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Speaker 1: On the Bechdel Cast. The questions asked if movies have.

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Speaker 2: Women and them, are all their discussions just boyfriends and

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Speaker 2: husbands or do they have individualism? It's the patriarchy, z

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Speaker 2: efphin best start changing it with the Bechdel Cast.

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Speaker 3: Ja me phone ho, okay, yeah, call me please, Jesus

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Speaker 3: call me now. I like how the whole pot of

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Speaker 3: the movie is like Et just like trying to text

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Speaker 3: his friends to come pick him up.

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Speaker 1: He's just trying to text his mom. He literally is

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Speaker 1: just like, I need to text my mommy. And it

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Speaker 1: was the eighties. You couldn't just text your mommy. Back then.

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Speaker 1: It was the whole thing.

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Speaker 3: You had to build a whole machine and set it

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Speaker 3: up in the woods.

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Speaker 1: Today, E t would have just texted his mommy and

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Speaker 1: it would have been fine. Welcome to the Bechdel Cast.

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Speaker 1: My name is Jamie Loftus.

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Speaker 3: Okay, my name is Caitlin Dorante. Is that okay?

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Speaker 1: M that's okay, that's okay. And this is our podcast

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Speaker 1: where we talk about your favorite movies using an intersectional

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Speaker 1: feminist lens. And today we're talking about Et the Extraterrestrial

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Speaker 1: nineteen eighty two. Ever heard of it?

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Speaker 3: Yeah, I have.

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Speaker 1: But what is the Bechdel Test, Caitlin, Have you ever

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Speaker 1: heard of that?

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Speaker 3: Uh?

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Speaker 1: No, oh, but.

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Speaker 3: I'll do my best to explain it. It is a

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Speaker 3: media metric created by queer cartoonist Alison Bechdel, sometimes called

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Speaker 3: the Bechdel Wallace Test. It has many versions. Ours is

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Speaker 3: this two characters of a marginalized gender must have names,

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Speaker 3: they must speak to each other, and their conversation has

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Speaker 3: to be about something other than a man, and ideally

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Speaker 3: it's a narratively meaningful conversation.

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Speaker 1: If this is your first episode, the Bechdel test is

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Speaker 1: not the point of the show. It's a jumping off

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Speaker 1: point for discussion, as we've said for many years. But

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Speaker 1: this one, I feel like you could make an argument

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Speaker 1: based on I think that Elliott projects gender onto et yes,

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Speaker 1: which I think is intentional because I watched A Hole

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Speaker 1: behind the Scenes documentary. I went deep Bonnie Tea and

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Speaker 1: every time, and obviously, you know, it's like, I think

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Speaker 1: that documentary was made in the nineties, so it was

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Speaker 1: still like Spielberg was using binary gendered language, but he

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Speaker 1: was always saying like with E T when they find

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Speaker 1: him or her like He's always basically acknowledging that Elliott

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Speaker 1: is just pretty I mean, which makes I mean not

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Speaker 1: canceling Elliott. I'm not canceling Elliott. It's just like he's

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Speaker 1: projecting himself onto his friend. And so I feel like

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Speaker 1: conversations about ET do pass the bechdeltas basically in which

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Speaker 1: case the movie does pass.

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Speaker 3: I was gonna make a similar argument.

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Speaker 1: Yeah, and I get it Elliott, but like he's wrong, Like,

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Speaker 1: you know, T has no conception of gender. ET is

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Speaker 1: literally just trying to text mother.

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Speaker 3: Or father.

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Speaker 1: No, I'm kiddings the genderless parent from the Graape Beyond.

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Speaker 3: For all we know, ET comes from a planet that

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Speaker 3: has no concept of gender. He might come from a plant,

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Speaker 3: or they might come from a planet.

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Speaker 1: We're going to use he him pronouns, but we know

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Speaker 1: that ET has not spoken out on this issue.

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Speaker 3: This is true. ET might come from a planet that

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Speaker 3: has one hundred genders, none of which are you know,

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Speaker 3: man or woman.

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Speaker 1: I just found that very like because as we were

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Speaker 1: turning this movie on last night, I was like, is

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Speaker 1: Spielberg gonna do the weird minion thing where he's like

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Speaker 1: ET is a boy? Like like when Pierre Coffin famously

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Speaker 1: insisted that the genderless minions had to be boys. They're

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Speaker 1: all boys, and thankfully to criticize about Spielberg, but at

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Speaker 1: least he is not a freak about projecting gender onto Et,

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Speaker 1: an alien, Et and just characters in general. But yeah,

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Speaker 1: I am glad we both thought of that. But I'd

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Speaker 1: never really noticed that until this viewing that, like Gertie

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Speaker 1: asks is he a girl or a boy? And Elio

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Speaker 1: just is he's a boy, and You're like, well, he

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Speaker 1: doesn't know that, but he wants his friend to be

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Speaker 1: like him, and they just sort of roll with it.

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Speaker 3: Well, then there's that scene later on. We can talk

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Speaker 3: about this further, but where Gertie dresses Et in a

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Speaker 3: dress and like a woman's long wig presumably.

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Speaker 1: And ET's vibing.

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Speaker 3: Yeah, Et loves it. Et is a drag performer.

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Speaker 1: It is awesome that Et is a drag performer. Did

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Speaker 1: you see? I just love I mean, again, we'll talk

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Speaker 1: about it, but I do really admire and appreciate a

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Speaker 1: director who because I have all these complicated feelings around

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Speaker 1: child actors, all three kids in this movie are incredible. Yes,

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Speaker 1: And I really like, you know, in a world where

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Speaker 1: it's like, well, child actor. It's not just gonna stop

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Speaker 1: because Jamie has complicated feelings about it. But I really

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Speaker 1: admire watching like directors who are really thoughtful about like

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Speaker 1: directing children, and like, I just I don't know, I

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Speaker 1: really enjoy watching This sounds creepy, I don't mean it creepy.

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Speaker 1: I enjoy watching footage of Spielberg and Shymelan directing kids

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Speaker 1: because I feel like they're so uniquely good at it

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Speaker 1: and they're just talking to kids like their people. It's

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Speaker 1: very gentle and thoughtful, and you can always like the

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Speaker 1: kids parents is always like within sight, and they get

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Speaker 1: great performances out of kids, I think because they kind

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Speaker 1: of like feel safe and like it's a natural environment.

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Speaker 1: And yeah, I just really admire that skill. And like

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Speaker 1: the Henry Thomas performance and this is like, holy shit, that.

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Speaker 3: Damn I'm kidd Have you ever seen the video of

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Speaker 3: his like audition tape where he's crying on cute it's

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Speaker 3: so fucked up and then they tell him he got

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Speaker 3: the part at the end of the video.

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Speaker 1: Yeah, Yeah, I feel like that's like the kind of

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Speaker 1: clip that goes viral every so often again, but it

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Speaker 1: always hits. It's so beautiful. Also, Hayley's Forest Gump audition

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Speaker 1: goes viral every so often.

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Speaker 3: I've never seen that one.

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Speaker 1: He's quite small in it, but the Henry Thomas audition

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Speaker 1: is terrific. It's so like you're just like, who, how

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Speaker 1: does how he do that? And he didn't really act

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Speaker 1: very much after that? Right, I don't really know what.

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Speaker 3: His No, he he like went on to have a

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Speaker 3: pretty illustrious career, like.

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Speaker 1: He whoa, oh my god, no, wait, he's chilling. Never mind.

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Speaker 3: He isn't in any like huge thing really like not

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Speaker 3: much in the way of like starring rolls after this.

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Speaker 1: But he's like a Mike Flanagan guy now right, Like

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Speaker 1: he's a all of Mike Flannagan's.

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Speaker 3: Yes, I need to look up who that is exactly,

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Speaker 3: but I'm sure you're correct.

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Speaker 1: It's a younger Mike Flanagan directs like or it usually

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Speaker 1: directs like another horror series for Netflix every year. So

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Speaker 1: he did like a Hillhouse Haunting a blind manner and

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Speaker 1: got it. Yeah, Henry Thomas is in all of them.

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Speaker 1: You're like, hey, I know that guy my friend.

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Speaker 3: Anyway, Well, Jamie, what is your relationship with E T.

