hardcore

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Speaker 1: Oasis fans out there.

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Speaker 2: Big time and listen.

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Speaker 1: I like them a lot, like first two albums absolutely

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Speaker 1: for sure bangers I love. Do I feel like is

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00:16:33,400 --> 00:16:36,720
Speaker 1: it that they're the thing that everybody is saying that

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Speaker 1: they are on TikTok right now?

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Speaker 2: I don't know.

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Speaker 1: I think people are really interested in the brothers and

329
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Speaker 1: how they fight and the way that they pop off.

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Speaker 3: They're way more about the backstory and the behind the

331
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Speaker 3: scenes because if you listen to the music and I

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Speaker 3: come at me, I don't care. I'm gonna say it.

333
00:16:54,200 --> 00:16:57,560
Speaker 3: I don't think their music is great. M It's not

334
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Speaker 3: like doing anything revolutionary for me. And I also like them,

335
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Speaker 3: you know, I like quite a few of their songs,

336
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Speaker 3: but to me, they're not the definition of like the

337
00:17:05,760 --> 00:17:10,399
Speaker 3: era of britpop that they are there they were active in.

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Speaker 2: Yeah, I actually think.

339
00:17:11,800 --> 00:17:14,880
Speaker 3: Radio Hits number one kind of pop band. Yeah.

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Speaker 1: I mean, first of all, I feel like they hated

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Speaker 1: everybody in britpop, So there's that, Yeah, you know what

342
00:17:19,040 --> 00:17:22,480
Speaker 1: I mean. But it's the thing of like, like I

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00:17:22,520 --> 00:17:24,240
Speaker 1: will listen to their songs. I will listen to the

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Speaker 1: first two albums all day, every day. But right now,

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Speaker 1: if you go on TikTok, you will see like tons

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00:17:30,640 --> 00:17:33,199
Speaker 1: and tons of like old clips of Liam Gallagher and

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00:17:33,280 --> 00:17:37,040
Speaker 1: old Gallagher just like saying shit. You know, it's kind

348
00:17:37,040 --> 00:17:40,520
Speaker 1: of spilled into now. I'm seeing a lot of stories

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00:17:40,560 --> 00:17:45,879
Speaker 1: about like Damon albarn when he dated Justine Frischman from Alastica,

350
00:17:45,920 --> 00:17:48,040
Speaker 1: and I'm like, yo, these kids are pulling up like

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Speaker 1: ancient history right now.

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Speaker 2: It's crazy and maybe.

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Speaker 3: It's just strange or new to them because it was

354
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Speaker 3: an era when pop stars, particularly British pop stars, would

355
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Speaker 3: say some of the craziest shit.

356
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Speaker 1: And that's always kind of what I've loved about British

357
00:18:05,400 --> 00:18:07,560
Speaker 1: celebrities is that they're just like don't give a fuck,

358
00:18:08,720 --> 00:18:11,720
Speaker 1: Like they're not interested in like I mean, for the

359
00:18:11,760 --> 00:18:16,440
Speaker 1: most part, there there's like a very thin layer of grumpiness.

360
00:18:17,680 --> 00:18:19,879
Speaker 1: But they're also not doing the thing with like that

361
00:18:19,960 --> 00:18:21,879
Speaker 1: American pop stars do, which is that they just like

362
00:18:22,080 --> 00:18:25,480
Speaker 1: don't go for the jug you know, like they're like, well,

363
00:18:25,480 --> 00:18:28,160
Speaker 1: I'm not going to affiliate politically or it's not you know,

364
00:18:28,440 --> 00:18:30,560
Speaker 1: a lot of American pop stars are just very like

365
00:18:30,720 --> 00:18:34,600
Speaker 1: blanket boring, like there's no opinions there's no anything because

366
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Speaker 1: they don't want to alienate fans.

367
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Speaker 2: British people are like, I don't give a fuck. I

368
00:18:38,720 --> 00:18:41,280
Speaker 2: say what I want, which is.

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Speaker 3: To me also the reason why, and this is something

370
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Speaker 3: I've noticed for thirty plus years. This is not a

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Speaker 3: new revelation to me. But I think that's part of

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00:18:50,520 --> 00:18:55,000
Speaker 3: the reason why adapting British quiz and television shows for

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Speaker 3: an American audience doesn't work. We just we don't have

374
00:18:57,520 --> 00:19:01,960
Speaker 3: that foundational grumpiness and self effacing humor. Yeah, so it

375
00:19:02,080 --> 00:19:05,359
Speaker 3: just doesn't work. It never ever ever works for me.

376
00:19:05,840 --> 00:19:08,400
Speaker 1: Yeah, I mean I it's like, well, we talked about

377
00:19:08,400 --> 00:19:11,560
Speaker 1: that show Naked Attraction back a long time ago. I

378
00:19:11,600 --> 00:19:13,000
Speaker 1: was like, there's no way that there could be an

379
00:19:13,000 --> 00:19:17,000
Speaker 1: American version of a nake of Naked Attraction because there's

380
00:19:17,119 --> 00:19:20,119
Speaker 1: no real people that would have appilled on that up

381
00:19:20,119 --> 00:19:21,879
Speaker 1: here on that show. They wouldn't have normal people on

382
00:19:21,920 --> 00:19:24,320
Speaker 1: that show. They would have like porn stars and you know,

383
00:19:24,800 --> 00:19:27,360
Speaker 1: profet like models or something. You know, they would never

384
00:19:27,400 --> 00:19:31,199
Speaker 1: have like normal people naked on on television the way

385
00:19:31,280 --> 00:19:32,040
Speaker 1: that they do, in.

386
00:19:35,040 --> 00:19:38,080
Speaker 2: Which I think is so great. I'm like, I don't know, it's.

387
00:19:38,040 --> 00:19:40,280
Speaker 3: Charming as shit. But yeah, I think that's that's probably

388
00:19:40,320 --> 00:19:42,400
Speaker 3: part of and again I don't know, but I would

389
00:19:42,400 --> 00:19:45,280
Speaker 3: assume that's part of the draw is that if you have,

390
00:19:45,480 --> 00:19:48,760
Speaker 3: if you are in your twenties now, you have never

391
00:19:48,800 --> 00:19:51,080
Speaker 3: seen or heard people behave like Liam Gallagher did in

392
00:19:51,080 --> 00:19:54,959
Speaker 3: the nineties, and I since we were there, that's not

393
00:19:55,000 --> 00:19:56,760
Speaker 3: exciting to me. So I'm like, oh, yeah, Like, I

394
00:19:56,840 --> 00:19:58,159
Speaker 3: know he's a prick, Like I know he said all

395
00:19:58,160 --> 00:20:00,560
Speaker 3: this shit about everyone, and sometimes he's HILARI isn't. Sometimes

396
00:20:00,600 --> 00:20:03,199
Speaker 3: he's just mean. But I don't feel like I have

397
00:20:03,280 --> 00:20:06,440
Speaker 3: to revisit it to kind of really feel the excitement

398
00:20:06,440 --> 00:20:08,760
Speaker 3: of it. But it's exciting to see that now, I imagine.

399
00:20:08,880 --> 00:20:10,840
Speaker 1: Yeah, I mean, I will say that I think I

400
00:20:10,880 --> 00:20:13,240
Speaker 1: like Liam Gallagher way more now than I did in

401
00:20:13,280 --> 00:20:13,920
Speaker 1: the nineties.

402
00:20:14,400 --> 00:20:16,320
Speaker 2: Like I like the age on him.

403
00:20:16,600 --> 00:20:20,480
Speaker 3: Yeah you know, yeah, he's definitely funnier and more self deprecating.

404
00:20:20,720 --> 00:20:22,040
Speaker 2: Yeah, I agree.

405
00:20:22,240 --> 00:20:25,960
Speaker 1: But to me, like my big Brit pop era was

406
00:20:25,960 --> 00:20:28,080
Speaker 1: definitely like the mid to late nineties where I was

407
00:20:28,840 --> 00:20:33,760
Speaker 1: basically like going out to britpop night underage, Like I

408
00:20:33,760 --> 00:20:36,159
Speaker 1: don't know, I've written about this on my substack because

409
00:20:36,160 --> 00:20:40,600
Speaker 1: I felt like this era I think of my life

410
00:20:40,680 --> 00:20:44,280
Speaker 1: like when I was graduating high school and I just

411
00:20:44,320 --> 00:20:48,000
Speaker 1: started college, right, I was going out constantly. I was

412
00:20:48,560 --> 00:20:52,240
Speaker 1: going to britpop night, going to like eighties night, and

413
00:20:52,320 --> 00:20:55,919
Speaker 1: we were in this era I think within music maybe

414
00:20:56,000 --> 00:21:00,800
Speaker 1: where there was a lot of international appreciation. Like I

415
00:21:00,840 --> 00:21:05,440
Speaker 1: feel like people were listening to brit pop and being

416
00:21:05,520 --> 00:21:08,159
Speaker 1: like angle of files, Like everyone I knew was an

417
00:21:08,200 --> 00:21:12,439
Speaker 1: Anglo file in the nineties, right and probably still are.

418
00:21:12,520 --> 00:21:14,440
Speaker 1: I mean there are like guys that I know here

419
00:21:14,440 --> 00:21:16,639
Speaker 1: in town, like during the high bridpop era that like

420
00:21:16,880 --> 00:21:21,520
Speaker 1: fully faked British accents and like wore Perkos and like

421
00:21:21,640 --> 00:21:24,000
Speaker 1: try to be like Ian Brown from the Stone Roses

422
00:21:24,080 --> 00:21:26,440
Speaker 1: or like Liam Gallagher or something like that, like full

423
00:21:26,560 --> 00:21:30,160
Speaker 1: on pretending to be another.

424
00:21:29,840 --> 00:21:31,000
Speaker 3: Person from another country.

425
00:21:31,760 --> 00:21:35,000
Speaker 1: That's just wild and Union Jack everything. People like saw

426
00:21:35,040 --> 00:21:37,320
Speaker 1: every britpop band that came from town. But it's also

427
00:21:37,440 --> 00:21:42,520
Speaker 1: like people loved like not just britpop, but like Swedish

428
00:21:42,560 --> 00:21:45,919
Speaker 1: pop music and like Japanese pop music. It was like

429
00:21:46,200 --> 00:21:47,960
Speaker 1: and and then at the time too, there was a

430
00:21:48,000 --> 00:21:50,840
Speaker 1: lot of like this was like my high like Wan

431
00:21:51,000 --> 00:21:55,320
Speaker 1: car Wi era, so everybody I knew loved like Hong

432
00:21:55,480 --> 00:22:00,480
Speaker 1: Kong movies and like brit pop and you know, like

433
00:22:00,520 --> 00:22:03,959
Speaker 1: I said, like shown a knife and you know, like

434
00:22:04,480 --> 00:22:05,560
Speaker 1: all of these things, and.

435
00:22:06,760 --> 00:22:10,119
Speaker 2: I don't know, Like, I don't know why it stopped.

436
00:22:10,440 --> 00:22:14,040
Speaker 1: My theory is that it was nine to eleven, but

437
00:22:14,160 --> 00:22:15,800
Speaker 1: I don't know if that's actually true.

438
00:22:15,840 --> 00:22:20,040
Speaker 2: It felt like that felt like a line of demarcation.

439
00:22:20,320 --> 00:22:21,879
Speaker 2: I don't know why.

440
00:22:22,440 --> 00:22:25,320
Speaker 1: But also like the boy band era in like new

441
00:22:25,359 --> 00:22:28,880
Speaker 1: Metal came into town, so maybe that kind of informed things.

442
00:22:28,880 --> 00:22:31,520
Speaker 1: But I was like this this whole era of my

443
00:22:31,520 --> 00:22:33,680
Speaker 1: life where I was going to britpop night and just

444
00:22:34,520 --> 00:22:39,119
Speaker 1: ingesting so much of this music was so memorable to me. Yeah,

445
00:22:40,560 --> 00:22:43,600
Speaker 1: Like and being at that Pulp show was like a

446
00:22:43,600 --> 00:22:47,679
Speaker 1: confirmation of that. Like when they played common People, I

447
00:22:47,760 --> 00:22:53,320
Speaker 1: felt like my heart was going to explode. And that's

448
00:22:53,359 --> 00:22:55,560
Speaker 1: like one of the most famous songs, and there's so

449
00:22:55,680 --> 00:22:58,280
Speaker 1: many more Pulp songs that I love, but I was like,

450
00:22:58,600 --> 00:23:02,040
Speaker 1: my heart's gonna explode, feeling so many things and that

451
00:23:02,359 --> 00:23:04,160
Speaker 1: that is not even my favorite song of theirs.

452
00:23:04,160 --> 00:23:07,760
Speaker 3: But the energy of that crowd was undeniable. Yeah, And

453
00:23:07,800 --> 00:23:10,720
Speaker 3: it's been a long time since I was in a

454
00:23:10,760 --> 00:23:13,520
Speaker 3: crowd full of people who loved the music as much

455
00:23:13,520 --> 00:23:14,760
Speaker 3: as I did. I don't know. I don't go to

456
00:23:14,800 --> 00:23:16,760
Speaker 3: a ton of concerts, so it was really it was

457
00:23:16,800 --> 00:23:18,320
Speaker 3: a good feeling. It was a good feeling.

458
00:23:19,400 --> 00:23:21,920
Speaker 1: Yeah, I there was so many Like I kept sitting

459
00:23:21,920 --> 00:23:23,280
Speaker 1: there thinking like are they going to play this song?

460
00:23:23,320 --> 00:23:24,320
Speaker 2: Are they going to play that song?

461
00:23:24,720 --> 00:23:27,240
Speaker 1: I mean, my favorite pulp album is His and Hers,

462
00:23:27,280 --> 00:23:28,920
Speaker 1: Like that was the first one I heard.

463
00:23:28,960 --> 00:23:30,360
Speaker 2: I still love it to this day.

464
00:23:30,840 --> 00:23:32,920
Speaker 1: And I was like, oh my god, they if they

465
00:23:32,920 --> 00:23:36,760
Speaker 1: play like She's a Lady, I'm gonna like lose my shit.

466
00:23:38,400 --> 00:23:41,480
Speaker 2: Like, but you know, didn't happen. It's fine.