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Speaker 1: That's a little weird. I did not have any attachment

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Speaker 1: to this when I was a kid. I know I

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Speaker 1: saw it, but I just like I associated this movie

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Speaker 1: with like my older cousins and I was like, that's

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Speaker 1: kind of a them thing and let them have it.

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Speaker 1: And I wasn't scared of ET, but I did think

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Speaker 1: that he was a bit ugly and not cute.

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Speaker 3: Okay, thank you so much.

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Speaker 1: ET unfortunately is busted. Looks he looks bad.

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Speaker 3: Not to like shame, but like he looks bad. Let's

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Speaker 3: be honest, He's not pretty to look at. And I'll

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Speaker 3: get into this, but that's a large part of why

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Speaker 3: I think I was like not the biggest consumer of

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Speaker 3: this movie as a child. But anyway, go.

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Speaker 1: On, Yeah, I mean I think I was like kind

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Speaker 1: of too young for this movie to be any sort

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Speaker 1: of touchstone for me. I don't remember us having it.

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Speaker 1: I do remember watching it, but it just like didn't

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Speaker 1: really resonate with me when I was a kid, and

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Speaker 1: so I never really revisited it. There's a great Lindsay

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Speaker 1: Ellis video on Nebula about like how this is like

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Speaker 1: ET is like uniquely kind of one of the biggest

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Speaker 1: movies ever to never get a sequel and not have

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Speaker 1: like kind of all the stuff that we associate with

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Speaker 1: all of these eighties movies that we can't stop getting

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Speaker 1: like bashed over the fucking head with where it's like

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Speaker 1: Ghostbusters forty five, Jurassic Park, Hell or whatever, like Eten

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Speaker 1: they never really did and it's like a beautiful kind

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Speaker 1: of standalone thing.

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Speaker 3: Anyways, Well, I have a whole story about the ET

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Speaker 3: sequel that never got made.

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Speaker 1: About that, Okay, she talks about it a little bit.

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Speaker 1: I want to know more about it. And also I

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Speaker 1: just did oh cross promo alert. I didn't write the series,

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Speaker 1: but I hosted a series on iHeartRadio, the network you're

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Speaker 1: listening to right now, called The Legend of sword Quest

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Speaker 1: that's about Atari, who famously made that bad ET game

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Speaker 1: that they like buried literally right. Yeah, yeah, I love

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Speaker 1: that story. I mean I know it like people love

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Speaker 1: that story because it's like a folk legend that ended

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Speaker 1: up being true. It's like so awesome. Anyways, focus Et.

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Speaker 1: I thought he was ugly. I wasn't interested. I had

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Speaker 1: no I said, that's none of my business. And then

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Speaker 1: a couple of years ago, a group of friends and

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Speaker 1: I went to see Et in Imax. It was re

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Speaker 1: released very quietly for whatever reason for its fortieth anniversary,

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Speaker 1: and I hadn't seen it in like decades. I didn't

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Speaker 1: really remember even the story. I just remembered like Reese's

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Speaker 1: Pieces Pez Phone Home, you know, just kind of the

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Speaker 1: cultural osmosis stuff. And Yeah, when I saw it two

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Speaker 1: years ago, it like wrecked me. It was like sobbing.

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Speaker 1: I didn't see it coming that it was going to

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Speaker 1: like hit so hard, and I was like, holy shit,

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Speaker 1: this is like one of the greatest movies I've ever seen.

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Speaker 1: It was. Yeah, I came all the way around on et.

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Speaker 1: I loved watching it as an adult. I think it's

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Speaker 1: also partially a response to like the level of complexity

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Speaker 1: that happens in children's films now, which I think is

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Speaker 1: like less in many cases. Yeah, but this movie is

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Speaker 1: so sincere and so like just the biggest feelings possib Yeah.

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Speaker 1: I just it absolutely wrecked me. And then watching it again,

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Speaker 1: I was like thinking about my dad a lot, and

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Speaker 1: I just I don't know, I really I've come completely

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Speaker 1: around on this movie. It made no sense to me

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Speaker 1: as a kid, I didn't get the appeal, And as

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Speaker 1: an adult, I'm like, this is like a masterpiece. I

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Speaker 1: think It's my favorite Steven Spielberg movie because there is like,

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Speaker 1: I mean, you have the action sequences, you have the

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Speaker 1: sci fi, but it like it is just like such

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Speaker 1: a feelings story and I just love everything about it

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Speaker 1: is so great. The relationship between the siblings where they're

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Speaker 1: like assholes, but they don't hate each other. There's no

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Speaker 1: like I get why people are like, well, this is

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Speaker 1: like overly sincere, but it's like, I just I don't

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Speaker 1: know right now. I love it and it was making

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Speaker 1: me feel gigantic feelings and I was crying, crying, crying,

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Speaker 1: and I love it. What's your history with Et?

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Speaker 3: Well? I was thinking about parallels between this movie and

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Speaker 3: the first Paddington movie, where Paddington is basically e t

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Speaker 3: if Et stays with the family and they adopt him

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Speaker 3: and really she did, but.

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Speaker 1: He has to go in to go it's the saddest

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Speaker 1: thing to ever happen. And the score, I mean, the score,

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Speaker 1: come on, come on. Anyways, I feel very lucky I

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Speaker 1: get to see it in IMAX because it was like unbelievable.

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Speaker 1: Is so good?

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Speaker 3: Yeah, so my history, we had it on VHS and

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Speaker 3: my home growing up, and according to my mom, I

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Speaker 3: watched it all the time. Interesting, I do not remember this.

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Speaker 3: I remember it being on sometimes, but I think it

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Speaker 3: was probably my older brother who's five years older than me,

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Speaker 3: watching it, okay, and I was in the room and

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Speaker 3: you were there as well, and it was kind of

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Speaker 3: like before I was really storing memories the plight of

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Speaker 3: the young sibling. So I was consuming it, but I

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Speaker 3: think I wasn't as interested in it, partly because I

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Speaker 3: thought et was creepy and ugly, and I thought that

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Speaker 3: was gonna be such a controversial take and for you

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Speaker 3: to share that opinion, but also like Spielberg was like,

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Speaker 3: he's got a face that only a mother could love.

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Speaker 3: They like acknowledge how ugly he is.

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Speaker 1: So I mean I also think, like, again, that's another

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Speaker 1: choice as an adult. I was like, what a weird,

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Speaker 1: wild choice. I feel like that is such a like

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Speaker 1: Spielberg flex that he was even able to get away

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Speaker 1: with it, because unless you were super successful, no studio

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Speaker 1: would let you make something that ugly, like they would

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Speaker 1: be like, no, it has to be cute, Like it

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Speaker 1: can't look like that.

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Speaker 3: If this was a Disney movie, they'd be like, make

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Speaker 3: this thing have big, beautiful eyes and little eyelashes and

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Speaker 3: this cute little button nose and all this stuff.

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Speaker 1: Because Spielberg was like involved in Gremlins to hear like

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Speaker 1: he made Gizmo, like he knows how to make something cute.

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Speaker 1: But he's like, but I just don't want. I wanted

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Speaker 1: to look like shit. I love it. Et looks bad,

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Speaker 1: he looks like shit, but he's like, he's beautiful.

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Speaker 3: I saw a clip of I want to say it

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Speaker 3: was Matt Rogers, not Bowen on Lust Culture, just where

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Speaker 3: he's saying like, if I ever encountered Et, like in

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Speaker 3: the forest, I would have like, No.

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Speaker 1: It's Colin Crawford, my coworker on Star Trek. Colin Crawford,

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Speaker 1: one of the best comedy writers ever, had a tweet

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Speaker 1: that said, me and my friends would have killed Et

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Speaker 1: with hammers. I can tell you that much. That's the

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Speaker 1: sweet It's it's just so true. Most kids would have

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Speaker 1: killed Et with hammer.

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Speaker 3: One of the hosts of Lust Cultures has said something

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Speaker 3: very similar recently. So it's a common thing that I

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Speaker 3: didn't realize how common because this movie is so beloved

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Speaker 3: and Et is so beloved the character, so I just

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Speaker 3: assumed everyone thought he was cute. But m hmm, it's

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Speaker 3: coming out that people think he's ugly.