467
00:23:41,920 --> 00:23:44,080
Speaker 1: There are so many things. I mean, they couldn't played

468
00:23:44,400 --> 00:23:48,199
Speaker 1: the party hard. That song is incredible and I was

469
00:23:48,200 --> 00:23:50,359
Speaker 1: like waiting for it, like come old baby.

470
00:23:50,119 --> 00:23:52,560
Speaker 2: And that never happened. But you know what, I was

471
00:23:52,600 --> 00:23:54,800
Speaker 2: so happy with the setlists they played.

472
00:23:54,520 --> 00:23:58,919
Speaker 3: So yeah, and they could play more shows where they

473
00:23:58,960 --> 00:24:01,280
Speaker 3: played for ten hours streight and not repeat a song

474
00:24:01,320 --> 00:24:04,439
Speaker 3: and it would still be glorious. But I just I

475
00:24:04,480 --> 00:24:06,080
Speaker 3: just had such a good time. It was so great

476
00:24:06,119 --> 00:24:09,600
Speaker 3: to have you here. Yeah, we had buttered rolls. You

477
00:24:09,680 --> 00:24:12,119
Speaker 3: finally got to try some buttered rolls actions.

478
00:24:12,480 --> 00:24:16,720
Speaker 2: I had I think in total I had four in

479
00:24:16,880 --> 00:24:17,679
Speaker 2: forty eight hours.

480
00:24:18,320 --> 00:24:20,359
Speaker 3: Well, I put two of them on your bed as

481
00:24:20,400 --> 00:24:21,680
Speaker 3: part of your welcome basket.

482
00:24:22,400 --> 00:24:24,520
Speaker 1: Can we talk about this welcome basket real quick? Like

483
00:24:25,080 --> 00:24:27,119
Speaker 1: I have never been more hooked up. I felt like

484
00:24:27,200 --> 00:24:29,560
Speaker 1: I was in Oasis playing a show.

485
00:24:29,960 --> 00:24:30,520
Speaker 3: It was like.

486
00:24:32,040 --> 00:24:34,800
Speaker 1: I was like, this is like a writer, like a

487
00:24:34,840 --> 00:24:40,040
Speaker 1: writer for a famous band.

488
00:24:39,359 --> 00:24:39,679
Speaker 4: I just.

489
00:24:41,200 --> 00:24:43,560
Speaker 1: Got stuff that but you'd like, oh my god, you

490
00:24:43,600 --> 00:24:44,560
Speaker 1: don't even smoke weed.

491
00:24:44,600 --> 00:24:46,000
Speaker 2: And I got pre rolls. I was like, this is

492
00:24:46,000 --> 00:24:46,760
Speaker 2: fucking awesome.

493
00:24:48,680 --> 00:24:51,399
Speaker 3: I put some MANI pre rolls on there with a

494
00:24:51,440 --> 00:24:55,960
Speaker 3: pack of cigarette cigarettes. That Weird Cat magazine, a Weird

495
00:24:56,000 --> 00:24:59,080
Speaker 3: Cat magazine, just so because I knew it make you laugh. Yeah,

496
00:24:59,640 --> 00:25:01,360
Speaker 3: the stage should I read that my friend sent you

497
00:25:01,400 --> 00:25:04,080
Speaker 3: that says You're from the desk of Daniel Henderson at

498
00:25:04,080 --> 00:25:07,480
Speaker 3: Fuck You Farm.

499
00:25:07,920 --> 00:25:10,600
Speaker 1: Two buttered rolls, two buttered rolls. I mean, it was

500
00:25:10,720 --> 00:25:12,320
Speaker 1: like incredible.

501
00:25:12,600 --> 00:25:14,439
Speaker 3: Just so, we sat outside and I got to get

502
00:25:14,520 --> 00:25:20,600
Speaker 3: to show you the Fall Guest Expansion pack, which includes

503
00:25:20,720 --> 00:25:23,159
Speaker 3: a blanket warm from the dryer.

504
00:25:24,160 --> 00:25:29,320
Speaker 1: Listen, I you had everything set up. The snacks were

505
00:25:29,359 --> 00:25:32,120
Speaker 1: on point, you know. I like that boom chicka pop.

506
00:25:32,280 --> 00:25:36,639
Speaker 1: I got all of that stuff, the coffee, the French

507
00:25:36,680 --> 00:25:39,280
Speaker 1: press in the morning. I mean quite honestly, it was

508
00:25:39,359 --> 00:25:44,439
Speaker 1: the best hospitality I've ever had from a front, Like,

509
00:25:44,520 --> 00:25:47,199
Speaker 1: it was so nice. And that's not to disparagule my

510
00:25:47,240 --> 00:25:50,439
Speaker 1: other friends. I still want to stay at your house, Okay, Like,

511
00:25:50,520 --> 00:25:53,920
Speaker 1: don't get mad, but like Danielle, she really like raised

512
00:25:53,960 --> 00:25:54,240
Speaker 1: the bar.

513
00:25:55,400 --> 00:25:56,919
Speaker 3: If you know what I mean, it smells like a

514
00:25:56,960 --> 00:25:59,800
Speaker 3: spa downstairs.

515
00:25:59,520 --> 00:26:02,120
Speaker 1: That's the minute I walked in your house, I was like, yo,

516
00:26:02,200 --> 00:26:04,760
Speaker 1: it's like a fucking beautiful yoga studio in here.

517
00:26:05,400 --> 00:26:08,760
Speaker 2: It's like the lavender old wood smell is so good.

518
00:26:09,880 --> 00:26:11,960
Speaker 3: I just I like to make people comfortable. You have

519
00:26:12,000 --> 00:26:13,840
Speaker 3: your if you stay with me, you get your own robe.

520
00:26:14,160 --> 00:26:17,360
Speaker 2: Get oh, I had my own robe. Carrot came right

521
00:26:17,440 --> 00:26:19,280
Speaker 2: up to me the minute I walked in. He's like,

522
00:26:19,320 --> 00:26:21,080
Speaker 2: what's uh?

523
00:26:21,200 --> 00:26:23,320
Speaker 3: You get a friendly cat. I know there are two

524
00:26:23,400 --> 00:26:25,800
Speaker 3: maniacs here also, but you get the friendly one right away.

525
00:26:25,960 --> 00:26:26,200
Speaker 2: Yeah.

526
00:26:26,359 --> 00:26:30,040
Speaker 1: He was like such a little sweetheart. Got to like

527
00:26:30,280 --> 00:26:32,080
Speaker 1: give him lots of pets. And I was like, I

528
00:26:32,080 --> 00:26:33,800
Speaker 1: don't know, it was it was so lovely and it

529
00:26:33,920 --> 00:26:37,080
Speaker 1: like I honestly think, like, yeah, if I had I

530
00:26:37,119 --> 00:26:40,480
Speaker 1: wish I had had at least another day, it would

531
00:26:40,520 --> 00:26:42,359
Speaker 1: have been really great, but that's not to say that

532
00:26:42,400 --> 00:26:43,080
Speaker 1: it won't happen again.

533
00:26:43,080 --> 00:26:44,960
Speaker 2: Well, I'll come back obviously.

534
00:26:44,600 --> 00:26:46,760
Speaker 3: Yeah, come back, Like you didn't even get to record

535
00:26:46,840 --> 00:26:48,760
Speaker 3: in the Father John Misty Room, so you gotta come back.

536
00:26:49,000 --> 00:26:50,640
Speaker 2: I know, I could play my saws up there.

537
00:26:52,280 --> 00:26:54,000
Speaker 3: Oh it was great. It was just it was great

538
00:26:54,000 --> 00:26:55,320
Speaker 3: to have you here. It was great to see you.

539
00:26:55,400 --> 00:26:56,679
Speaker 3: And then, like I said, but I just felt like

540
00:26:56,680 --> 00:27:00,000
Speaker 3: we just had just packed in so many great conversations

541
00:27:00,119 --> 00:27:03,520
Speaker 3: in such a short amount of time and it was lovely.

542
00:27:03,720 --> 00:27:03,960
Speaker 1: I know.

543
00:27:04,359 --> 00:27:08,360
Speaker 2: And any literally literally.

544
00:27:08,480 --> 00:27:11,439
Speaker 1: Every time you and I are together and we record

545
00:27:11,480 --> 00:27:12,760
Speaker 1: it and put it on.

546
00:27:12,680 --> 00:27:20,280
Speaker 2: Instagram, the people go crazy. Do they have you? Did

547
00:27:20,320 --> 00:27:21,200
Speaker 2: you see the comments?

548
00:27:21,280 --> 00:27:23,000
Speaker 1: Like you look at the comments of that post that

549
00:27:23,040 --> 00:27:25,679
Speaker 1: I made like a couple of weeks ago, where I

550
00:27:25,720 --> 00:27:28,000
Speaker 1: took a picture in your kitchen window. Everyone was like,

551
00:27:28,080 --> 00:27:30,840
Speaker 1: I wish I was with you, guys. I was like, yeah,

552
00:27:31,280 --> 00:27:33,440
Speaker 1: us too, right.

553
00:27:34,400 --> 00:27:36,359
Speaker 3: You really do have to be the official photographer for

554
00:27:36,440 --> 00:27:39,840
Speaker 3: my house though, because I look at that window every

555
00:27:39,840 --> 00:27:42,080
Speaker 3: fucking day and I'm just like, yep, there's that stuff,

556
00:27:42,200 --> 00:27:44,240
Speaker 3: And then when you take a picture of it, I'm like,

557
00:27:44,240 --> 00:27:46,320
Speaker 3: that looks really pretty.

558
00:27:46,600 --> 00:27:50,400
Speaker 1: I'm hoping you're complimenting my Instagram skills because I do think.

559
00:27:51,040 --> 00:27:54,440
Speaker 2: Yes, I love like a little tableau.

560
00:27:55,160 --> 00:27:57,240
Speaker 3: So you have such a good eye. You have such

561
00:27:57,240 --> 00:27:57,720
Speaker 3: a good eye.

562
00:27:57,840 --> 00:27:59,000
Speaker 2: Oh, thank you.

563
00:27:59,800 --> 00:28:01,480
Speaker 3: But it was great and it also it's nice to

564
00:28:01,520 --> 00:28:03,879
Speaker 3: feel like I can make people comfortable here because I

565
00:28:03,880 --> 00:28:05,760
Speaker 3: live like such a goblin for such a long time.

566
00:28:05,920 --> 00:28:07,720
Speaker 3: And let us get into it.

567
00:28:07,800 --> 00:28:09,879
Speaker 1: You wouldn't have known that at all. It was like

568
00:28:09,920 --> 00:28:12,440
Speaker 1: an incredible country Airbnb in there.

569
00:28:13,240 --> 00:28:18,960
Speaker 3: So we'll come back, but there will be more shows. Yeah,

570
00:28:19,080 --> 00:28:21,840
Speaker 3: we will relive our glory. We're at that age now

571
00:28:21,920 --> 00:28:23,760
Speaker 3: where a lot of the bands that we liked as

572
00:28:23,840 --> 00:28:25,479
Speaker 3: kids are rolling stoning it.

573
00:28:26,040 --> 00:28:30,520
Speaker 2: Oh yeah, it's so true.

574
00:28:30,800 --> 00:28:34,040
Speaker 1: I'm going to be deep in my feelings about britpop,

575
00:28:34,600 --> 00:28:36,920
Speaker 1: Like after we record it, I'm going to go put

576
00:28:36,920 --> 00:28:39,840
Speaker 1: on more records and just sob from my youth.

577
00:28:40,560 --> 00:28:43,200
Speaker 3: Well, do you want to sob about something else? Let's

578
00:28:43,440 --> 00:28:49,080
Speaker 3: do do Let's get into our movies. Basically that was

579
00:28:49,120 --> 00:28:51,360
Speaker 3: a bad segment. No one's crying over these things.

580
00:28:51,440 --> 00:28:51,600
Speaker 5: Yeah.

581
00:28:51,600 --> 00:28:53,880
Speaker 2: I was gonna say, well, if you do cry over

582
00:28:53,920 --> 00:28:56,440
Speaker 2: our movies today, actually kind of want to know you.

583
00:28:57,320 --> 00:28:59,200
Speaker 3: Yeah, let us know that would be very interesting.

584
00:29:04,440 --> 00:29:07,080
Speaker 1: Well, We have a theme this week that of course

585
00:29:07,120 --> 00:29:09,960
Speaker 1: you named, and I like it a lot, so I

586
00:29:10,000 --> 00:29:11,320
Speaker 1: wanted to tell people what it is.

587
00:29:12,120 --> 00:29:15,440
Speaker 3: Our theme this week is the most interesting person at

588
00:29:15,480 --> 00:29:17,600
Speaker 3: the party, and we are looking at the films of

589
00:29:17,680 --> 00:29:18,440
Speaker 3: Paul Bartel.

590
00:29:19,240 --> 00:29:22,160
Speaker 2: That's right, our keg Paul Bartel, salute.

591
00:29:22,840 --> 00:29:25,000
Speaker 3: Even if you don't know his name, you definitely know

592
00:29:25,040 --> 00:29:28,240
Speaker 3: his face. He has been in so many things. Just

593
00:29:28,320 --> 00:29:31,360
Speaker 3: a little bit about him up top. He was born

594
00:29:31,360 --> 00:29:34,560
Speaker 3: and raised in New York City. He studied film and

595
00:29:34,600 --> 00:29:39,360
Speaker 3: theater at UCLA. He's always been openly gay, which I love.

596
00:29:39,880 --> 00:29:41,760
Speaker 3: And he started making his own films, Like he made

597
00:29:41,760 --> 00:29:43,600
Speaker 3: his first films as a teenager. They were kind of

598
00:29:43,640 --> 00:29:46,959
Speaker 3: abstract and animated, and he just made all these experimental

599
00:29:46,960 --> 00:29:50,000
Speaker 3: films with his own money. Then he directed a film

600
00:29:50,000 --> 00:29:53,640
Speaker 3: for the first time in nineteen seventy two called Private Parts,

601
00:29:53,640 --> 00:29:56,880
Speaker 3: not the Howard Stern Private Parts, but this Private Parts

602
00:29:56,960 --> 00:30:01,400
Speaker 3: was produced by Gene Corman, which connected him to Roger Corman.

603
00:30:02,280 --> 00:30:05,120
Speaker 3: So he worked. He's just worked with everyone. Like his career.

604
00:30:05,120 --> 00:30:08,440
Speaker 3: If you look at his filmography, you're like, WHOA Like,

605
00:30:08,480 --> 00:30:11,160
Speaker 3: he just has done so much as a director, writer,

606
00:30:11,440 --> 00:30:15,440
Speaker 3: and actor and producer. But yeah, my film this week.

607
00:30:15,480 --> 00:30:18,600
Speaker 3: Eating Raoul was a cult hit. Your film Death Race

608
00:30:18,720 --> 00:30:21,680
Speaker 3: two thousand was a cult hit. But working with Roger

609
00:30:21,760 --> 00:30:24,480
Speaker 3: Corman on Death Race two thousand kind of allowed him

610
00:30:24,560 --> 00:30:27,360
Speaker 3: to raise more money for his next film, which kind

611
00:30:27,360 --> 00:30:30,240
Speaker 3: of bombed. But then he directed Lust in the Dust

612
00:30:30,360 --> 00:30:35,440
Speaker 3: with tab Hunter and Divines. And he's always kept it

613
00:30:35,480 --> 00:30:38,720
Speaker 3: indie like, he's always kept it independent. He's definitely you know,

614
00:30:38,720 --> 00:30:42,120
Speaker 3: he continued to act and direct in TV and film.

615
00:30:42,520 --> 00:30:45,400
Speaker 3: There's even a sequel to Eating Rorol that I've never seen,

616
00:30:45,480 --> 00:30:49,280
Speaker 3: called Bland Ambition. But he's worked with everyone. He's worked

617
00:30:49,320 --> 00:30:54,120
Speaker 3: with Gregor Rocky, Tim Burton, John Landis, Amy Heckerling. There

618
00:30:54,160 --> 00:30:57,320
Speaker 3: was an Eating Robel Broadway musical in nineteen ninety two.

619
00:30:57,520 --> 00:31:01,200
Speaker 3: But he kind of made made a point to stay

620
00:31:02,080 --> 00:31:06,240
Speaker 3: underground and cult. It's like a cult figure in film

621
00:31:06,280 --> 00:31:08,760
Speaker 3: because he at one point in an interview said that

622
00:31:08,800 --> 00:31:11,560
Speaker 3: he being openly gay at a time when it wasn't

623
00:31:11,600 --> 00:31:14,960
Speaker 3: widely acceptable, he always felt more comfortable in that world

624
00:31:15,000 --> 00:31:17,680
Speaker 3: than he did in like traditional Hollywood. So he kind

625
00:31:17,720 --> 00:31:19,360
Speaker 3: of felt like he could always find his people in

626
00:31:19,360 --> 00:31:24,400
Speaker 3: that world. And he just has the most interesting, weird,

627
00:31:24,720 --> 00:31:29,600
Speaker 3: wild filmography, and unfortunately died in May of two thousand

628
00:31:30,400 --> 00:31:33,640
Speaker 3: at sixty one years old, which is so young, and

629
00:31:33,720 --> 00:31:36,240
Speaker 3: he died of a heart attack after having liver surgery.

630
00:31:36,400 --> 00:31:40,440
Speaker 3: But just his life was just so full up to

631
00:31:40,480 --> 00:31:43,600
Speaker 3: that point, and it's really sad to not be able

632
00:31:43,600 --> 00:31:45,840
Speaker 3: to see him in new things anymore. But he left

633
00:31:45,920 --> 00:31:48,920
Speaker 3: us with so many wonderful, wonderful movies.

634
00:31:49,440 --> 00:31:50,520
Speaker 2: Oh totally agree.

635
00:31:50,560 --> 00:31:53,520
Speaker 1: I mean, he's definitely a hero of mine, big time.

636
00:31:53,560 --> 00:31:55,880
Speaker 1: I actually have I was like reading a little bit

637
00:31:55,920 --> 00:31:58,120
Speaker 1: of this book that I have about it just to

638
00:31:58,160 --> 00:32:01,040
Speaker 1: prepare for the episode. But I mean, I think that,

639
00:32:01,400 --> 00:32:03,400
Speaker 1: you know, besides the fact that he worked in cult

640
00:32:03,440 --> 00:32:06,040
Speaker 1: movies and he you know, did a lot of like

641
00:32:06,080 --> 00:32:09,360
Speaker 1: transgressive themes in his work. I mean, I think my

642
00:32:09,400 --> 00:32:13,400
Speaker 1: favorite is just that he had this like incredible long

643
00:32:14,480 --> 00:32:18,440
Speaker 1: time collaboration with the actress Mary Warnoff, who is another

644
00:32:18,520 --> 00:32:23,320
Speaker 1: hero of mine. And it's funny because they they appeared

645
00:32:23,320 --> 00:32:26,480
Speaker 1: in each other's work so often. There was this Fresh

646
00:32:26,520 --> 00:32:29,560
Speaker 1: Air interview that he did I think it was in

647
00:32:29,600 --> 00:32:34,160
Speaker 1: the nineties, and I want to say Terry Gross asked

648
00:32:34,240 --> 00:32:39,120
Speaker 1: him if him and Mary Warnoff were a married couple.

649
00:32:39,960 --> 00:32:43,400
Speaker 3: Well, because they've played married couples like over seventeen times.

650
00:32:43,400 --> 00:32:46,560
Speaker 1: There's something right, right, right, But there's this great response

651
00:32:46,600 --> 00:32:48,640
Speaker 1: that he has to it, and I'm just like paraphrasing,

652
00:32:48,680 --> 00:32:54,640
Speaker 1: but he said, no, I'm gay and she is a painter.

653
00:32:58,640 --> 00:33:00,760
Speaker 2: He was like, uh no, we're not married. I'm gay,

654
00:33:00,840 --> 00:33:03,240
Speaker 2: she's a painter. Okay, that's why we hang out or something.

655
00:33:04,280 --> 00:33:06,520
Speaker 3: Two worlds that will never meet romantically.

656
00:33:08,240 --> 00:33:12,720
Speaker 2: I just was like, and she's a painter. But they, yeah, they.

657
00:33:13,040 --> 00:33:16,800
Speaker 2: I often like to joke that they're my parents, like

658
00:33:17,840 --> 00:33:19,840
Speaker 2: if I post, especially like there's a.

659
00:33:19,800 --> 00:33:22,080
Speaker 1: Scene from that movie Chopping Mall where they kind of

660
00:33:22,160 --> 00:33:24,400
Speaker 1: it's like a freeze frame of them with their names

661
00:33:24,400 --> 00:33:26,600
Speaker 1: like in a lower third, and I'm like, that's my parents.

662
00:33:27,120 --> 00:33:28,720
Speaker 1: Not that I don't love my parents, but come on,

663
00:33:28,760 --> 00:33:32,160
Speaker 1: if your parents were Paul Bartel and Mary Warnoff, come on, Like,

664
00:33:32,560 --> 00:33:35,400
Speaker 1: who wouldn't want that? Yeah, But I'm excited by our

665
00:33:35,440 --> 00:33:38,320
Speaker 1: movies because there are two of my absolute favorites of

666
00:33:38,360 --> 00:33:40,760
Speaker 1: all time. I wrote about your movie in the t

667
00:33:40,880 --> 00:33:45,280
Speaker 1: C Underground Book, and honestly, like my film this week,

668
00:33:45,320 --> 00:33:46,000
Speaker 1: I Know I'm Going.

669
00:33:45,920 --> 00:33:51,840
Speaker 2: First is like such a wild ride. Literally, Well that's

670
00:33:51,840 --> 00:33:52,720
Speaker 2: what I love.

671
00:33:52,600 --> 00:33:54,960
Speaker 3: About because we could have picked again so many he's

672
00:33:55,120 --> 00:33:58,160
Speaker 3: he did so many films. Yeah, but what makes him

673
00:33:58,160 --> 00:34:00,520
Speaker 3: to me one of the most interesting people whatever me

674
00:34:00,640 --> 00:34:04,080
Speaker 3: at a party is that these two films are completely

675
00:34:04,120 --> 00:34:07,600
Speaker 3: indicative of just how wide and varied and vast and

676
00:34:07,640 --> 00:34:11,040
Speaker 3: strange his ideas are. And your film, I love, It's

677
00:34:11,080 --> 00:34:14,560
Speaker 3: so fucking funny and weird. And there's something there's a

678
00:34:14,600 --> 00:34:18,319
Speaker 3: theme that I noticed in this double feature watching that

679
00:34:18,960 --> 00:34:22,080
Speaker 3: I wasn't able to get any information about, like just

680
00:34:22,120 --> 00:34:23,880
Speaker 3: looking it up online. Maybe it's in that book that

681
00:34:23,960 --> 00:34:26,920
Speaker 3: you have, But he always has some kind of Nazi

682
00:34:26,960 --> 00:34:30,640
Speaker 3: theme in there. Not positively, but like there's always like

683
00:34:31,239 --> 00:34:36,239
Speaker 3: some kind of like like Nazi stuff in there.

684
00:34:36,560 --> 00:34:36,759
Speaker 4: Huh.

685
00:34:36,920 --> 00:34:38,880
Speaker 3: And it's part of the story. Yeah, it's not like

686
00:34:38,920 --> 00:34:40,759
Speaker 3: in the background it's like, hey, we approve this, it's

687
00:34:40,760 --> 00:34:42,920
Speaker 3: like it's part of the story. Yeah, to point out

688
00:34:42,920 --> 00:34:43,920
Speaker 3: the absurdity of it.

689
00:34:44,480 --> 00:34:44,880
Speaker 2: Yeah.

690
00:34:45,200 --> 00:34:48,320
Speaker 3: Like, but I don't know what his obsession was with it.

691
00:34:48,440 --> 00:34:50,880
Speaker 1: Yeah, I mean maybe, I mean, honestly, like maybe it

692
00:34:51,160 --> 00:34:54,720
Speaker 1: was a way to kind of give like a general

693
00:34:54,840 --> 00:35:00,320
Speaker 1: vibe to badness or bad people or totalitarianism or something

694
00:35:00,360 --> 00:35:03,160
Speaker 1: like that. Yeah, I mean I can't imagine, you know,

695
00:35:03,320 --> 00:35:08,640
Speaker 1: he would probably I think never ever you know, promote

696
00:35:08,760 --> 00:35:13,319
Speaker 1: the Nazi body, but maybe just yeah, he doesn't feel

697
00:35:13,320 --> 00:35:15,759
Speaker 1: like that, but maybe yeah, just I feel like in

698
00:35:15,800 --> 00:35:18,480
Speaker 1: my movie, the reason why it comes up is because

699
00:35:18,480 --> 00:35:21,560
Speaker 1: it's like one of the characters and also kind of

700
00:35:21,800 --> 00:35:24,600
Speaker 1: builds towards the theme of my movie, which is basically

701
00:35:24,760 --> 00:35:26,000
Speaker 1: dystopian and.

702
00:35:27,960 --> 00:35:30,920
Speaker 2: Like a world leader, world culture type of scenario.

703
00:35:31,040 --> 00:35:33,759
Speaker 3: But yeah, and mine is just part of like a

704
00:35:33,840 --> 00:35:36,759
Speaker 3: role playing scenario to indicate like how bad someone is.

705
00:35:36,760 --> 00:35:39,520
Speaker 3: Your absolutely correct, So yeah, just thought that was interesting.

706
00:35:39,560 --> 00:35:42,840
Speaker 3: In watching movies back to back by the same creator,

707
00:35:43,239 --> 00:35:45,920
Speaker 3: sometimes you will notice themes that they have in their

708
00:35:45,960 --> 00:35:47,840
Speaker 3: own work. So it was just interesting to me that,

709
00:35:47,920 --> 00:35:49,760
Speaker 3: like I'd never put that together before.

710
00:35:50,160 --> 00:35:52,879
Speaker 1: Yeah, and I mean, to be quite honest, I mean

711
00:35:52,920 --> 00:35:55,319
Speaker 1: a lot of you know, there is a lot of

712
00:35:55,400 --> 00:36:05,040
Speaker 1: like exploitation that uses those symbols and motifs as allegories,

713
00:36:05,080 --> 00:36:10,160
Speaker 1: but also a way to be transgressive, to be you know,

714
00:36:10,360 --> 00:36:13,120
Speaker 1: to say like we're addressing something that's you know, really

715
00:36:13,160 --> 00:36:14,040
Speaker 1: out here.

716
00:36:14,560 --> 00:36:16,799
Speaker 2: In the context of an exploitation film.

717
00:36:16,840 --> 00:36:20,279
Speaker 1: And it really a lot of times it is sort

718
00:36:20,320 --> 00:36:24,160
Speaker 1: of pointing a finger at like badness, bad things, like

719
00:36:24,800 --> 00:36:29,480
Speaker 1: bad characters, So you know, it's shocking to see obviously,

720
00:36:29,600 --> 00:36:30,239
Speaker 1: but you know.

721
00:36:30,640 --> 00:36:32,719
Speaker 3: Well, yeah, but it's But also one thing that I

722
00:36:32,960 --> 00:36:36,000
Speaker 3: that I also noticed and watching this as a double feature,

723
00:36:36,840 --> 00:36:42,560
Speaker 3: is I kind of love how he treats his actors

724
00:36:42,800 --> 00:36:45,279
Speaker 3: almost like an ensemble cast, Like you see a lot

725
00:36:45,320 --> 00:36:48,000
Speaker 3: of the same people in most of his work, and

726
00:36:48,080 --> 00:36:50,000
Speaker 3: you know, aside from Mary Warrenov, it's like, you know,

727
00:36:50,040 --> 00:36:51,759
Speaker 3: you just see a lot of the same people in

728
00:36:51,800 --> 00:36:53,920
Speaker 3: the background or same people having small parts, and I

729
00:36:54,000 --> 00:36:56,319
Speaker 3: just I like that. It to me makes me feel

730
00:36:56,360 --> 00:36:58,479
Speaker 3: like as a creator, he was always wanting to work

731
00:36:58,520 --> 00:37:01,440
Speaker 3: with the most wild, like far out people and put

732
00:37:01,440 --> 00:37:04,280
Speaker 3: them in new and interesting situations. And it just seemed

733
00:37:04,280 --> 00:37:06,080
Speaker 3: like a way to have fun with people, like you're

734
00:37:06,080 --> 00:37:08,399
Speaker 3: making stuff with your friends. Yeah, and I seemed great.

735
00:37:08,640 --> 00:37:09,319
Speaker 2: I think that that.