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Speaker 1: I'm trying to think. I'm like, what are other I mean,

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Speaker 1: I know that kids always were scared of him, but

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Speaker 1: it also kind of reminds me like the Chuck E

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Speaker 1: Cheese animatronics, where like kids were always scared of them,

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Speaker 1: but they were just very ugly and popular. And you're like, well,

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Speaker 1: why was it I don't know, I don't.

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Speaker 3: Know, I don't know, because they could make.

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Speaker 1: A cute animatronic. We had Gizmo. Well, I guess it

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Speaker 1: was Gizmo after when did Gremlins come out?

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Speaker 3: That was a couple of years after. Yeah, they're just.

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Speaker 1: Like et looked too horrible, But it didn't matter because

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Speaker 1: this movie made eight hundred million dollars off of a

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Speaker 1: ten million dollar budget.

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Speaker 3: It was some highest grossing movie basically from like nineteen

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Speaker 3: eighty three to ninety three.

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Speaker 1: Yeah, and then yeah, he like outdid himself with Jurassic Park.

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Speaker 1: And then Jimmy Cameron came around and said he's.

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Speaker 3: Just like ever heard of Titanic?

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Speaker 1: And furthermore, Avatar and Spielberg hasn't been seen in public since. Unfortunately, Sorry,

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Speaker 1: we keep cutting off the experience with Et.

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Speaker 3: Now this is just gonna be a chaos episode. It's fine. Yeah,

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Speaker 3: I watched it as a kid, although it was before

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Speaker 3: I was like fully storing memories, and so I only

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Speaker 3: had very vague recollections of watching this movie as a kid.

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Speaker 3: And then I watched it once as probably like a teenager,

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Speaker 3: maybe in my early twenties or something, and then not

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Speaker 3: again until I started prepping for this episode. So it

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Speaker 3: was something from like my very early childhood, but not really.

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Speaker 1: That's like it's just stored in your brain before you

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Speaker 1: could store things in your brain.

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Speaker 3: Right, So I only remembered I very distinctly remembered the

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Speaker 3: scene where Michael finds Et when he's like lying in

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Speaker 3: the river and he's like discolored and like looks very ill,

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Speaker 3: and I remember being like haunted by that. But most

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Speaker 3: of the other stuff I didn't remember.

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Speaker 1: I forgot when I saw it in IMAX. I forgot

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Speaker 1: that they literally are like Et died. You're like, what

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Speaker 1: the fuck are you talking about? Like, yeah, I really could.

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Speaker 1: I mean I really couldn't handle Et being dead last

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Speaker 1: in the body bag like they and then he said,

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Speaker 1: I love you Et. It was if I had been

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Speaker 1: thinking I would have been like, maybe let's cover this

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Speaker 1: movie next year instead, but it's so like again, it's

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Speaker 1: just like that's something that would not be allowed really

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Speaker 1: in a children's movie. Now, for the most part, I

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Speaker 1: think you can like handle the themes of death, but

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Speaker 1: it's more of like a Moana like my Grandma's a

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Speaker 1: beautiful ghost now instead of like you're not seeing Grandma

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Speaker 1: in a body bag like looking bad. That's like would

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Speaker 1: not have and it's wild. I don't even know if

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Speaker 1: I like it, but I think it's really bold that

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Speaker 1: they did it. Did you see also that ET's voice

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Speaker 1: by a woman?

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Speaker 3: Yes, I did. I have a couple thoughts on that

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Speaker 3: that we can get to.

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Speaker 1: Okay, so you didn't like when you're a kid, but

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Speaker 1: what about later?

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Speaker 3: It's not even that. I mean, I did find him

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Speaker 3: scary looking, but I was like in the room while

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Speaker 3: it was on, according to my mom, didn't leave. I

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Speaker 3: wasn't leaving.

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Speaker 4: Yeah.

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Speaker 3: And then I watched it as an adult ish like

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Speaker 3: you know whatever, probably nineteen years old or something, and

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Speaker 3: I was like, oh, wow, yeah, I remember this, And

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Speaker 3: then I didn't give it much thought until again prepping

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Speaker 3: for this episode, and then I was like, oh, I

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Speaker 3: see why this is such a beloved It's so earnest

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Speaker 3: and it's so like, yeah, the kids developed this bond

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Speaker 3: with this little guy, and I love a little movie

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Speaker 3: where they find a little guy and they be friend.

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Speaker 3: I mean again Paddington. So I was like, oh, this

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Speaker 3: is really sweet and it's sad and I felt some

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Speaker 3: feelings and so I get why it's such a beloved classic.

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Speaker 3: So true. Let's take a quick break and then we'll

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Speaker 3: come back for the recap, shall we.

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Speaker 5: Let's do it?

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Speaker 3: Okay, we'll be right back.

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Speaker 1: And we're freaking back.

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Speaker 3: We've phoned back home.

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Speaker 1: We're locked in. We've got our speak and spell, We've

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Speaker 1: got our what else. There's so much product placement in

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Speaker 1: this movie.

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Speaker 3: There's like a buzz saw blade. Oh yeah, there's cores light,

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Speaker 3: and there's Reese's pieces and.

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Speaker 1: Pez Paus, various Star Wars consumer products. Yes, shall we

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Speaker 1: just dive right in?

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Speaker 3: Let's dive in so et. The movie opens on a

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Speaker 3: spaceship that has landed in the wilderness not far outside

355
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Speaker 3: Los Angeles. Ever heard of it? No. Several little aliens

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Speaker 3: are gathering up plant specimens and bringing them onto their ship,

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Speaker 3: and one such alien has kind of wandered off from

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Speaker 3: the group.

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Speaker 1: He's just a little guy.

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00:20:00,440 --> 00:20:03,040
Speaker 3: He's just a little guy. This is, of course, the

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Speaker 3: alien we will come to know as Et, and he

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Speaker 3: has to run off and hide when a bunch of

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Speaker 3: guys in trucks show up. Men and trucks scary. They'll

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Speaker 3: be revealed to be like government agents. We're not really

365
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Speaker 3: sure from what entity, but they're these ominous like bureaucratic eight.

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Speaker 1: These movies have such a wild attitude towards characters from

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Speaker 1: the government, like they cannot decide. They can't decide if

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Speaker 1: they're good guys or bad guys. They're always like, well,

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Speaker 1: there's a few, I feel like kind of the logic

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Speaker 1: of this movie is like, well, there's a few bad apples,

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Speaker 1: but ultimately everyone is doing their best, and you're like, okay, okay,

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Speaker 1: see whenever you say.

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Speaker 3: And any case, there are men and trucks and Et

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Speaker 3: has to run off and hide, and the other aliens

375
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Speaker 3: have no choice but to fly off in their spaceship

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Speaker 3: and leave Et behind. We then cut to a house

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Speaker 3: where a bunch of kids are hanging out. We meet

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Speaker 3: Elliott played by Henry Thomas. I think he's nine or ten.

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Speaker 3: His older brother Michael is maybe thirteen or fourteen, played

380
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Speaker 3: by Robert McNaughton, and a few of Michael's friends are

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Speaker 3: all playing D and D I think, and they make

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Speaker 3: Elliott go outside to grab the pizza delivery. And while

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Speaker 3: he's out there, Elliott hears something in the tool shed.

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Speaker 3: He thinks it might be his dog, Harvey, so he

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Speaker 3: tosses his baseball into the shed, and then the baseball

386
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Speaker 3: gets tossed back at him and Elliott freaks out. He's like,

387
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Speaker 3: dogs can't toss baseballs? What's that?

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Speaker 1: Oh, that's so good.

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Speaker 3: But when the boys, as well as Elliott and Michael's

390
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Speaker 3: mom Mary played by Dee Wallace, go to investigate, all

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Speaker 3: they find are some strange tracks on the ground. They

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Speaker 3: think it might be a coyote. I go back inside,

393
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Speaker 3: but we see that it is in fact, Et, the extraterrestrial,

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Speaker 3: hiding in the shed. So later that night, Elliott goes

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Speaker 3: back outside to look for this creature again, and sure

396
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Speaker 3: enough he finds him and screams because again Et looks

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Speaker 3: like shit.

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Speaker 1: He looks, I mean like yeah. The beginning of the

399
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Speaker 1: movie plays out like a horror movie, and then it

400
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Speaker 1: just eventually like a half hour and They're like, oh,

401
00:22:29,960 --> 00:22:31,359
Speaker 1: he's nice. Never, he's nice.