736
00:37:09,719 --> 00:37:10,920
Speaker 1: I mean, I'm gonna go out on a limb here

737
00:37:10,960 --> 00:37:15,640
Speaker 1: and say that feels very much like what gay directors

738
00:37:15,719 --> 00:37:21,040
Speaker 1: have done, is that they create like an ensemble, like

739
00:37:21,040 --> 00:37:23,200
Speaker 1: they create they have their own like little group. Because

740
00:37:23,239 --> 00:37:26,200
Speaker 1: I think about not just Paul Bartel, but like John Waters,

741
00:37:26,440 --> 00:37:29,279
Speaker 1: Andy Milligan, like these gay directors that kind of just

742
00:37:29,360 --> 00:37:31,759
Speaker 1: brought people into their orbit and then they just made

743
00:37:31,840 --> 00:37:35,000
Speaker 1: art together, you know, it's interesting.

744
00:37:34,880 --> 00:37:35,960
Speaker 3: Exploring an essay.

745
00:37:36,000 --> 00:37:39,760
Speaker 2: Maybe maybe I'll write about it on my sid stick.

746
00:37:41,040 --> 00:37:42,600
Speaker 3: But you are going first.

747
00:37:42,440 --> 00:37:44,680
Speaker 2: So let's let's hit it. I'm excited.

748
00:37:44,800 --> 00:37:48,520
Speaker 1: So my movie for the theme the most Interesting Person

749
00:37:48,560 --> 00:37:53,000
Speaker 1: at the Party is from nineteen seventy five. It was

750
00:37:53,040 --> 00:37:56,680
Speaker 1: written by Robert tom and Charles B. Griffith, of course,

751
00:37:56,719 --> 00:38:00,000
Speaker 1: directed by Paul Bartel, and it's called Death Rays two thousand.

752
00:38:00,440 --> 00:38:02,080
Speaker 2: Who are you anyway?

753
00:38:02,440 --> 00:38:06,640
Speaker 3: Frankenstein National Hero Best Driver Unner?

754
00:38:07,320 --> 00:38:11,120
Speaker 1: Okay, So I have a very short, one sentenced synopsis,

755
00:38:11,320 --> 00:38:13,200
Speaker 1: and I don't know if it's gonna fully cover it,

756
00:38:13,280 --> 00:38:18,719
Speaker 1: but it feels like it might. The future is basically S.

757
00:38:18,680 --> 00:38:21,560
Speaker 2: And M meets the Wacky Races.

758
00:38:22,040 --> 00:38:23,080
Speaker 3: Yeah, pretty much.

759
00:38:24,200 --> 00:38:24,399
Speaker 5: Right.

760
00:38:25,080 --> 00:38:29,799
Speaker 1: So there's a there's a like an interesting history here

761
00:38:29,880 --> 00:38:33,640
Speaker 1: with you know, obviously with Paul Bartell and Roger Corman, right,

762
00:38:33,760 --> 00:38:37,040
Speaker 1: Roger Corman being the center of Hollywood at all times.

763
00:38:37,560 --> 00:38:40,000
Speaker 1: You know, they had made movies in the past together.

764
00:38:41,160 --> 00:38:43,840
Speaker 1: You know, you talked about Private Parts, which when it

765
00:38:43,880 --> 00:38:47,880
Speaker 1: came out wasn't like super successful, and Paul Bartel just

766
00:38:48,239 --> 00:38:51,799
Speaker 1: was basically like, okay, so let's work on you know,

767
00:38:52,000 --> 00:38:53,760
Speaker 1: Death Race two thousand together.

768
00:38:54,640 --> 00:38:56,319
Speaker 2: The interesting thing about it.

769
00:38:56,400 --> 00:38:59,440
Speaker 1: And from what I've read is that, you know, Roger

770
00:38:59,560 --> 00:39:03,920
Speaker 1: Corman essentially when he had the idea for this movie

771
00:39:04,000 --> 00:39:07,160
Speaker 1: or when you know it was in development, he thought

772
00:39:07,200 --> 00:39:11,400
Speaker 1: it should be more way, more like action oriented. Basically,

773
00:39:12,400 --> 00:39:16,520
Speaker 1: Roger wanted to make like a rival film to Rollerball,

774
00:39:18,040 --> 00:39:21,879
Speaker 1: the James Kahn Our King James Kahn, the movie about

775
00:39:21,880 --> 00:39:24,759
Speaker 1: the roller skating in the future. So he was like,

776
00:39:24,880 --> 00:39:28,760
Speaker 1: let's do our version of Rollerball, and.

777
00:39:29,600 --> 00:39:32,279
Speaker 3: I would love that Rollerball as the movie about the

778
00:39:32,280 --> 00:39:38,760
Speaker 3: invention of the rollerball pen. Yeah, right, great changed lives.

779
00:39:38,800 --> 00:39:40,919
Speaker 3: If you have a favorite pen, email me. I saw

780
00:39:41,000 --> 00:39:42,960
Speaker 3: you did pond at gmail dot com because I'm your people.

781
00:39:43,880 --> 00:39:48,359
Speaker 1: Absolutely, you absolutely are. Yeah, James conn like clicking back

782
00:39:48,360 --> 00:39:50,600
Speaker 1: and forth me and that, you know, I don't like

783
00:39:50,640 --> 00:39:51,480
Speaker 1: the way this clicks.

784
00:39:51,560 --> 00:39:59,120
Speaker 2: I like my Rollerball, you know. And he's like sweating with.

785
00:39:59,120 --> 00:40:06,400
Speaker 1: Like his his shirt opened four buttons down. So Roger

786
00:40:06,480 --> 00:40:09,600
Speaker 1: Corman is like, let's make our version of roller Ball.

787
00:40:09,920 --> 00:40:12,320
Speaker 1: I wanted to be violent, I wanted to have boobs,

788
00:40:12,560 --> 00:40:15,439
Speaker 1: and it should be very action oriented. And when Paul

789
00:40:15,480 --> 00:40:19,000
Speaker 1: Bartel came to the picture, he was like, Okay, so

790
00:40:19,120 --> 00:40:22,319
Speaker 1: the plan is to run people over with cars and

791
00:40:22,400 --> 00:40:23,479
Speaker 1: kill them flat dead.

792
00:40:24,480 --> 00:40:29,600
Speaker 2: That's like what you want. It's like, I think we

793
00:40:29,600 --> 00:40:31,480
Speaker 2: should diffuse a little bit of this with some.

794
00:40:31,520 --> 00:40:42,120
Speaker 1: Humor and maybe a larger allegory about America. Maybe me like,

795
00:40:42,320 --> 00:40:44,440
Speaker 1: can we make it a little bit more of a sattire.

796
00:40:44,520 --> 00:40:48,400
Speaker 1: I don't feel comfortable with like literally flattening human heads

797
00:40:48,440 --> 00:40:52,200
Speaker 1: with car tires. So they actually went back and forth

798
00:40:52,280 --> 00:40:55,680
Speaker 1: a lot about it, and apparently there was some like

799
00:40:55,719 --> 00:40:58,279
Speaker 1: Paul Bartel was like, yo, it was not great, and

800
00:40:58,920 --> 00:41:00,840
Speaker 1: so you know, so there was this like kind of

801
00:41:00,880 --> 00:41:02,880
Speaker 1: back and forth about the theme of the film or

802
00:41:02,880 --> 00:41:06,240
Speaker 1: the tones of the film. Ultimately, what it turned into

803
00:41:06,520 --> 00:41:08,759
Speaker 1: is that it is, like I said, kind of this

804
00:41:08,880 --> 00:41:12,280
Speaker 1: allegory for America, right, because the plot of the film

805
00:41:12,360 --> 00:41:16,400
Speaker 1: is that it's like, you know, in the future. And

806
00:41:16,520 --> 00:41:18,560
Speaker 1: when I say the future, I mean from the nineteen

807
00:41:18,600 --> 00:41:22,240
Speaker 1: seventy five perspective. We've already aged twenty four to twenty

808
00:41:22,239 --> 00:41:26,440
Speaker 1: five years past Death Race two thousand, obviously, but the

809
00:41:26,560 --> 00:41:29,879
Speaker 1: vision is that there the world is run by this

810
00:41:30,200 --> 00:41:35,800
Speaker 1: totalitarian dictator. You know, we've seen this many many times

811
00:41:35,880 --> 00:41:38,120
Speaker 1: with many movies we've talked about on this podcast. So

812
00:41:39,040 --> 00:41:42,440
Speaker 1: essentially what happens is there's a yearly race that happens

813
00:41:42,480 --> 00:41:46,520
Speaker 1: where contestants get into these cars and then race across

814
00:41:46,560 --> 00:41:53,359
Speaker 1: America and they essentially win points by killing people. And

815
00:41:53,400 --> 00:41:56,040
Speaker 1: the points system is so fucked up because it's like

816
00:41:56,760 --> 00:42:01,760
Speaker 1: kids are the most points, babies.

817
00:42:01,440 --> 00:42:04,359
Speaker 3: Are the most points. It's like seventy points or something

818
00:42:04,400 --> 00:42:05,160
Speaker 3: like that. Yeah.

819
00:42:05,200 --> 00:42:07,840
Speaker 1: Yeah, So basically, if you kill babies and kids, you

820
00:42:07,880 --> 00:42:10,239
Speaker 1: win a lot of points. If you kill women you

821
00:42:10,320 --> 00:42:13,239
Speaker 1: win some a fair amount of points. And then if

822
00:42:13,239 --> 00:42:15,560
Speaker 1: you just kill a regular old guy, like it's.

823
00:42:15,480 --> 00:42:18,000
Speaker 2: Base it's like ten points or something.

824
00:42:18,480 --> 00:42:22,440
Speaker 1: But it creates this whole infrastructure to the film where

825
00:42:22,760 --> 00:42:26,680
Speaker 1: they're all traveling across America trying to run people over

826
00:42:26,719 --> 00:42:28,319
Speaker 1: and kill them. And then there are people who like

827
00:42:28,440 --> 00:42:32,520
Speaker 1: want to be killed. So at certain points there's like,

828
00:42:32,880 --> 00:42:36,320
Speaker 1: you know, there's this like I suppose like a retirement

829
00:42:36,360 --> 00:42:40,160
Speaker 1: community where the doctors and nurses like real old people

830
00:42:40,560 --> 00:42:43,040
Speaker 1: on the road to be like, well, they've decided to

831
00:42:44,840 --> 00:42:49,480
Speaker 1: unlive themselves and hopefully these contestants will come by and

832
00:42:49,520 --> 00:42:50,279
Speaker 1: run them all over.

833
00:42:51,120 --> 00:42:52,640
Speaker 3: They call it euthanasia day.

834
00:42:52,920 --> 00:42:54,440
Speaker 2: Yeah yeah, yeah yeah.

835
00:42:54,640 --> 00:42:58,160
Speaker 1: So and then people who are just sort of like

836
00:42:58,320 --> 00:43:02,440
Speaker 1: wanting to fuck with the with the contestants. So there's

837
00:43:02,719 --> 00:43:05,799
Speaker 1: five people in the race, five cars. And when I

838
00:43:05,800 --> 00:43:08,880
Speaker 1: say wacky races, I really do mean wacky races because

839
00:43:08,920 --> 00:43:12,840
Speaker 1: basically every contestant there's like a driver and a navigator

840
00:43:13,160 --> 00:43:16,239
Speaker 1: in each car. And the cars are like they look

841
00:43:16,360 --> 00:43:19,360
Speaker 1: like again, something you would see in a Hannah Barbara cartoon,

842
00:43:19,920 --> 00:43:24,239
Speaker 1: like Dune buggies, with like you know, vampire teeth on

843
00:43:24,280 --> 00:43:28,120
Speaker 1: the on the grill, like weird paint jobs. You know,

844
00:43:28,600 --> 00:43:32,560
Speaker 1: it's really fun to see in the film. And then

845
00:43:32,800 --> 00:43:36,160
Speaker 1: each little set is a kind of a theme. So

846
00:43:36,200 --> 00:43:42,520
Speaker 1: you've got like Mary Warnoff, who plays this woman Calamity Jane.

847
00:43:43,160 --> 00:43:46,480
Speaker 1: You know, she's just kind of like a tough lady,

848
00:43:46,640 --> 00:43:48,960
Speaker 1: you know what I mean, And she's partnered with this

849
00:43:49,080 --> 00:43:53,040
Speaker 1: like very cooked man with like glasses, very nerdy guy.

850
00:43:53,680 --> 00:43:58,920
Speaker 1: Then you have Matilda the hun who is essentially the Nazi.

851
00:43:59,800 --> 00:44:03,600
Speaker 1: Right She's German, so I guess that's maybe why, and

852
00:44:03,719 --> 00:44:06,520
Speaker 1: you know, she's just very stern and Germanic.

853
00:44:06,640 --> 00:44:07,320
Speaker 2: Through other film.

854
00:44:07,680 --> 00:44:12,320
Speaker 1: You've got Nero, the hero, who was played by basically

855
00:44:12,360 --> 00:44:16,160
Speaker 1: the bad guy from The Karate Kid, Martin Cove. He's

856
00:44:16,200 --> 00:44:19,800
Speaker 1: not in the film very long because you know, as

857
00:44:19,880 --> 00:44:23,040
Speaker 1: this race is happening. Some of these people are peeling off.

858
00:44:23,719 --> 00:44:26,360
Speaker 1: You know, they're all trying to destroy each other. You know,

859
00:44:26,680 --> 00:44:30,160
Speaker 1: it's a race like winner takes all, right. And then

860
00:44:30,200 --> 00:44:36,320
Speaker 1: you've got machine Gun Joe, who was played by Sylvester

861
00:44:36,480 --> 00:44:43,480
Speaker 1: Stallone and it's definitely young Sylvester Stallone here. It's kind

862
00:44:43,480 --> 00:44:46,600
Speaker 1: of amazing to see that he's like in this car

863
00:44:46,719 --> 00:44:52,640
Speaker 1: and he's absolutely bonkers. And then, of course, most memorably,

864
00:44:52,760 --> 00:45:01,920
Speaker 1: you have Frankenstein. Frankenstein is the most popular racer. He

865
00:45:02,040 --> 00:45:07,160
Speaker 1: is played by David Krodine. And the thing that I

866
00:45:07,160 --> 00:45:10,640
Speaker 1: thought was really interesting about him at this era of

867
00:45:10,680 --> 00:45:13,680
Speaker 1: his career David Krodine, was that he was in the

868
00:45:13,719 --> 00:45:17,360
Speaker 1: TV show Kung Fu, Right. He plays a very gentle,

869
00:45:17,760 --> 00:45:22,200
Speaker 1: mild mannered person, and when they came to him to

870
00:45:22,360 --> 00:45:24,440
Speaker 1: do Death Rayce two thousand and he was like, let's go.

871
00:45:24,840 --> 00:45:28,359
Speaker 2: I want to be a completely different dude. So in

872
00:45:28,400 --> 00:45:34,680
Speaker 2: this dude, oh my god, Frankenstein. I'm saying it in

873
00:45:34,719 --> 00:45:38,239
Speaker 2: the way. There's this also this like sports commentator in

874
00:45:38,280 --> 00:45:42,719
Speaker 2: the film that pops up intermittently and he's like this maniac.

875
00:45:42,840 --> 00:45:47,320
Speaker 1: He he reminds me of like he's very seventies. He's

876
00:45:47,440 --> 00:45:49,440
Speaker 1: he kind of looks like he was he'd been like

877
00:45:49,520 --> 00:45:52,080
Speaker 1: Phantom of the Paradise or something like that. Like he's

878
00:45:52,160 --> 00:45:55,440
Speaker 1: just like this Madiac guy that's like doing the commentary

879
00:45:55,440 --> 00:45:57,320
Speaker 1: throughout the race, and he's.

880
00:45:57,239 --> 00:46:02,080
Speaker 2: Just like Frankenstein. Ereka loves you, Frankenstein.

881
00:46:03,080 --> 00:46:10,640
Speaker 3: And there's there's another broadcaster who Junior Bruce constantly cuts

882
00:46:10,680 --> 00:46:13,719
Speaker 3: away too, and her name is Grace Pander. And I

883
00:46:13,840 --> 00:46:16,760
Speaker 3: swear to God, the first time I ever saw Jennifer Coolidge,

884
00:46:16,760 --> 00:46:19,560
Speaker 3: I was like, oh, yes, seeing Grace Pander one.

885
00:46:19,560 --> 00:46:24,000
Speaker 2: Hundred one hundred percent, you will be like, is that

886
00:46:24,080 --> 00:46:28,400
Speaker 2: Jennifer Coolidge? She can't be that old right man? Incredible?

887
00:46:28,880 --> 00:46:31,440
Speaker 1: So we got to talk about Frankenstein because here's the

888
00:46:31,480 --> 00:46:36,400
Speaker 1: thing about him. This dude is called Frankenstein because he

889
00:46:36,480 --> 00:46:39,760
Speaker 1: has been so mangled by this race over the years

890
00:46:39,760 --> 00:46:41,840
Speaker 1: that he has like mechanical everything.

891
00:46:43,239 --> 00:46:43,520
Speaker 2: Right.

892
00:46:44,160 --> 00:46:46,560
Speaker 3: He's like the list that he runs off like, oh,

893
00:46:46,560 --> 00:46:49,360
Speaker 3: I got my leg ripped off in seventy, in ninety seven,

894
00:46:49,440 --> 00:46:52,359
Speaker 3: I got my left arm ripped off in ninety eight,

895
00:46:52,400 --> 00:46:54,280
Speaker 3: and my right arm in ninety nine, and my eyeball

896
00:46:54,320 --> 00:46:56,160
Speaker 3: that he just runs through this list at one point

897
00:46:56,200 --> 00:46:57,440
Speaker 3: that is fucking wild.

898
00:46:58,080 --> 00:47:01,160
Speaker 1: Yes, and of course you see him and he's like

899
00:47:01,280 --> 00:47:05,080
Speaker 1: in an entire like black leather jumpsuit with like a

900
00:47:05,440 --> 00:47:09,000
Speaker 1: leather face mask. Like that's what I mean about SMM.

901
00:47:09,040 --> 00:47:12,920
Speaker 1: It's very SNM to me, and I think Paul Bartel

902
00:47:13,560 --> 00:47:15,960
Speaker 1: purposely made it that way, like he was like, this

903
00:47:16,000 --> 00:47:20,120
Speaker 1: is what I wanted the character to be. And Franketstein

904
00:47:20,560 --> 00:47:27,280
Speaker 1: has a new navigator, Annie, who is this beautiful blonde her.

905
00:47:27,800 --> 00:47:31,120
Speaker 1: She's related to this woman who is named Thomasina Payne.

906
00:47:31,440 --> 00:47:33,920
Speaker 1: And Thomasina Payne is this older woman who's kind of

907
00:47:33,920 --> 00:47:34,680
Speaker 1: a freedom fighter.

908
00:47:34,680 --> 00:47:35,440
Speaker 2: Because here's the thing.

909
00:47:35,719 --> 00:47:38,560
Speaker 1: You've got this totalitarian future, so of course you've got

910
00:47:38,560 --> 00:47:40,400
Speaker 1: these like freedom fighters. You've got these people who like

911
00:47:40,480 --> 00:47:45,879
Speaker 1: want to kill the totalitarian dictator and restore like free

912
00:47:45,920 --> 00:47:51,239
Speaker 1: elections and order and stuff to the world. So her relative,

913
00:47:51,920 --> 00:47:56,560
Speaker 1: Thomasina is like gathering people to try to stop the race,

914
00:47:56,719 --> 00:47:58,160
Speaker 1: and part of it is that they want to kill

915
00:47:58,200 --> 00:48:03,400
Speaker 1: Franketstein because he's like the most famous, you know, contestant

916
00:48:03,440 --> 00:48:07,120
Speaker 1: in the race. Apparently he's like really in tight with

917
00:48:07,239 --> 00:48:10,520
Speaker 1: the dictator or the president or whatever, and so they're

918
00:48:10,560 --> 00:48:12,120
Speaker 1: like he has got to be stopped because if you

919
00:48:12,200 --> 00:48:13,879
Speaker 1: kill Frankenstein that means the race is over.

920
00:48:13,920 --> 00:48:15,680
Speaker 2: Nobody's gonna want to watch a race without.

921
00:48:15,440 --> 00:48:20,400
Speaker 1: Frankenstein, right, So she kind of like joins his you

922
00:48:20,440 --> 00:48:23,880
Speaker 1: know car as a navigator, and there's kind of like

923
00:48:23,920 --> 00:48:26,400
Speaker 1: a little bit of a love story that gets you know,

924
00:48:26,760 --> 00:48:27,479
Speaker 1: thrown in there.

925
00:48:27,520 --> 00:48:30,640
Speaker 2: But ultimately, you know, you're like, Okay, what is she

926
00:48:30,960 --> 00:48:32,480
Speaker 2: trying to achieve by doing this?

927
00:48:32,880 --> 00:48:33,120
Speaker 3: You know?

928
00:48:33,840 --> 00:48:38,600
Speaker 1: But I gotta tell you there's something kind of sexy

929
00:48:38,719 --> 00:48:43,520
Speaker 1: scary about Frankenstein, Like there's some kind of weird thing

930
00:48:43,560 --> 00:48:47,120
Speaker 1: going on there. Like he's very like there's a part

931
00:48:47,160 --> 00:48:51,000
Speaker 1: where she's like, so tell me about your tell me

932
00:48:51,000 --> 00:48:56,000
Speaker 1: about your fucked up face basically, and then he basically

933
00:48:56,120 --> 00:48:59,719
Speaker 1: removes his mask because from the eyeholes, you're like, oh man,

934
00:48:59,760 --> 00:49:02,120
Speaker 1: he's like, you know, he's got half a face blown

935
00:49:02,120 --> 00:49:03,879
Speaker 1: off from he's like Deadpool under there.

936
00:49:04,000 --> 00:49:07,680
Speaker 2: Yeah, yeah, yeah. But he reveals that it's actually a

937
00:49:07,840 --> 00:49:11,680
Speaker 2: fake face. He's beautiful under his mask.

938
00:49:12,440 --> 00:49:15,319
Speaker 3: And here's what kills me. There's so many scenes which

939
00:49:15,560 --> 00:49:17,479
Speaker 3: to me adds to the comedy. There's so many scenes

940
00:49:17,520 --> 00:49:20,120
Speaker 3: where the continuity just is not there. Sure, there's one

941
00:49:20,160 --> 00:49:23,320
Speaker 3: point where Frankenstein's driving around with you know, his navigator

942
00:49:23,760 --> 00:49:26,640
Speaker 3: and at one point she's in the car and they're speeding,

943
00:49:26,719 --> 00:49:28,839
Speaker 3: and then the next shot she's not in the car,

944
00:49:28,920 --> 00:49:30,560
Speaker 3: and then she's back in the car. Like it's just

945
00:49:30,560 --> 00:49:31,120
Speaker 3: so crazy.

946
00:49:31,400 --> 00:49:31,600
Speaker 2: Yeah.

947
00:49:31,600 --> 00:49:33,680
Speaker 3: But every time he peels his mask off, I guess

948
00:49:33,719 --> 00:49:37,480
Speaker 3: he's taking off the little scar parts under the eyes, yeah,

949
00:49:37,880 --> 00:49:40,200
Speaker 3: because there's like nothing on it. Like he's perfect, Like

950
00:49:40,239 --> 00:49:42,359
Speaker 3: there's nothing on his face. You can't tell he's been

951
00:49:42,600 --> 00:49:45,080
Speaker 3: sewn together eight hundred times. And they explain it, of course,

952
00:49:45,160 --> 00:49:48,040
Speaker 3: but like it just cracks me up when he first

953
00:49:48,040 --> 00:49:49,719
Speaker 3: takes off the mask and I'm like, they didn't even

954
00:49:49,760 --> 00:49:52,360
Speaker 3: leave the scars on there out the eyes.

955
00:49:52,640 --> 00:49:53,200
Speaker 2: Yeah.

956
00:49:53,239 --> 00:49:55,440
Speaker 1: And then in another moment, they like are somehow in

957
00:49:55,520 --> 00:49:59,920
Speaker 1: like a very futuristic bedroom. He's wearing black underwear, you know,

958
00:50:00,280 --> 00:50:04,000
Speaker 1: and I'm just like, he don't look I mean, they

959
00:50:04,160 --> 00:50:06,399
Speaker 1: they put him together real good, because it doesn't look

960
00:50:06,440 --> 00:50:09,400
Speaker 1: like he's got anything except for this hand that he

961
00:50:09,480 --> 00:50:12,160
Speaker 1: doesn't remove one of his gloves, like he's always got

962
00:50:12,160 --> 00:50:15,480
Speaker 1: a black glove on, which I gotta say, very goth.

963
00:50:17,760 --> 00:50:17,840
Speaker 4: Like.

964
00:50:17,880 --> 00:50:22,040
Speaker 1: Can you imagine if like David Carroty shows up with

965
00:50:22,280 --> 00:50:26,880
Speaker 1: black underwear on and just one black leather glove. But

966
00:50:27,719 --> 00:50:32,160
Speaker 1: I feel like a thousand goths were launched by this

967
00:50:32,280 --> 00:50:33,440
Speaker 1: one film alone.

968
00:50:34,200 --> 00:50:35,920
Speaker 3: You say goth, I say murderer.

969
00:50:37,800 --> 00:50:42,000
Speaker 1: Listen, this is not entirely mutually exclusive there, but I

970
00:50:42,960 --> 00:50:46,000
Speaker 1: but yeah, he's this character is very iconic for a

971
00:50:46,040 --> 00:50:46,600
Speaker 1: lot of reasons.

972
00:50:46,600 --> 00:50:49,640
Speaker 2: In his car is the best, like the coolest looking

973
00:50:49,680 --> 00:50:53,200
Speaker 2: car ever. But honestly, like this film, a lot of

974
00:50:53,200 --> 00:50:55,160
Speaker 2: it is just I mean, it's kind of like in

975
00:50:55,480 --> 00:50:58,239
Speaker 2: in the tradition of the great road movies of the seventies.

976
00:50:58,400 --> 00:51:01,600
Speaker 2: Really it's like, you know, at times like Smoking the

977
00:51:01,680 --> 00:51:03,760
Speaker 2: Bandit at times like Cannonball Run.

978
00:51:03,840 --> 00:51:07,239
Speaker 1: It's just you know, like people kind of driving through America,

979
00:51:07,440 --> 00:51:09,359
Speaker 1: like you know, running people over.

980
00:51:09,440 --> 00:51:12,200
Speaker 2: And honestly, this shit is fucking gruesome.

981
00:51:13,520 --> 00:51:15,799
Speaker 3: So gruis everyone has like some version of a big

982
00:51:15,880 --> 00:51:18,680
Speaker 3: knife on the front of their car, so they're just slicing.

983
00:51:19,080 --> 00:51:22,000
Speaker 1: Yeah, basically they've got big swords and knives coming off

984
00:51:22,000 --> 00:51:22,239
Speaker 1: the card.

985
00:51:22,239 --> 00:51:24,800
Speaker 2: They're just slicing people as they run them over. Lots

986
00:51:24,800 --> 00:51:27,840
Speaker 2: of head explosions, limb explosions.

987
00:51:28,360 --> 00:51:31,640
Speaker 1: I mean, it's Roger Corman, it's Paul Bartel, Like you

988
00:51:31,680 --> 00:51:33,799
Speaker 1: know that that's got to be the way it goes, right,

989
00:51:34,480 --> 00:51:38,279
Speaker 1: But it's like, to me, it's just the fun of

990
00:51:39,040 --> 00:51:42,880
Speaker 1: watching these like great character actors, you know, making this

991
00:51:43,040 --> 00:51:44,719
Speaker 1: like really like.

992
00:51:45,040 --> 00:51:48,279
Speaker 2: Raucous, you know, exploitation film.

993
00:51:48,600 --> 00:51:52,320
Speaker 1: Again, Like it's really kind of like at the time,

994
00:51:52,760 --> 00:51:55,000
Speaker 1: you know, there's just a lot going on sort of

995
00:51:55,080 --> 00:51:58,600
Speaker 1: internationally with America and like kind of the Vietnam thing,

996
00:51:58,680 --> 00:52:02,200
Speaker 1: and so there's this you know, kind of story that's

997
00:52:02,239 --> 00:52:07,799
Speaker 1: woven through this insane movie that talks about the violence

998
00:52:08,239 --> 00:52:11,800
Speaker 1: of America as entertainment, which we've seen so many times

999
00:52:11,800 --> 00:52:12,720
Speaker 1: in seventies films.