402
00:22:31,520 --> 00:22:33,840
Speaker 3: Never. N it's kind of fin Yeah, don't judge a

403
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Speaker 3: book by its cover.

404
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Speaker 1: Whoops.

405
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Speaker 3: But anyway, he doesn't know this yet, so Elliott is

406
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Speaker 3: scared and he runs away, but he's also determined to

407
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Speaker 3: find and possibly befriend this creature, so the next day

408
00:22:48,440 --> 00:22:51,680
Speaker 3: he takes his bike and some Reciss pieces up into

409
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Speaker 3: the woods near his house to look for the creature.

410
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Speaker 3: But Elliott doesn't find it, and he, presumably off screen,

411
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Speaker 3: tells his family that he encountered a goblin he calls it,

412
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Speaker 3: and they don't believe him, especially his older brother Michael.

413
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Speaker 3: He's like teasing Elliott about it. We also meet Elliott's

414
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Speaker 3: younger sister, Gertie, played by a young Drew barrymore famously,

415
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Speaker 3: and we also find out that their father is no

416
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Speaker 3: longer in the picture.

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Speaker 1: He went with Sally to Mexico.

418
00:23:25,520 --> 00:23:28,119
Speaker 3: Yes, and this is something that their mom Mary is

419
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Speaker 3: having a hard time with. And then I think it's

420
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Speaker 3: later that night, Elliott is outside hoping to encounter this

421
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Speaker 3: creature again, and e t appears and approaches Elliott with

422
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Speaker 3: a handful of the Reese's pieces that Elliott had dropped

423
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Speaker 3: in the woods and so, realizing that Et is friendly

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Speaker 3: and won't hurt him, Elliott lures Et into his room

425
00:23:54,760 --> 00:23:58,879
Speaker 3: using the Reese's pieces, and we see e t like

426
00:23:59,240 --> 00:24:04,080
Speaker 3: mimicking Elliott's movements and gestures, and we're like, wow, they're

427
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Speaker 3: becoming friends.

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Speaker 1: I just love that he just is doing what like

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Speaker 1: a nine year old wide He's like, here are my guys,

430
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Speaker 1: here's this one, here's this one, here's this one. ET's

431
00:24:15,520 --> 00:24:18,880
Speaker 1: like yep, yep, got it? So sweet? Yeah.

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Speaker 3: Yeah. That happens the next day where Elliott fakes being

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Speaker 3: six so he can stay home from school to hang

434
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Speaker 3: out with Et, and he's like, here's my Lando cal

435
00:24:27,119 --> 00:24:31,960
Speaker 3: Rizzy in figuring, here's my Grido figurine. It's so embarrassing

436
00:24:32,160 --> 00:24:35,680
Speaker 3: how much Steven Spielberg wants George Lucas to like think

437
00:24:35,760 --> 00:24:41,160
Speaker 3: he's cool. It's really it's embarrassing the Yoda cost him.

438
00:24:41,160 --> 00:24:44,400
Speaker 3: It's like, we get it, we get it. Well. They

439
00:24:45,080 --> 00:24:49,520
Speaker 3: had collaborated with each other at this point because Raiders

440
00:24:49,520 --> 00:24:52,200
Speaker 3: of the Last Art comes out the year before, so.

441
00:24:52,680 --> 00:24:56,760
Speaker 1: In the making up documentary, George Lucas is so like taciturn,

442
00:24:57,560 --> 00:25:00,400
Speaker 1: like he appears in it for a second and it's

443
00:25:00,440 --> 00:25:02,960
Speaker 1: like Spielberg being like, and I put these little things

444
00:25:03,000 --> 00:25:05,200
Speaker 1: in and I was like, I think George is gonna

445
00:25:05,320 --> 00:25:07,959
Speaker 1: like this. I think he's it's really gonna make him smile.

446
00:25:08,560 --> 00:25:10,240
Speaker 1: And then it cuts to George Lucas and he was

447
00:25:10,280 --> 00:25:12,679
Speaker 1: like I saw it and that I thought, you know,

448
00:25:13,200 --> 00:25:16,440
Speaker 1: that's nice, Like he was like, not very impressed by it.

449
00:25:16,280 --> 00:25:19,399
Speaker 3: It was so I was like, oh, wow, rude bitch.

450
00:25:20,280 --> 00:25:22,840
Speaker 1: I mean, yeah, I'm comfortable saying he's a billionaire. We

451
00:25:22,880 --> 00:25:23,879
Speaker 1: can he's a bitch.

452
00:25:24,160 --> 00:25:28,719
Speaker 3: Yeah, he's a bitch. Anyway, Elliot's siblings, Michael and Gertie

453
00:25:29,080 --> 00:25:32,640
Speaker 3: come home that day and they find out about Et.

454
00:25:33,359 --> 00:25:36,320
Speaker 3: Elliot makes them promise not to tell their mom, and

455
00:25:36,359 --> 00:25:40,320
Speaker 3: then they're pointing to maps and globes, telling e t

456
00:25:40,560 --> 00:25:44,679
Speaker 3: where they are and asking him where he's from. And

457
00:25:44,720 --> 00:25:48,760
Speaker 3: then Et levitates some like balls of clay or something

458
00:25:49,240 --> 00:25:54,639
Speaker 3: to symbolize a solar system to show them where he's from.

459
00:25:55,600 --> 00:26:00,440
Speaker 3: So we learned that Et has telekinesis powers. He also

460
00:26:00,480 --> 00:26:03,480
Speaker 3: can make dead plants come back to life because we

461
00:26:03,520 --> 00:26:08,400
Speaker 3: see him revive a potted flower plant. We'll also learn

462
00:26:08,440 --> 00:26:11,040
Speaker 3: that he has like healing powers for humans because he

463
00:26:11,040 --> 00:26:16,159
Speaker 3: heals a little cut on Elliott's finger. Later meanwhile, the

464
00:26:16,240 --> 00:26:19,800
Speaker 3: men in the trucks from the beginning, who have been

465
00:26:19,920 --> 00:26:24,439
Speaker 3: searching for the aliens in their spaceship, they're still looking

466
00:26:24,680 --> 00:26:27,840
Speaker 3: for this creature that they know has been left behind.

467
00:26:28,760 --> 00:26:32,320
Speaker 3: One of them is this guy with like a bunch

468
00:26:32,359 --> 00:26:35,960
Speaker 3: of keys on his belt loop and his character's name

469
00:26:36,119 --> 00:26:43,040
Speaker 3: is Keys, so that's really creative, played by Peter Coyote,

470
00:26:43,280 --> 00:26:46,920
Speaker 3: So he's, you know, looking for Et. The next day,

471
00:26:47,359 --> 00:26:50,960
Speaker 3: the three siblings go to school. They leave Et at home,

472
00:26:51,760 --> 00:26:55,000
Speaker 3: who gets into the fridge, drinks a bunch of cores

473
00:26:55,119 --> 00:26:59,960
Speaker 3: lights or maybe just regular cores, and he gets strung.

474
00:27:00,200 --> 00:27:04,200
Speaker 3: And it also seems to make Elliott drunk in class

475
00:27:04,400 --> 00:27:09,120
Speaker 3: because there's some kind of like telepathic or empathic connection

476
00:27:09,280 --> 00:27:15,080
Speaker 3: between them. So what Et feels, Elliott feels, and vice versa.

477
00:27:15,960 --> 00:27:19,720
Speaker 3: So Elliott is supposed to be dissecting a frog in class.

478
00:27:19,760 --> 00:27:22,160
Speaker 3: And first of all, I'm like, did they let ten

479
00:27:22,240 --> 00:27:26,639
Speaker 3: year old dissect frogs in school in the eighties? Like

480
00:27:26,960 --> 00:27:28,879
Speaker 3: I didn't do that until I was like a junior

481
00:27:28,920 --> 00:27:29,639
Speaker 3: in high school.

482
00:27:29,720 --> 00:27:31,639
Speaker 1: I never even did it. I think they were like,

483
00:27:32,040 --> 00:27:35,919
Speaker 1: you can watch a video, like you're not a scientist.