1000
00:52:12,920 --> 00:52:14,520
Speaker 2: So yeah, I mean, to me, it's just.

1001
00:52:14,520 --> 00:52:21,799
Speaker 1: Really really fun and like I said, great costumes, great cars,

1002
00:52:21,880 --> 00:52:27,000
Speaker 1: just weird stuff happening all over the place, like funny moments.

1003
00:52:27,239 --> 00:52:31,600
Speaker 1: It's like a satire, it's high comedy. It's you know

1004
00:52:32,040 --> 00:52:32,960
Speaker 1: obviously like.

1005
00:52:34,440 --> 00:52:37,759
Speaker 2: Just like there's like parts where you're like, oh, they're

1006
00:52:37,760 --> 00:52:41,279
Speaker 2: at a dance club. Mary Warnov looks incredible.

1007
00:52:41,239 --> 00:52:44,880
Speaker 1: You know, like it's just a fun film. And like, honestly,

1008
00:52:44,920 --> 00:52:49,239
Speaker 1: I feel like to your earlier point about sort of

1009
00:52:49,320 --> 00:52:52,120
Speaker 1: like the way which Paul Bartel like brought people together

1010
00:52:52,239 --> 00:52:55,240
Speaker 1: to make like fun things. I mean, that's the sense

1011
00:52:55,280 --> 00:52:58,120
Speaker 1: that I get from this film is that you're just like, oh,

1012
00:52:58,160 --> 00:53:00,000
Speaker 1: here's like a bunch of people like making this week

1013
00:53:00,239 --> 00:53:03,719
Speaker 1: ass movie. Maybe it's not like technically perfect, maybe there's

1014
00:53:03,760 --> 00:53:05,120
Speaker 1: continuity problems.

1015
00:53:04,719 --> 00:53:08,840
Speaker 2: But like there's like great, great energy to it, you know.

1016
00:53:09,960 --> 00:53:13,279
Speaker 3: Agree, agree, Agree. It was so funny to watch this

1017
00:53:13,360 --> 00:53:17,440
Speaker 3: movie again. I haven't seen it in years. Yeah, and

1018
00:53:18,080 --> 00:53:21,760
Speaker 3: it's just so there's so many parts that are so funny,

1019
00:53:21,920 --> 00:53:24,320
Speaker 3: and it's so out there and the dialogue is crisp,

1020
00:53:24,400 --> 00:53:26,440
Speaker 3: and it's just it's really really fun.

1021
00:53:26,800 --> 00:53:27,200
Speaker 2: Yeah.

1022
00:53:27,239 --> 00:53:29,160
Speaker 1: This is like one of these like cult movies that

1023
00:53:29,239 --> 00:53:32,640
Speaker 1: you will probably see on tub for the rest of time.

1024
00:53:33,200 --> 00:53:38,600
Speaker 1: Like it's just really like a classic cult film that

1025
00:53:38,880 --> 00:53:40,560
Speaker 1: you know, it will always be.

1026
00:53:40,560 --> 00:53:43,840
Speaker 2: Available hopefully to watch for the generations to come.

1027
00:53:43,960 --> 00:53:50,000
Speaker 3: So it's my agree, Oh, fantastic job. Agree Agree Agree.

1028
00:53:54,080 --> 00:53:57,080
Speaker 2: You want to talk about your movie, I do.

1029
00:53:57,640 --> 00:54:00,360
Speaker 3: My movie was released in nineteen eighty two. It was

1030
00:54:00,360 --> 00:54:03,719
Speaker 3: written by Paul Bartel and Richard Blackburn and directed by

1031
00:54:03,800 --> 00:54:06,920
Speaker 3: Paul Bartel. My movie is Eating Raoul.

1032
00:54:07,719 --> 00:54:10,320
Speaker 4: We love tag, but We've got Rafa.

1033
00:54:11,280 --> 00:54:12,760
Speaker 2: We met a pea.

1034
00:54:13,200 --> 00:54:17,680
Speaker 3: My one sentence synopsis of Eating Raoul is a prudish,

1035
00:54:17,760 --> 00:54:20,799
Speaker 3: married couple with their heart set on opening a restaurant,

1036
00:54:20,920 --> 00:54:24,120
Speaker 3: starts murdering swingers and robbing them in order to build

1037
00:54:24,200 --> 00:54:31,360
Speaker 3: a down payment. Perfect, which is just again Paul Bartel,

1038
00:54:31,440 --> 00:54:34,640
Speaker 3: what a brain, what a premise, Absolutely love it. The

1039
00:54:34,680 --> 00:54:36,759
Speaker 3: movie starts out by just kind of explaining it's that

1040
00:54:36,800 --> 00:54:39,240
Speaker 3: the couple is living in Los Angeles and they're very prudish.

1041
00:54:39,239 --> 00:54:42,680
Speaker 3: They sleep in you know, separate twin beds and matching pajamas,

1042
00:54:42,760 --> 00:54:46,240
Speaker 3: kind of prudes. And there's this narrator in the beginning

1043
00:54:46,239 --> 00:54:48,920
Speaker 3: of the film talking about how the barrier between food

1044
00:54:48,920 --> 00:54:52,640
Speaker 3: and sex is completely dissolved. They're like showing kids pushing

1045
00:54:52,680 --> 00:54:54,920
Speaker 3: a TV out of a window onto a postal worker.

1046
00:54:55,719 --> 00:54:58,520
Speaker 3: Someone's putting ketchup on top of like a milkshake. It's

1047
00:54:58,560 --> 00:55:01,719
Speaker 3: just like, this is a wild world that we're living,

1048
00:55:01,760 --> 00:55:03,719
Speaker 3: and they're trying to set the tone for what La

1049
00:55:03,800 --> 00:55:06,400
Speaker 3: feels like at that time, which is very sex infused.

1050
00:55:06,960 --> 00:55:09,440
Speaker 3: So for two prudish people, it is a hard place

1051
00:55:09,480 --> 00:55:13,160
Speaker 3: to live. And Paul and Mary are great. So those

1052
00:55:13,160 --> 00:55:15,120
Speaker 3: are their names in the film, Paul and Mary Bland,

1053
00:55:15,520 --> 00:55:17,640
Speaker 3: as well as their real life names, Paul and Mary.

1054
00:55:18,400 --> 00:55:21,319
Speaker 3: And Paul works at a kind of a low rent

1055
00:55:21,320 --> 00:55:24,560
Speaker 3: liquor store, but he's a wine connoisseur, so he's always

1056
00:55:24,600 --> 00:55:26,479
Speaker 3: angry and trying to sell like a four hundred dollars

1057
00:55:26,480 --> 00:55:31,399
Speaker 3: bottle of flying to somebody. And Mary is a nurse.

1058
00:55:31,440 --> 00:55:34,560
Speaker 3: She's actually you know, she's a nutritionist, but she's kind

1059
00:55:34,560 --> 00:55:40,160
Speaker 3: of always coming up against these like incredibly horny patients.

1060
00:55:40,200 --> 00:55:42,560
Speaker 3: Like it's just bizarre to see her at work and

1061
00:55:42,640 --> 00:55:46,440
Speaker 3: have none of the guiding social rules that we have

1062
00:55:46,600 --> 00:55:50,080
Speaker 3: now at play to protect her. And when the movie opens,

1063
00:55:50,480 --> 00:55:54,440
Speaker 3: Paul has gotten fired. He's gotten fired from his job

1064
00:55:54,840 --> 00:55:58,640
Speaker 3: for ordering a case of Chateau of Feet, which costs

1065
00:55:58,640 --> 00:56:01,400
Speaker 3: like four hundred dollars a bottle. His boss says, but

1066
00:56:01,960 --> 00:56:04,279
Speaker 3: it's weird that he gets fired because you've also just

1067
00:56:04,320 --> 00:56:07,880
Speaker 3: seen his boss murderer would be robber with no second thought.

1068
00:56:08,360 --> 00:56:10,839
Speaker 3: So this guy comes into the store, pulls a gun,

1069
00:56:10,920 --> 00:56:13,680
Speaker 3: and the owner just pulls out a bigger gun and

1070
00:56:13,680 --> 00:56:15,319
Speaker 3: shoots them right in the face and just keeps talking

1071
00:56:15,440 --> 00:56:18,560
Speaker 3: like nothing has happened. Yeah, so you feel like he's unfazable.

1072
00:56:18,600 --> 00:56:21,799
Speaker 3: But then he fires Paul for ordering this wine. Right,

1073
00:56:22,040 --> 00:56:24,080
Speaker 3: it's so funny and just like again, like the setup

1074
00:56:24,080 --> 00:56:27,560
Speaker 3: of this this world is like the world is hyper

1075
00:56:27,760 --> 00:56:31,920
Speaker 3: it's hyper violent, it's hyper sexualized. It's hyper everything. So

1076
00:56:32,000 --> 00:56:34,400
Speaker 3: Paul and Mary, you know, he's it's so cute. He

1077
00:56:34,400 --> 00:56:36,839
Speaker 3: picks her up for work and you know she's had

1078
00:56:36,840 --> 00:56:38,879
Speaker 3: fun with one of her patients by tricking them into

1079
00:56:38,880 --> 00:56:41,439
Speaker 3: getting a colonic, and you know, they're kind of going

1080
00:56:41,480 --> 00:56:43,960
Speaker 3: to their building and what's what's clear in their conversation

1081
00:56:44,160 --> 00:56:46,640
Speaker 3: is they love to cook and they want to open

1082
00:56:46,719 --> 00:56:50,200
Speaker 3: a restaurant. That is their dream. They are pushing towards

1083
00:56:50,239 --> 00:56:54,359
Speaker 3: that dream. This this firing has set them back quite

1084
00:56:54,360 --> 00:56:57,680
Speaker 3: a bit. They have no money, and they're meeting with

1085
00:56:57,800 --> 00:57:00,640
Speaker 3: this guy that evening called Jeffrey, who's going to kind

1086
00:57:00,640 --> 00:57:04,480
Speaker 3: of tell them about a property that's for sale or

1087
00:57:04,480 --> 00:57:06,000
Speaker 3: for rent so that they could put a down payment

1088
00:57:06,040 --> 00:57:09,640
Speaker 3: down on it and open their restaurant. As they're going

1089
00:57:09,719 --> 00:57:12,560
Speaker 3: into the building, they're already pressed because they're just watching

1090
00:57:12,560 --> 00:57:15,960
Speaker 3: people come in and all sorts of different costumes and

1091
00:57:16,240 --> 00:57:18,320
Speaker 3: as someone in the elevators like, oh, you live here,

1092
00:57:18,320 --> 00:57:20,200
Speaker 3: so you must be swingers too, and they're like, no,

1093
00:57:20,280 --> 00:57:20,800
Speaker 3: we are not.

1094
00:57:21,640 --> 00:57:22,360
Speaker 2: How dare you?

1095
00:57:23,280 --> 00:57:26,480
Speaker 3: Like? The whole building is full of swingers, which cracks

1096
00:57:26,520 --> 00:57:29,840
Speaker 3: me up. So on top of being fired and you know,

1097
00:57:29,920 --> 00:57:33,400
Speaker 3: having this this need and desire to have money so

1098
00:57:33,440 --> 00:57:37,000
Speaker 3: that they can open their dream. They also get home

1099
00:57:37,040 --> 00:57:39,600
Speaker 3: and get find a notice that their rent is increasing

1100
00:57:39,680 --> 00:57:44,800
Speaker 3: by a lot, so Paul agrees to sell some bottles

1101
00:57:44,800 --> 00:57:47,680
Speaker 3: of wine so that they can. You know, he's got

1102
00:57:47,680 --> 00:57:50,400
Speaker 3: some really nice wine. He's going to sell them. But

1103
00:57:50,480 --> 00:57:52,960
Speaker 3: prior to that, like just as that's happening, as we're

1104
00:57:52,960 --> 00:57:54,840
Speaker 3: having this discussion of like what are we going to do,

1105
00:57:55,440 --> 00:57:58,520
Speaker 3: this stranger comes in and he's at one of the

1106
00:57:58,560 --> 00:58:01,040
Speaker 3: swinger parties in the building. But he comes in and

1107
00:58:01,080 --> 00:58:03,520
Speaker 3: he pukes on their floor, and then he goes to

1108
00:58:03,600 --> 00:58:05,760
Speaker 3: the bathroom and they think he's dead in the bathroom,

1109
00:58:05,760 --> 00:58:09,000
Speaker 3: but he's just kind of passed out. So Paul takes

1110
00:58:09,080 --> 00:58:13,800
Speaker 3: him to this party that he's wandered out of and

1111
00:58:13,800 --> 00:58:16,840
Speaker 3: it's just debauchery, and he meets this woman named Doris

1112
00:58:16,880 --> 00:58:20,439
Speaker 3: the Dominatrix, and he's just like scandalized. But the guy

1113
00:58:20,480 --> 00:58:24,760
Speaker 3: comes back and he kind of attacks Mary, or starts

1114
00:58:24,760 --> 00:58:27,680
Speaker 3: to attack Mary, and so Paul just bunks him on

1115
00:58:27,680 --> 00:58:29,600
Speaker 3: the head with a cast iron pan and kills him.

1116
00:58:29,840 --> 00:58:32,080
Speaker 3: And they immediately go to his wallet and they're like, well, yes,

1117
00:58:32,120 --> 00:58:34,600
Speaker 3: six hundred bucks, so they just take the money. It's

1118
00:58:34,680 --> 00:58:36,920
Speaker 3: so fucking funny. And I think the thing that keeps

1119
00:58:36,960 --> 00:58:41,640
Speaker 3: this movie in the realm of the absurd and comical

1120
00:58:41,920 --> 00:58:44,320
Speaker 3: is that it moves so quickly so you don't have

1121
00:58:44,360 --> 00:58:46,200
Speaker 3: a lot of time to stop and feel bad for

1122
00:58:46,240 --> 00:58:49,480
Speaker 3: anyone or anything, because it is designed to be as

1123
00:58:49,480 --> 00:58:52,400
Speaker 3: absurd as you're seeing it. Like, it's just they're making

1124
00:58:52,440 --> 00:58:55,840
Speaker 3: these very quick decisions to be like the worst possible people.

1125
00:58:56,440 --> 00:58:59,400
Speaker 3: It's very very funny. So with a dead guy in

1126
00:58:59,440 --> 00:59:03,000
Speaker 3: the kitchen, now have to have dinner for James, and

1127
00:59:04,040 --> 00:59:05,760
Speaker 3: is one of my favorite lines in the film. They're

1128
00:59:05,800 --> 00:59:08,000
Speaker 3: kind of, you know, Paul and Mary in the kitchen

1129
00:59:08,000 --> 00:59:12,160
Speaker 3: talking about what they're gonna do, and Mary says like,

1130
00:59:12,440 --> 00:59:14,520
Speaker 3: Paul's like, there's a man in the kitchen. And Mary

1131
00:59:14,560 --> 00:59:16,840
Speaker 3: says he was a man. Now he's just a bag

1132
00:59:16,840 --> 00:59:19,680
Speaker 3: of garbage because she has put a garbage bag over

1133
00:59:19,760 --> 00:59:22,120
Speaker 3: his head and torso and his legs are just kind

1134
00:59:22,120 --> 00:59:24,240
Speaker 3: of stick it out, and she's like, eh, now he's

1135
00:59:24,240 --> 00:59:26,440
Speaker 3: just a bag of garbage. It's just very, very funny.

1136
00:59:26,680 --> 00:59:28,320
Speaker 3: And then they dump the body in the trash pic

1137
00:59:28,400 --> 00:59:35,000
Speaker 3: compactor when Jeffrey, when James leaves, and Mary is trying

1138
00:59:35,000 --> 00:59:38,280
Speaker 3: to like again get Paul to sell these expensive bottles

1139
00:59:38,280 --> 00:59:40,800
Speaker 3: of wine. So he does go to try to sell

1140
00:59:40,840 --> 00:59:44,240
Speaker 3: the wine. He goes to this hotel this guy has

1141
00:59:44,280 --> 00:59:46,600
Speaker 3: called and it's like, I'm in town, sell me some wine.

1142
00:59:47,160 --> 00:59:49,440
Speaker 3: So he goes to the hotel. They have a meal,

1143
00:59:50,320 --> 00:59:53,280
Speaker 3: but the guy ends up kind of stiffing. He not

1144
00:59:53,280 --> 00:59:55,240
Speaker 3: only stiffs Paul and leaves him with the bill, but

1145
00:59:55,280 --> 00:59:58,520
Speaker 3: he also steals the wine. So Paul is left with

1146
00:59:58,600 --> 01:00:00,600
Speaker 3: like no wine. He's got to pay for the check,

1147
01:00:00,680 --> 01:00:02,880
Speaker 3: and when he goes back to the room, this guy

1148
01:00:02,920 --> 01:00:07,720
Speaker 3: Peck is gone. So they decide that the last ditch

1149
01:00:07,760 --> 01:00:10,280
Speaker 3: effort they make before crime is that Mary's going to

1150
01:00:10,320 --> 01:00:12,880
Speaker 3: go to the bank for a loan, and she walks

1151
01:00:12,880 --> 01:00:15,439
Speaker 3: in in like a see through dress, and the loan

1152
01:00:15,440 --> 01:00:17,760
Speaker 3: officer totally hits on her and advites her to a

1153
01:00:17,800 --> 01:00:21,200
Speaker 3: swinger's party and then lies about how she attacked him

1154
01:00:21,240 --> 01:00:25,040
Speaker 3: because he turned her down for the loan after she

1155
01:00:25,080 --> 01:00:29,600
Speaker 3: wouldn't fuck him. Basically, so now we're in a world

1156
01:00:29,640 --> 01:00:34,080
Speaker 3: where they decide Paul and Mary, they're like, our only option, obviously,

1157
01:00:35,600 --> 01:00:39,560
Speaker 3: is to put an ad in the paper luring swingers

1158
01:00:39,600 --> 01:00:42,320
Speaker 3: to our apartment where we can kill them and rob them.

1159
01:00:44,800 --> 01:00:48,800
Speaker 3: Because as they say, the world is overflowing with millions

1160
01:00:48,840 --> 01:00:51,800
Speaker 3: of sexual freaks. So they're like, we're just have to

1161
01:00:51,840 --> 01:00:54,000
Speaker 3: do this for a little while, just just to get

1162
01:00:54,000 --> 01:00:56,760
Speaker 3: the twenty k to put down on this building. And

1163
01:00:56,840 --> 01:00:59,720
Speaker 3: it's just kind of funny to watch. So a big

1164
01:00:59,800 --> 01:01:04,120
Speaker 3: chunk of the movie is just seeing these role playing

1165
01:01:04,200 --> 01:01:06,200
Speaker 3: the role plane they have to do for the clients

1166
01:01:06,200 --> 01:01:09,840
Speaker 3: that they have coming to their house. And when people

1167
01:01:09,880 --> 01:01:11,440
Speaker 3: show up to their apartment, you know, to kind of

1168
01:01:11,440 --> 01:01:15,120
Speaker 3: see Mary. Mary's always acting it out with them. She's

1169
01:01:15,200 --> 01:01:20,320
Speaker 3: cruel Carla usually or naughty Nancy, and then Paul just

1170
01:01:20,360 --> 01:01:22,080
Speaker 3: pops up with the frying pan and just sits them

1171
01:01:22,080 --> 01:01:27,360
Speaker 3: on the and at some point, yeah, it's so good,

1172
01:01:27,440 --> 01:01:29,440
Speaker 3: and they're like, yeah, like those the cities full of purpose,

1173
01:01:29,480 --> 01:01:32,600
Speaker 3: those swinger types always have money. Let's do it. And

1174
01:01:33,360 --> 01:01:35,680
Speaker 3: they do go to Doris the Dominatrix for advice. She's

1175
01:01:35,680 --> 01:01:36,920
Speaker 3: the one that tells them to put an add in

1176
01:01:36,960 --> 01:01:39,760
Speaker 3: the paper. And that scene is fucking hilarious because Doris

1177
01:01:39,840 --> 01:01:43,439
Speaker 3: is just at her house, like doing her regular mom thing,

1178
01:01:43,840 --> 01:01:45,600
Speaker 3: and she gives the kids some food and he just

1179
01:01:45,680 --> 01:01:48,440
Speaker 3: kind of like slowly pukes it up in the corner

1180
01:01:48,440 --> 01:01:51,640
Speaker 3: while they're talking it's so fucking great. And as they're

1181
01:01:51,720 --> 01:01:55,040
Speaker 3: leaving her house, they get this flyer for a locksmith, Raoul,

1182
01:01:55,720 --> 01:01:58,919
Speaker 3: and they decide to call him because why they want

1183
01:01:58,960 --> 01:02:02,800
Speaker 3: to do all their killing in peace? So at an

1184
01:02:03,320 --> 01:02:06,400
Speaker 3: in the Raoul part of the movie, and Raoul is

1185
01:02:06,400 --> 01:02:12,200
Speaker 3: basically like he's also a grifter. So his deal, as

1186
01:02:12,240 --> 01:02:16,560
Speaker 3: we come to discover, is that he sets up this

1187
01:02:16,600 --> 01:02:20,280
Speaker 3: fake locksmith building or business, comes back later in the

1188
01:02:20,360 --> 01:02:24,680
Speaker 3: night and robs his clients. So he does that the

1189
01:02:24,760 --> 01:02:29,080
Speaker 3: first night that he meets Paul and Mary, and he

1190
01:02:29,480 --> 01:02:34,520
Speaker 3: comes back, starts robbing them, and then discovers these two

1191
01:02:34,560 --> 01:02:36,560
Speaker 3: bodies in the kitchen because they've decided they're going to

1192
01:02:36,640 --> 01:02:40,400
Speaker 3: kill two a knight, like that's their limit. So they

1193
01:02:40,480 --> 01:02:43,080
Speaker 3: all three of them together come up with a deal

1194
01:02:43,800 --> 01:02:47,080
Speaker 3: for how to kind of be in business together, which

1195
01:02:47,120 --> 01:02:51,440
Speaker 3: is that the blands are going to kill people. They

1196
01:02:51,480 --> 01:02:53,640
Speaker 3: get to keep the money that is, you know, in

1197
01:02:53,680 --> 01:02:55,680
Speaker 3: their wallets that they brought with them to this date,

1198
01:02:56,720 --> 01:03:00,160
Speaker 3: but then Raoul gets to keep the bodies, which is

1199
01:03:00,240 --> 01:03:02,280
Speaker 3: really working out for them because the bodies are prowling

1200
01:03:02,360 --> 01:03:05,480
Speaker 3: up in the trash compact and they don't really need

1201
01:03:05,520 --> 01:03:07,880
Speaker 3: to know what he's doing with them. But what we

1202
01:03:07,960 --> 01:03:11,680
Speaker 3: do find out eventually is that Raoul is selling the

1203
01:03:11,720 --> 01:03:17,000
Speaker 3: bodies to a dog food company for fifty cents per pound,

1204
01:03:18,680 --> 01:03:22,919
Speaker 3: and he's also taking the victim's cars and selling them,

1205
01:03:22,920 --> 01:03:26,120
Speaker 3: but he's not splitting that money with Paul and Mary.

1206
01:03:26,440 --> 01:03:28,840
Speaker 3: So it just becomes kind of this like very weird,

1207
01:03:29,160 --> 01:03:35,400
Speaker 3: funny comedy, like sexual comedy, because you know, Mary starts

1208
01:03:35,440 --> 01:03:38,960
Speaker 3: to have an affair with Raoul and then you know

1209
01:03:39,040 --> 01:03:42,520
Speaker 3: they are in business together, but they're also fucking each

1210
01:03:42,560 --> 01:03:45,280
Speaker 3: other and they're just like, I don't know, it's just

1211
01:03:45,320 --> 01:03:48,680
Speaker 3: it's a very funny comedy from that point forward about

1212
01:03:48,720 --> 01:03:51,840
Speaker 3: seeing kind of how this business is going to work

1213
01:03:51,840 --> 01:03:54,680
Speaker 3: out between the three of them or not. Without ruining

1214
01:03:54,760 --> 01:03:56,600
Speaker 3: too much of the movie, I will say there's an

1215
01:03:56,600 --> 01:04:00,520
Speaker 3: amazing scene where Paul throws an electric heater and two

1216
01:04:00,520 --> 01:04:05,080
Speaker 3: a jacuzzi and just kills like ten people at once. Yeah,

1217
01:04:05,200 --> 01:04:07,200
Speaker 3: it's just one of the funniest fucking things I've ever

1218
01:04:07,240 --> 01:04:11,200
Speaker 3: seen on film. Yeah, and there's also at bag Lee

1219
01:04:11,280 --> 01:04:14,400
Speaker 3: Junior makes an appearance in the films. He's a date

1220
01:04:14,440 --> 01:04:17,720
Speaker 3: that shows up late and when he does, he's like,

1221
01:04:18,120 --> 01:04:20,920
Speaker 3: I got some tie stick and he basically tries to

1222
01:04:21,120 --> 01:04:24,080
Speaker 3: rape Mary, but Raoul is the one who comes through

1223
01:04:24,200 --> 01:04:26,360
Speaker 3: in the clinch and kills him before that can happen.

1224
01:04:27,040 --> 01:04:29,080
Speaker 3: So they're negotiating with like, why'd you give him some

1225
01:04:29,120 --> 01:04:30,560
Speaker 3: extra money? And she's like, well, he did do the

1226
01:04:30,640 --> 01:04:34,760
Speaker 3: killing this time. But it's just a really funny It's

1227
01:04:34,760 --> 01:04:37,720
Speaker 3: just a really funny romp. It's a weird, weird subject.

1228
01:04:37,760 --> 01:04:41,400
Speaker 3: It is definitely a proper cult film. Again, I like

1229
01:04:41,440 --> 01:04:44,240
Speaker 3: seeing the interplay between the relationships, Like Raoul at one

1230
01:04:44,280 --> 01:04:46,400
Speaker 3: point starts hinting that they should get rid of Paul

1231
01:04:46,520 --> 01:04:48,440
Speaker 3: because they can only split them. They then they only

1232
01:04:48,440 --> 01:04:50,240
Speaker 3: have to split the money two ways instead of three.

1233
01:04:51,040 --> 01:04:55,240
Speaker 3: But the title eating Raoul does come into play in

1234
01:04:55,280 --> 01:04:57,760
Speaker 3: the film, and I'm not going to ruin that, but

1235
01:04:57,920 --> 01:05:03,600
Speaker 3: it is just to me the weirdest, funniest kind of fit. Again,

1236
01:05:03,680 --> 01:05:08,360
Speaker 3: like a sex romp about murder, Yeah, killing people, and

1237
01:05:08,440 --> 01:05:11,720
Speaker 3: how nonchalant they are about wanting to make their dreams

1238
01:05:11,720 --> 01:05:12,320
Speaker 3: come true.

1239
01:05:13,880 --> 01:05:15,919
Speaker 2: Yeah. I love this movie so much.

1240
01:05:16,000 --> 01:05:19,080
Speaker 1: I mean, it did such an amazing job talking about

1241
01:05:19,120 --> 01:05:21,600
Speaker 1: it because honestly, like there's like a lot of moving

1242
01:05:21,640 --> 01:05:24,080
Speaker 1: parts in the film, but honestly it all comes together.

1243
01:05:24,120 --> 01:05:26,000
Speaker 2: I think pretty well. And I don't know if you

1244
01:05:26,040 --> 01:05:26,320
Speaker 2: think this.

1245
01:05:27,040 --> 01:05:31,120
Speaker 1: I feel like this is a movie that was a

1246
01:05:31,240 --> 01:05:34,560
Speaker 1: lot of people our age, like, it was kind of

1247
01:05:34,560 --> 01:05:37,000
Speaker 1: a lot a lot of us. This was like one

1248
01:05:37,040 --> 01:05:39,960
Speaker 1: of their first entries into cult film in a weird way.

1249
01:05:40,240 --> 01:05:41,880
Speaker 1: And I don't know if it's because they would play

1250
01:05:41,880 --> 01:05:44,320
Speaker 1: it on TV or like it just was in the

1251
01:05:44,320 --> 01:05:48,240
Speaker 1: ether kind of culturally for like young people, I guess.