484
00:27:35,960 --> 00:27:39,600
Speaker 1: You're fourteen. But I was like, ANGI they gave them

485
00:27:39,600 --> 00:27:40,960
Speaker 1: to them a lie a lot.

486
00:27:41,080 --> 00:27:41,280
Speaker 3: Yeah.

487
00:27:41,320 --> 00:27:44,480
Speaker 1: Also, why was that necessary? Every time I've seen a

488
00:27:44,480 --> 00:27:47,840
Speaker 1: frog dissection, like even in a movie, like they come dead.

489
00:27:48,200 --> 00:27:51,520
Speaker 3: Yeah, yeah, they're like informaldehyde or whatever, and then they're

490
00:27:51,560 --> 00:27:52,200
Speaker 3: already dead.

491
00:27:52,560 --> 00:27:55,320
Speaker 1: Spielberg said that this is something that he did, that

492
00:27:55,400 --> 00:27:57,119
Speaker 1: he released a frog.

493
00:27:57,680 --> 00:27:58,360
Speaker 3: Oh.

494
00:27:58,440 --> 00:28:00,000
Speaker 1: I was like, I don't believe you.

495
00:28:01,680 --> 00:28:03,480
Speaker 3: Well, that's what ends up happening in the movie where

496
00:28:03,520 --> 00:28:07,879
Speaker 3: Et influences Elliott to save his frog and all the

497
00:28:07,880 --> 00:28:13,879
Speaker 3: frogs in the class. So Elliott, drunk as fuck, let's

498
00:28:13,920 --> 00:28:15,040
Speaker 3: loose all the frogs.

499
00:28:15,600 --> 00:28:17,800
Speaker 1: He surprised kisses a young girl.

500
00:28:17,840 --> 00:28:18,840
Speaker 3: We'll get back to that.

501
00:28:19,600 --> 00:28:20,480
Speaker 1: Kids like Ellie.

502
00:28:21,440 --> 00:28:25,280
Speaker 3: Yeah, Elliott hates drag performances, and he surprised kisses a

503
00:28:25,280 --> 00:28:27,680
Speaker 3: girl in his class. So he's actually bad news.

504
00:28:28,040 --> 00:28:29,040
Speaker 1: Yes, he's a pestilent.

505
00:28:30,920 --> 00:28:34,600
Speaker 3: Anyway, when the kids come back home from school, they

506
00:28:34,680 --> 00:28:39,560
Speaker 3: discover that Et is learning to speak. He shows Elliot

507
00:28:39,600 --> 00:28:43,400
Speaker 3: a comic strip where a spaceman is receiving a distress

508
00:28:43,440 --> 00:28:45,880
Speaker 3: call for help, and this is when we get the

509
00:28:45,880 --> 00:28:51,520
Speaker 3: famous like E T Phone no scene, and they realize

510
00:28:51,560 --> 00:28:55,040
Speaker 3: that Et is trying to build some sort of homing

511
00:28:55,240 --> 00:28:58,880
Speaker 3: or communication device so that he can contact his alien

512
00:28:58,920 --> 00:29:04,600
Speaker 3: friends so they can come pick him up. And Michael

513
00:29:04,640 --> 00:29:08,240
Speaker 3: points out though that Et is looking kind of sick

514
00:29:08,400 --> 00:29:13,080
Speaker 3: lately and we see him like wheezing and stuff, and

515
00:29:13,200 --> 00:29:18,800
Speaker 3: so we're like, hmm, what's happening here? Is Earth killing him?

516
00:29:19,040 --> 00:29:20,240
Speaker 1: And it makes you think?

517
00:29:20,440 --> 00:29:24,920
Speaker 3: It makes you think. Then the kids take Et out

518
00:29:24,960 --> 00:29:28,800
Speaker 3: on Halloween. They like throw a sheet over him and

519
00:29:28,880 --> 00:29:31,920
Speaker 3: dress him up as a ghost, pretending that Gertie is

520
00:29:31,920 --> 00:29:35,479
Speaker 3: the one under the sheet. And Elliott brings Et into

521
00:29:35,560 --> 00:29:39,960
Speaker 3: the woods to try this like communication machine that he's built,

522
00:29:40,560 --> 00:29:42,800
Speaker 3: and this is also when we get the very famous

523
00:29:42,840 --> 00:29:46,800
Speaker 3: scene of Et making Elliott's bike fly through this guy

524
00:29:46,840 --> 00:29:50,360
Speaker 3: past the moon. And then they land in the woods

525
00:29:50,680 --> 00:29:53,960
Speaker 3: and set up the communication device and it works and

526
00:29:54,040 --> 00:29:57,040
Speaker 3: Et is able to send out a signal into space.

527
00:29:58,120 --> 00:30:03,040
Speaker 3: Although Elliott is set at the thought of Et leaving

528
00:30:03,400 --> 00:30:08,120
Speaker 3: and suggests that he stay, but ET's like, no, I

529
00:30:08,800 --> 00:30:09,080
Speaker 3: kind of.

530
00:30:09,240 --> 00:30:10,320
Speaker 5: Gotta get out of here.

531
00:30:11,280 --> 00:30:14,240
Speaker 1: It's fucked up here, Like who could blame He's like

532
00:30:14,320 --> 00:30:19,960
Speaker 1: Earth fucking sucks. Yeah, Like so true, so true, so true. King.

533
00:30:20,680 --> 00:30:23,760
Speaker 3: So because the kids have stayed out past their curfew,

534
00:30:24,320 --> 00:30:27,160
Speaker 3: Mary goes out looking for them, which is when the

535
00:30:27,200 --> 00:30:32,920
Speaker 3: scary men in their suits show up at their house

536
00:30:33,280 --> 00:30:36,600
Speaker 3: and like bug it. I think, I'm not really super

537
00:30:36,640 --> 00:30:39,080
Speaker 3: clear what they do here, but they've been surveilling them,

538
00:30:39,320 --> 00:30:40,800
Speaker 3: and then they like bug the house.

539
00:30:40,920 --> 00:30:44,800
Speaker 1: Yeah, they like descend. It's pretty scary, especially when you

540
00:30:44,920 --> 00:30:47,400
Speaker 1: hear like yeah, Mary be like this is my house

541
00:30:47,480 --> 00:30:51,400
Speaker 1: and I was like yeah, yeah, wait wall.

542
00:30:51,800 --> 00:30:54,800
Speaker 3: So then Elliott passes out in the woods and when

543
00:30:54,840 --> 00:30:57,840
Speaker 3: he wakes up the next morning, e T is gone.

544
00:30:58,280 --> 00:31:02,680
Speaker 3: So Elliot returns home distraught that Et is nowhere to

545
00:31:02,720 --> 00:31:06,479
Speaker 3: be found, so Michael goes out looking for him, and

546
00:31:06,520 --> 00:31:09,480
Speaker 3: this is when he finds him all sick and lying

547
00:31:09,600 --> 00:31:11,400
Speaker 3: in the river looking.

548
00:31:11,480 --> 00:31:14,520
Speaker 1: Somehow worse worse, so hard.

549
00:31:14,840 --> 00:31:18,200
Speaker 3: So Michael brings it back, but Et and Elliott are

550
00:31:18,960 --> 00:31:24,480
Speaker 3: both dying because they have this empathic connection. And the

551
00:31:24,560 --> 00:31:28,320
Speaker 3: kids finally show Et to their mom, but before she

552
00:31:28,400 --> 00:31:30,960
Speaker 3: can really do anything about it, a bunch of like

553
00:31:31,280 --> 00:31:35,400
Speaker 3: NASA astronauts and scientists and hazmat suits.

554
00:31:35,560 --> 00:31:38,680
Speaker 1: It's all so like vague but scary.

555
00:31:38,480 --> 00:31:42,600
Speaker 3: Yeah, very scary, And they show up and they set

556
00:31:42,680 --> 00:31:46,400
Speaker 3: up this like quarantine tent in and around their house

557
00:31:46,600 --> 00:31:51,680
Speaker 3: and they run a bunch of tests on Et, and

558
00:31:51,720 --> 00:31:55,320
Speaker 3: then Keys approaches Elliott to be like, tell us how

559
00:31:55,400 --> 00:31:58,880
Speaker 3: we could save e T. And Elie's like, he has

560
00:31:58,920 --> 00:32:03,160
Speaker 3: to go home. Meanwhile, the connection between Et and Elliott

561
00:32:03,280 --> 00:32:07,800
Speaker 3: starts to sever. It seems like maybe Et sacrifices himself

562
00:32:07,920 --> 00:32:13,320
Speaker 3: to save Elliot, and then Et dies and the kids

563
00:32:13,480 --> 00:32:19,280
Speaker 3: are devastated, especially Elliott. And then the scientists put ET's

564
00:32:19,280 --> 00:32:23,040
Speaker 3: body in some like science coffin and they're about to

565
00:32:23,080 --> 00:32:26,560
Speaker 3: take him away, but Keys lets Elliott spend some time

566
00:32:26,600 --> 00:32:31,440
Speaker 3: alone with Et, and he's crying and he says.

567
00:32:30,120 --> 00:32:35,880
Speaker 4: He I love you, which makes Et come back to

568
00:32:36,040 --> 00:32:40,840
Speaker 4: life awesome, and his heart light is glowing and the

569
00:32:40,960 --> 00:32:45,080
Speaker 4: potted flower revives, and then Et says.

570
00:32:44,800 --> 00:32:49,160
Speaker 3: ET phone home because apparently his spaceship is on the way.

571
00:32:49,880 --> 00:32:53,280
Speaker 3: So Elliott and Michael form a plan to hijack the

572
00:32:53,360 --> 00:32:56,719
Speaker 3: vehicle that they put ET's body in so that they

573
00:32:56,760 --> 00:33:00,320
Speaker 3: can save him and bring him to a spaceship. And

574
00:33:01,000 --> 00:33:04,360
Speaker 3: the cops were chasing them, and the kids are on

575
00:33:04,400 --> 00:33:07,440
Speaker 3: bikes and at one point they're surrounded.

576
00:33:08,160 --> 00:33:10,680
Speaker 1: It's that part I feel like I'd heard this before,

577
00:33:10,800 --> 00:33:14,760
Speaker 1: but how during that period in the early two thousands

578
00:33:14,840 --> 00:33:18,080
Speaker 1: when George Lucas and Steven Spielberg were like putting bad

579
00:33:18,160 --> 00:33:23,400
Speaker 1: CG and they're older movies that he edited out the

580
00:33:23,560 --> 00:33:26,560
Speaker 1: guns and made them walkie talking slashlight.

581
00:33:26,640 --> 00:33:28,280
Speaker 3: Oh I thought it was flashlight, but it might be

582
00:33:28,320 --> 00:33:30,200
Speaker 3: walkie talkies. It's something either way.

583
00:33:30,200 --> 00:33:32,680
Speaker 1: It's something that. So then like that whole sequence is

584
00:33:32,720 --> 00:33:36,400
Speaker 1: weird because they're like, what's Elliott? So like, right, what

585
00:33:36,440 --> 00:33:38,680
Speaker 1: are they gonna do? Like it's like cuts to a

586
00:33:38,720 --> 00:33:40,560
Speaker 1: walkie talkie and then Elliott's.

587
00:33:40,160 --> 00:33:45,240
Speaker 3: Like, ah yeah, and the theatrical cut and the version

588
00:33:45,280 --> 00:33:48,320
Speaker 3: I watched it was like shotguns that the cops had.

589
00:33:48,400 --> 00:33:49,520
Speaker 1: They put the guns back.

590
00:33:49,720 --> 00:33:50,120
Speaker 3: Yeah.

591
00:33:50,200 --> 00:33:52,680
Speaker 1: I think he was like, Okay, that was an overcorrection.

592
00:33:53,320 --> 00:33:54,800
Speaker 1: It does have to be guns.

593
00:33:55,560 --> 00:33:58,120
Speaker 3: Yeah, So you know, the cops with the guns have

594
00:33:58,240 --> 00:34:01,520
Speaker 3: the kids surrounded at one point, but then Et makes

595
00:34:01,560 --> 00:34:05,840
Speaker 3: them all fly on their bikes with his telekinesis powers,

596
00:34:06,840 --> 00:34:11,640
Speaker 3: and they arrive at the clearing in the woods and Elliot,

597
00:34:11,640 --> 00:34:15,799
Speaker 3: Michael Gerdy, and Mary say a tearful goodbye to e

598
00:34:15,920 --> 00:34:21,120
Speaker 3: T as his spaceship arrives, and he says I'll be

599
00:34:21,719 --> 00:34:27,200
Speaker 3: right here, meaning that he will be there. In Elliott's thoughts,

600
00:34:27,239 --> 00:34:32,239
Speaker 3: and feelings and then he flies away at the end.

601
00:34:36,400 --> 00:34:41,239
Speaker 1: It's so awesome, it's so beautiful.

602
00:34:42,760 --> 00:34:45,200
Speaker 3: That's the movie. Let's take a quick break and we'll

603
00:34:45,200 --> 00:34:46,640
Speaker 3: come back to discuss.

604
00:34:47,120 --> 00:34:59,279
Speaker 5: Okay, and we're back.

605
00:35:00,160 --> 00:35:05,080
Speaker 1: God where like where, where where do you start? When

606
00:35:05,239 --> 00:35:09,160
Speaker 1: it comes to Eat the Extraterrestrial? I wanted to touch

607
00:35:09,200 --> 00:35:12,440
Speaker 1: really quickly one because I forget if we talked about

608
00:35:12,480 --> 00:35:16,120
Speaker 1: this in our The Color Purple episode. I think that

609
00:35:16,160 --> 00:35:18,360
Speaker 1: was the last Spielberg movie we covered.

610
00:35:18,840 --> 00:35:19,600
Speaker 3: Yeah, I think so.

611
00:35:20,040 --> 00:35:21,880
Speaker 1: In any case, I just wanted to acknowledge at the

612
00:35:21,920 --> 00:35:26,120
Speaker 1: top of the discussion because it's like something that's made

613
00:35:26,200 --> 00:35:29,680
Speaker 1: it challenging to interact with a lot of Spielberg's work

614
00:35:30,440 --> 00:35:34,399
Speaker 1: is that. Honestly, I was having trouble like getting good

615
00:35:34,440 --> 00:35:37,799
Speaker 1: information about this in detail. But suffice it to say,

616
00:35:37,960 --> 00:35:41,120
Speaker 1: Steven Spielberg is pro Israel and has made a lot

617
00:35:41,160 --> 00:35:45,200
Speaker 1: of very both sides comments around an active genocide being

618
00:35:45,239 --> 00:35:51,239
Speaker 1: perpetrated by Israel, and that feels horrible to know and

619
00:35:51,560 --> 00:35:57,480
Speaker 1: to just have sort of looming over his catalog. And again,

620
00:35:57,680 --> 00:36:02,200
Speaker 1: like I haven't done a deep dive into Steven Spielberg's politics.

621
00:36:02,800 --> 00:36:06,360
Speaker 1: I know that he made Munich, I haven't watched it,

622
00:36:06,400 --> 00:36:08,959
Speaker 1: I really have no desire to, So I just wanted

623
00:36:09,040 --> 00:36:11,480
Speaker 1: to acknowledge that at the top, because I love this

624
00:36:11,600 --> 00:36:16,040
Speaker 1: movie and I really don't like when Spielberg tries to

625
00:36:16,160 --> 00:36:20,959
Speaker 1: say something important. It doesn't work for me at all,

626
00:36:21,600 --> 00:36:25,080
Speaker 1: and now knowing this element of his personal politics, it

627
00:36:25,200 --> 00:36:26,200
Speaker 1: just it's it's horrible.

628
00:36:27,120 --> 00:36:32,320
Speaker 3: Yes, yeah, definitely worth acknowledging. And as someone who loves

629
00:36:32,360 --> 00:36:35,200
Speaker 3: a lot of movies made by him, it's very disappointing.