1252
01:05:48,440 --> 01:05:51,440
Speaker 1: But I honestly have heard so many times from people

1253
01:05:51,440 --> 01:05:55,400
Speaker 1: who like even from people that are not like exploitation

1254
01:05:55,600 --> 01:05:58,560
Speaker 1: movie aficionados, saying, oh, yeah, I remember seeing Eating Eating

1255
01:05:58,600 --> 01:06:00,000
Speaker 1: around when I was a kid and thinking it was

1256
01:06:00,120 --> 01:06:03,400
Speaker 1: so weird and it's crazy. And I don't know what

1257
01:06:04,000 --> 01:06:05,840
Speaker 1: it is about this movie that made that so.

1258
01:06:06,000 --> 01:06:09,160
Speaker 3: But and I think it really is the comedy. I

1259
01:06:09,200 --> 01:06:11,840
Speaker 3: think that because in any other world this would have

1260
01:06:11,840 --> 01:06:15,440
Speaker 3: been a terrifying film. Yeah, like with so much blatant

1261
01:06:15,520 --> 01:06:19,280
Speaker 3: sex and it's like titties everywhere, and yeah, Mary Warnoff

1262
01:06:19,400 --> 01:06:23,320
Speaker 3: is naked as hell, yeah it you know, like yeah,

1263
01:06:23,440 --> 01:06:25,320
Speaker 3: and that plus the murder I think would have made

1264
01:06:25,360 --> 01:06:28,400
Speaker 3: it a much more fraught situation. But the fact that

1265
01:06:28,440 --> 01:06:32,280
Speaker 3: it's brought in in like this comedic way made it

1266
01:06:32,280 --> 01:06:34,840
Speaker 3: feel I'm in seeing for myself as a kid, but

1267
01:06:34,880 --> 01:06:37,800
Speaker 3: it made it feel like, oh, these people are going

1268
01:06:37,880 --> 01:06:39,320
Speaker 3: to take care of me and make sure I don't

1269
01:06:39,320 --> 01:06:40,040
Speaker 3: get too scared.

1270
01:06:40,960 --> 01:06:42,920
Speaker 1: I mean, I think that's exactly what I was, you know,

1271
01:06:43,000 --> 01:06:44,920
Speaker 1: what I was sort of talking about with my movie too.

1272
01:06:44,920 --> 01:06:49,320
Speaker 1: I feel like that's something that Paul Bartel does really well,

1273
01:06:49,600 --> 01:06:52,640
Speaker 1: is that he's able to make a movie that has

1274
01:06:52,680 --> 01:06:55,960
Speaker 1: a lot of like violence or sexuality or something, he

1275
01:06:56,480 --> 01:07:02,000
Speaker 1: diffuses it with humor and you know, just like crazy

1276
01:07:02,040 --> 01:07:06,080
Speaker 1: scenarios but like you know, dialogue and sort of interplay

1277
01:07:06,080 --> 01:07:08,800
Speaker 1: between characters, which I yeah, I think that that is

1278
01:07:09,200 --> 01:07:14,200
Speaker 1: a nice way to move into things that are like

1279
01:07:14,360 --> 01:07:18,000
Speaker 1: a little bit more transgressive or weird subject wise, is

1280
01:07:18,040 --> 01:07:20,640
Speaker 1: to make it funny and make it a ro oh yeah.

1281
01:07:21,240 --> 01:07:21,520
Speaker 2: Yeah.

1282
01:07:21,560 --> 01:07:24,480
Speaker 3: There's one point when they first meet Raoul and Mary

1283
01:07:24,720 --> 01:07:26,280
Speaker 3: says like, well, how much would it cost to put

1284
01:07:26,320 --> 01:07:28,960
Speaker 3: handcuffs on the wall, just just decorative, Like she's just

1285
01:07:29,040 --> 01:07:32,440
Speaker 3: kind of like trying to treat them like a handy.

1286
01:07:32,920 --> 01:07:35,520
Speaker 3: And Paul sleeps in his own twin bed because again

1287
01:07:35,560 --> 01:07:38,120
Speaker 3: they sleep in separate twin beds. And Paul sleeps in

1288
01:07:38,200 --> 01:07:41,040
Speaker 3: his own twin bed with like a pillow shape like

1289
01:07:41,080 --> 01:07:44,320
Speaker 3: a wine bottle. It's just stuffed. It's just very These

1290
01:07:44,400 --> 01:07:46,920
Speaker 3: weird little moments I think lend themselves to what you

1291
01:07:46,920 --> 01:07:50,280
Speaker 3: said about the comedy of the movie putting in a

1292
01:07:50,320 --> 01:07:52,160
Speaker 3: place where it felt more accessible.

1293
01:07:52,600 --> 01:07:55,680
Speaker 1: Yeah, this is also like a good like LA is

1294
01:07:55,720 --> 01:07:59,960
Speaker 1: so weird movie, you know, like all these like different characters,

1295
01:08:00,320 --> 01:08:03,680
Speaker 1: Like I think that's obviously part of you know, what

1296
01:08:03,720 --> 01:08:07,520
Speaker 1: the movie is about is sort of the like the

1297
01:08:07,560 --> 01:08:12,520
Speaker 1: fear of city people or like like people who are

1298
01:08:12,560 --> 01:08:16,120
Speaker 1: into weird quote unquote weird things as opposed to like

1299
01:08:16,160 --> 01:08:19,920
Speaker 1: these kind of I mean they're called Paul and Mary Bland, right,

1300
01:08:20,360 --> 01:08:24,000
Speaker 1: They're supposed to be like these characterizations of these like

1301
01:08:24,160 --> 01:08:28,479
Speaker 1: very like you know, mild mannered like normies, you know,

1302
01:08:29,360 --> 01:08:33,519
Speaker 1: who are repressed about sex, and so they're just like

1303
01:08:33,680 --> 01:08:39,000
Speaker 1: thrown into this insane world of like dominatrixes and like

1304
01:08:39,240 --> 01:08:43,479
Speaker 1: swearer parties and stuff. It's kind of like their worst fear, right, and.

1305
01:08:43,439 --> 01:08:47,439
Speaker 3: It escalates so much, Like it escalates so much, which

1306
01:08:47,479 --> 01:08:50,400
Speaker 3: is also very funny for prudish characters because they're not

1307
01:08:50,439 --> 01:08:54,080
Speaker 3: just seeing like people making out in the elevator, like

1308
01:08:54,160 --> 01:08:57,280
Speaker 3: somebody wraps a whip around Paul's neck at some point

1309
01:09:00,479 --> 01:09:02,960
Speaker 3: like there it just the escalation is also part of

1310
01:09:03,000 --> 01:09:04,920
Speaker 3: like the supreme comedy of this for me.

1311
01:09:05,080 --> 01:09:08,840
Speaker 1: Yeah, oh one hundred percent. Yeah, such a great film.

1312
01:09:09,160 --> 01:09:11,200
Speaker 1: I'm so glad that we got to watch it again.

1313
01:09:12,160 --> 01:09:15,240
Speaker 3: Me too. H good week this week, I had fun

1314
01:09:15,240 --> 01:09:19,479
Speaker 3: and Paul Bartel again, fucking great, unique mind, one of

1315
01:09:19,520 --> 01:09:19,920
Speaker 3: a kind.

1316
01:09:20,560 --> 01:09:26,400
Speaker 1: Yeah, definitely like an an actor and director that if

1317
01:09:26,439 --> 01:09:29,720
Speaker 1: you don't know him very well, it's really good to

1318
01:09:29,800 --> 01:09:32,200
Speaker 1: go back and like kind of figure him out, because

1319
01:09:32,760 --> 01:09:34,880
Speaker 1: you know, he made a lot of great films and

1320
01:09:34,920 --> 01:09:37,800
Speaker 1: he was like a gay icon.

1321
01:09:37,920 --> 01:09:39,920
Speaker 2: I mean, he just was like, you.

1322
01:09:39,880 --> 01:09:47,200
Speaker 1: Know, making such funny, interesting, weird, violent movies. But like

1323
01:09:47,360 --> 01:09:50,480
Speaker 1: again like not like he's kind of like a good

1324
01:09:50,960 --> 01:09:53,600
Speaker 1: if you're kind of curious about the exploitation world or

1325
01:09:53,600 --> 01:09:56,240
Speaker 1: cold movie world, he's like a good person to follow

1326
01:09:56,520 --> 01:09:59,960
Speaker 1: into because it's like, yes, I mean his movies are

1327
01:10:00,040 --> 01:10:05,080
Speaker 1: are not as batshit as like the old John Water stuff,

1328
01:10:05,080 --> 01:10:07,799
Speaker 1: but it's just enough to where you're like getting taste,

1329
01:10:07,840 --> 01:10:10,280
Speaker 1: but you're also getting laughs, You're getting a lot of

1330
01:10:10,320 --> 01:10:15,000
Speaker 1: social commentary, and you know, it's a joy to see

1331
01:10:15,040 --> 01:10:18,759
Speaker 1: the straight married couple Paul Bartel and Mary Warnoff interact.

1332
01:10:19,800 --> 01:10:26,160
Speaker 3: According to she even though she's a painter. Yeah, I'm gay,

1333
01:10:26,320 --> 01:10:28,000
Speaker 3: she's a painter. Should be a fucking T shirt.

1334
01:10:28,479 --> 01:10:32,000
Speaker 2: I know we should make that merch one day.

1335
01:10:32,120 --> 01:10:36,400
Speaker 3: But I also I love this idea of putting Paul

1336
01:10:36,400 --> 01:10:39,040
Speaker 3: Bartell in conversation with John Waters, like doing a double

1337
01:10:39,080 --> 01:10:41,920
Speaker 3: feature of their films or you know, watching there, because

1338
01:10:42,000 --> 01:10:45,120
Speaker 3: they're both they're both dealing in exploitation, they're both dealing

1339
01:10:45,120 --> 01:10:47,960
Speaker 3: in cult classics, they're both dealing with you know, gay,

1340
01:10:48,120 --> 01:10:52,280
Speaker 3: gay male directors at a time when it was you know,

1341
01:10:52,439 --> 01:10:56,200
Speaker 3: not fashionable to be out and actually quite dangerous in

1342
01:10:56,240 --> 01:10:58,320
Speaker 3: some circles to be out. Absolutely, So it'd be really

1343
01:10:58,360 --> 01:11:00,120
Speaker 3: fun to kind of see them in conversation with each

1344
01:11:00,120 --> 01:11:01,080
Speaker 3: other in a double feature.

1345
01:11:01,240 --> 01:11:02,719
Speaker 2: Yeah for sure, for sure.

1346
01:11:03,360 --> 01:11:05,479
Speaker 1: Okay, So if you want to email us, we are

1347
01:11:05,479 --> 01:11:07,599
Speaker 1: at I Saw What You Did Pod at gmail dot com.

1348
01:11:07,840 --> 01:11:10,519
Speaker 1: Please send us questions for bonus episodes of course, and

1349
01:11:10,720 --> 01:11:15,440
Speaker 1: if you want to hit up our pobox, we have one.

1350
01:11:14,360 --> 01:11:17,320
Speaker 3: And you can find all of our information, including our pobox,

1351
01:11:17,320 --> 01:11:19,599
Speaker 3: on our link tree, which is linked on our social media.

1352
01:11:20,200 --> 01:11:23,360
Speaker 3: You can find us at I Saw Pod, on Instagram, Twitter,

1353
01:11:23,680 --> 01:11:26,280
Speaker 3: and Blue Sky. You can also now leave us a

1354
01:11:26,320 --> 01:11:28,200
Speaker 3: voicemail to play on the show. All you have to

1355
01:11:28,200 --> 01:11:30,519
Speaker 3: do is record a voice memo on your phone and

1356
01:11:30,600 --> 01:11:32,920
Speaker 3: email it to I Saw what you did pod at

1357
01:11:32,920 --> 01:11:35,960
Speaker 3: gmail dot com. Please make it sixty seconds or less

1358
01:11:35,960 --> 01:11:37,960
Speaker 3: and please record it in a quiet space.

1359
01:11:38,280 --> 01:11:41,280
Speaker 2: And we do have merch if you want, go to

1360
01:11:41,400 --> 01:11:44,040
Speaker 2: exactly right store dot com and you will find it.

1361
01:11:44,400 --> 01:11:47,080
Speaker 3: And we have bonus episodes. They drop on the main

1362
01:11:47,200 --> 01:11:50,679
Speaker 3: feed the third Thursday of every month.

1363
01:11:51,080 --> 01:11:55,480
Speaker 2: Well, Danielle, do you want to talk about our next episode?

1364
01:11:55,720 --> 01:12:01,479
Speaker 3: Uh? Do are movies for next week? If you choose

1365
01:12:01,520 --> 01:12:04,800
Speaker 3: to accept are a Serious Man from two thousand and

1366
01:12:04,880 --> 01:12:08,760
Speaker 3: nine and The Swimmer from nineteen sixty eight. Then the

1367
01:12:08,760 --> 01:12:10,880
Speaker 3: theme is very very funny.

1368
01:12:10,960 --> 01:12:15,320
Speaker 1: Yeah, we're changing it up a little bit theme wise

1369
01:12:15,680 --> 01:12:21,600
Speaker 1: from this week, so just prepare for the shift. But Danielle,

1370
01:12:21,640 --> 01:12:24,400
Speaker 1: as always a fucking pleasure join this podcast with you.

1371
01:12:25,360 --> 01:12:27,240
Speaker 3: It's so fun. I love it.

1372
01:12:27,840 --> 01:12:29,680
Speaker 2: Thank you, thank you, thank you. Season.

1373
01:12:36,600 --> 01:12:39,320
Speaker 3: This has been an exactly right production. Our senior producer

1374
01:12:39,360 --> 01:12:43,200
Speaker 3: is Casey O'Brien. Episode mixing and theme music by Tom Bryfogel,

1375
01:12:43,479 --> 01:12:48,000
Speaker 3: artwork by Garrett Ross. Our executive producers are Georgia Hartstart Caringkilgarriff,

1376
01:12:48,040 --> 01:12:50,760
Speaker 3: and Daniel Kramer. You can follow us on Instagram and

1377
01:12:50,840 --> 01:12:53,680
Speaker 3: Twitter at I Saw pod, and you can email us

1378
01:12:53,720 --> 01:12:55,799
Speaker 3: at I Saw what you Did Pod at gmail