630
00:36:35,239 --> 00:36:37,960
Speaker 1: I wanted to acknowledge that it doesn't necessarily have a

631
00:36:38,000 --> 00:36:40,600
Speaker 1: place within the discussion of this movie. Obviously, if we

632
00:36:40,600 --> 00:36:44,000
Speaker 1: were covering Munich, which we wouldn't, it would be coming

633
00:36:44,080 --> 00:36:46,719
Speaker 1: up more, but just that we're aware of it. And

634
00:36:46,800 --> 00:36:49,880
Speaker 1: also I would be interested in more just information in

635
00:36:49,920 --> 00:36:52,359
Speaker 1: general because I was kind of having a hard time,

636
00:36:52,440 --> 00:36:57,120
Speaker 1: but I would be curious what folks think. Yeah, this movie, however,

637
00:36:57,440 --> 00:37:05,120
Speaker 1: comes out before Spielberg like really says anything political in

638
00:37:05,200 --> 00:37:07,080
Speaker 1: his work. Ever, I feel like so much of his

639
00:37:07,160 --> 00:37:11,399
Speaker 1: early work is just like I say this with love,

640
00:37:11,520 --> 00:37:15,560
Speaker 1: but it is like my parents got divorce. That's all

641
00:37:15,640 --> 00:37:19,480
Speaker 1: of them, that's all of what they are. Elliott is

642
00:37:19,520 --> 00:37:23,000
Speaker 1: clearly supposed to be him like d is supposed to say.

643
00:37:23,040 --> 00:37:25,200
Speaker 1: I think I've said this on the show before. I'm

644
00:37:25,239 --> 00:37:27,920
Speaker 1: gonna wait to get pneumonia before I'm gonna watch the

645
00:37:28,040 --> 00:37:30,280
Speaker 1: damn Fableman's I have no interest.

646
00:37:30,680 --> 00:37:32,359
Speaker 3: I didn't care for it at all.

647
00:37:32,960 --> 00:37:36,400
Speaker 1: I also kind of can't believe if you're like a

648
00:37:36,680 --> 00:37:39,719
Speaker 1: director who has infinite blank checks, you're gonna make a

649
00:37:39,760 --> 00:37:42,760
Speaker 1: boring biopic about yourself loser.

650
00:37:43,160 --> 00:37:46,200
Speaker 3: It felt so self indulgent, and I found it really

651
00:37:47,920 --> 00:37:49,440
Speaker 3: unpleasant to watch.

652
00:37:50,040 --> 00:37:52,360
Speaker 1: Well, and isn't it also like so many of his

653
00:37:52,440 --> 00:37:57,919
Speaker 1: early movies have these mirror dynamics anyways, right where it's like, yeah,

654
00:37:57,960 --> 00:38:02,600
Speaker 1: I think you said that, Close Encounters and et like

655
00:38:02,719 --> 00:38:06,120
Speaker 1: two back to back movies. We get it. Men hate

656
00:38:06,120 --> 00:38:08,600
Speaker 1: when they're like I. It reminds me of I mean,

657
00:38:08,760 --> 00:38:10,759
Speaker 1: very few people like whe their parents get divorced. It's

658
00:38:10,760 --> 00:38:12,399
Speaker 1: a complicated experience to learn.

659
00:38:13,080 --> 00:38:13,560
Speaker 3: But like.

660
00:38:15,200 --> 00:38:17,480
Speaker 1: I feel the same way about The damn Saftie Brothers,

661
00:38:17,480 --> 00:38:19,600
Speaker 1: where they're like the worst thing that's ever happened to me,

662
00:38:20,400 --> 00:38:23,160
Speaker 1: My mommy and daddy didn'tkiss anymore, and you're like, I

663
00:38:23,640 --> 00:38:27,520
Speaker 1: just find a new struggle, find a new struggle. Anyways,

664
00:38:28,160 --> 00:38:30,919
Speaker 1: that said, this is my I think I mean I'm

665
00:38:30,920 --> 00:38:33,600
Speaker 1: guessing Jurassic Park or Indiana Jones.

666
00:38:33,640 --> 00:38:39,680
Speaker 3: What's your favorite Spielberg Ooh, it's probably Jurassic Park. Indiana Jones.

667
00:38:39,760 --> 00:38:42,680
Speaker 3: Last Crusade comes in at a close second. I also

668
00:38:42,800 --> 00:38:46,799
Speaker 3: really love Minority Report, I've never seen that, and a

669
00:38:46,840 --> 00:38:49,440
Speaker 3: handful of others that he directed.

670
00:38:50,360 --> 00:38:53,800
Speaker 1: I think for me it's a tie between this and Jaws.

671
00:38:54,320 --> 00:38:55,760
Speaker 3: Oh, Jaws is so good too.

672
00:38:56,480 --> 00:39:01,399
Speaker 1: I'm an early really Spielberg head fair but sorry, where

673
00:39:01,400 --> 00:39:02,240
Speaker 1: do we want to start?

674
00:39:02,520 --> 00:39:04,400
Speaker 3: Well, to speak a little bit more about the development

675
00:39:04,600 --> 00:39:09,120
Speaker 3: of this movie. So, as you mentioned, it was kind

676
00:39:09,120 --> 00:39:15,800
Speaker 3: of inspired by Spielberg's parents' divorce, where in nineteen sixty

677
00:39:15,920 --> 00:39:19,040
Speaker 3: when his parents were splitting up, he basically created an

678
00:39:19,080 --> 00:39:24,839
Speaker 3: imaginary alien friend who he would later recall as a

679
00:39:24,880 --> 00:39:27,759
Speaker 3: friend who could be the brother I never had and

680
00:39:27,800 --> 00:39:30,360
Speaker 3: the father I feel like I didn't have any more.

681
00:39:31,040 --> 00:39:38,600
Speaker 3: So he created a little friend and based et.

682
00:39:37,719 --> 00:39:38,239
Speaker 1: Off of that.

683
00:39:38,320 --> 00:39:42,480
Speaker 3: Although there were some other bits of inspiration for this movie,

684
00:39:42,800 --> 00:39:47,600
Speaker 3: where he started developing a project called Night Skies after

685
00:39:47,760 --> 00:39:51,640
Speaker 3: he made Close Encounters of the Third Kind, in which

686
00:39:51,960 --> 00:39:57,160
Speaker 3: malevolent aliens terrorize a family. But in that project there

687
00:39:57,200 --> 00:40:01,080
Speaker 3: was a subplot where a friendly and the only friendly

688
00:40:01,200 --> 00:40:06,400
Speaker 3: alien of this group of evil aliens, named Buddy, befriends

689
00:40:06,600 --> 00:40:08,160
Speaker 3: a child with autism.

690
00:40:08,719 --> 00:40:12,000
Speaker 1: Oh yeah, isn't this script like publicly available and is

691
00:40:12,040 --> 00:40:12,600
Speaker 1: not good?

692
00:40:13,000 --> 00:40:13,719
Speaker 3: If so, I.

693
00:40:13,680 --> 00:40:16,920
Speaker 1: Haven't read it, nor have I, and furthermore I won't.

694
00:40:17,880 --> 00:40:22,839
Speaker 3: It also kind of inspired the Et sequel, which, oh,

695
00:40:22,880 --> 00:40:25,680
Speaker 3: I meant to actually bring that up in my relationship

696
00:40:25,680 --> 00:40:30,080
Speaker 3: with this movie. So there is a sequel to this

697
00:40:30,120 --> 00:40:33,160
Speaker 3: movie that obviously never got made. A treatment was written

698
00:40:33,840 --> 00:40:39,360
Speaker 3: for it by Steven Spielberg and Melissa Matheson, who wrote

699
00:40:40,000 --> 00:40:42,719
Speaker 3: the screenplay for the first Et movie. And of course

700
00:40:42,760 --> 00:40:43,759
Speaker 3: we want to talk about her.

701
00:40:44,160 --> 00:40:47,120
Speaker 1: Yes, I cannot wait to talk about her because her life,

702
00:40:47,880 --> 00:40:49,759
Speaker 1: first of all too short. I didn't realize that she

703
00:40:49,800 --> 00:40:52,520
Speaker 1: had passed so young, but also fascinating.

704
00:40:52,719 --> 00:40:57,080
Speaker 3: But sorry continue, Yes, so they co wrote this treatment

705
00:40:57,200 --> 00:41:01,759
Speaker 3: basically just a synopsis for a CQ that would never

706
00:41:01,960 --> 00:41:05,759
Speaker 3: be made, and it was also partially inspired by Night

707
00:41:05,840 --> 00:41:11,800
Speaker 3: Skies because the treatment involves evil aliens coming to search

708
00:41:12,200 --> 00:41:17,400
Speaker 3: for Et, knowing that he got left behind on Earth.

709
00:41:17,880 --> 00:41:20,920
Speaker 3: And in this treatment, Jamie, I have something very important

710
00:41:20,960 --> 00:41:24,279
Speaker 3: to tell you. In the treatment, you find out that

711
00:41:24,360 --> 00:41:32,080
Speaker 3: ET's real name is Zrek. Almost Shrek, but Zrek with

712
00:41:32,160 --> 00:41:32,440
Speaker 3: a Z.

713
00:41:33,960 --> 00:41:42,000
Speaker 1: E entertainment ts like extra entertainment terrestrial e E T.

714
00:41:42,880 --> 00:41:47,280
Speaker 3: Nope, Nope, it is Shrek Shrek.

715
00:41:47,760 --> 00:41:53,040
Speaker 1: I saw West Side Story in the Museum with an

716
00:41:53,080 --> 00:41:57,800
Speaker 1: introduction by Rita Moreno last week. And anyways, the police

717
00:41:57,800 --> 00:42:02,320
Speaker 1: officer is called like officer Shrag, like it's really close

718
00:42:02,360 --> 00:42:04,960
Speaker 1: to Shrek. It's just such a tease, and you're just like,

719
00:42:05,080 --> 00:42:06,440
Speaker 1: just say Shrak, just say it.

720
00:42:06,480 --> 00:42:10,400
Speaker 3: Well, it's like in Batman Returns when Christopher Watkin's character

721
00:42:10,560 --> 00:42:14,440
Speaker 3: is named Shrek and you're just like, Shrek is everywhere.

722
00:42:14,520 --> 00:42:16,640
Speaker 1: Yeah, and at least they go for it. They go

723
00:42:16,880 --> 00:42:20,440
Speaker 1: they go for it, like just say say his name,

724
00:42:21,080 --> 00:42:23,800
Speaker 1: like speak Strek's name.

725
00:42:24,680 --> 00:42:27,640
Speaker 3: It's like the end of Oh my god, what's that

726
00:42:27,719 --> 00:42:28,880
Speaker 3: movie never ending story?

727
00:42:29,280 --> 00:42:34,399
Speaker 1: Say my name, Say my name? I was thinking Bele Shrek, Shrek, Shrek.

728
00:42:37,600 --> 00:42:39,479
Speaker 3: Anyway, Okay, so back on track.

729
00:42:39,560 --> 00:42:40,720
Speaker 1: Wait, that's wild.

730
00:42:40,840 --> 00:42:44,279
Speaker 3: His name was Shred. We learned his name is Shrek.

731
00:42:45,200 --> 00:42:49,040
Speaker 3: The point of this whole story is that I teach

732
00:42:49,200 --> 00:42:52,480
Speaker 3: this treatment in my screenwriting classes because I have my

733
00:42:52,520 --> 00:42:55,600
Speaker 3: students do a mock workshop just to like get them

734
00:42:55,640 --> 00:43:01,240
Speaker 3: acquainted with the workshopping process, and we read the treatment

735
00:43:01,440 --> 00:43:05,040
Speaker 3: and then you know, analyze it, and the treatment's not good.

736
00:43:05,560 --> 00:43:08,839
Speaker 3: It is kind of a mess, and then they pulled

737
00:43:08,840 --> 00:43:10,760
Speaker 3: the plug on it. I think it was a combination

738
00:43:10,880 --> 00:43:13,560
Speaker 3: of the studio being like, I'm not sure about this

739
00:43:13,640 --> 00:43:17,640
Speaker 3: and then Spielberg being like, never mind, sequels, bad idea

740
00:43:17,840 --> 00:43:19,320
Speaker 3: for this, actually.

741
00:43:19,400 --> 00:43:22,600
Speaker 1: Something he would reverse. But it is interesting because it's

742
00:43:22,680 --> 00:43:27,560
Speaker 1: not like he is obviously not opposed to sequels, like hmm, Indiana,

743
00:43:27,640 --> 00:43:32,000
Speaker 1: John like there's no shortage of sequels, right, but that

744
00:43:32,239 --> 00:43:35,839
Speaker 1: there was no sequel for this movie. I really hope

745
00:43:35,840 --> 00:43:38,040
Speaker 1: there's never a sequel to this movie.

746
00:43:38,280 --> 00:43:39,960
Speaker 3: It would be very unnecessary.

747
00:43:40,360 --> 00:43:42,759
Speaker 1: Yeah, especially when it's like, yeah, something that is like

748
00:43:42,800 --> 00:43:45,080
Speaker 1: focused on, like, well, what's the lore of Et? And

749
00:43:45,120 --> 00:43:48,600
Speaker 1: you're like, respectfully, it doesn't matter. That's not why we

750
00:43:48,800 --> 00:43:51,719
Speaker 1: go to Et to be like, well but what is

751
00:43:51,760 --> 00:43:55,200
Speaker 1: the culture? You're like, it doesn't matter. He made a

752
00:43:55,239 --> 00:43:58,480
Speaker 1: friend and Elliott will never know, so we can never know.

753
00:43:58,880 --> 00:44:05,400
Speaker 3: Yeah, So in any case, Spielberg had this imaginary alien

754
00:44:05,440 --> 00:44:09,920
Speaker 3: friend as a kid to help him cope with his parents' divorce,

755
00:44:10,480 --> 00:44:15,000
Speaker 3: and then in nineteen eighty he told screenwriter Melissa Matheson

756
00:44:15,680 --> 00:44:18,799
Speaker 3: he was like, yeah, I was developing this project called

757
00:44:18,920 --> 00:44:22,400
Speaker 3: night Skies. Here was this subplot. I feel like there

758
00:44:22,440 --> 00:44:27,040
Speaker 3: might be a movie there. And then she wrote the

759
00:44:27,080 --> 00:44:31,799
Speaker 3: script for ET, formerly called ET and Me then simplified

760
00:44:31,800 --> 00:44:36,680
Speaker 3: to E. T. The Extraterrestrial, and she wrote the first

761
00:44:36,760 --> 00:44:40,680
Speaker 3: draft in I think like eight weeks or something. Spielberg

762
00:44:40,800 --> 00:44:43,719
Speaker 3: loved it. It went through a couple rewrites, a few

763
00:44:43,800 --> 00:44:48,879
Speaker 3: changes were made, But what I want to point out

764
00:44:49,040 --> 00:44:52,480
Speaker 3: is that this movie was written by a woman, And

765
00:44:53,480 --> 00:44:56,480
Speaker 3: I feel like that's something that a lot of people

766
00:44:56,600 --> 00:45:00,799
Speaker 3: forget or overlook because people so closely associate movie with

767
00:45:01,400 --> 00:45:04,720
Speaker 3: like Spielberg and assume that he had the sole creative

768
00:45:04,800 --> 00:45:06,000
Speaker 3: vision behind this movie.

769
00:45:06,520 --> 00:45:10,719
Speaker 1: I really love because I honestly forgot as well. And

770
00:45:10,800 --> 00:45:15,120
Speaker 1: I feel like it's probably partially because we don't talk

771
00:45:15,160 --> 00:45:18,759
Speaker 1: about Melissa Mathison very much, even though it's like her

772
00:45:18,840 --> 00:45:23,120
Speaker 1: credits are wild. And I also saw that she was

773
00:45:23,160 --> 00:45:25,600
Speaker 1: like so involved in the day to day production of ET,

774
00:45:25,800 --> 00:45:28,319
Speaker 1: Like she was writing dialogue on set, She worked with

775
00:45:28,360 --> 00:45:32,479
Speaker 1: the kids, she sort of oversaw like when the kids

776
00:45:32,520 --> 00:45:35,440
Speaker 1: could improvise when they couldn't, Like she was so hands on,

777
00:45:36,640 --> 00:45:40,960
Speaker 1: and her career, it appears, was kind of derailed by

778
00:45:41,440 --> 00:45:46,279
Speaker 1: being an ally to Tibet, which is unfortunately a very

779
00:45:46,280 --> 00:45:49,040
Speaker 1: prescient conversation to have right now. This is something that

780
00:45:49,160 --> 00:45:52,439
Speaker 1: I want to do more research into, but I feel

781
00:45:52,440 --> 00:45:55,239
Speaker 1: like it's not something that's very frequently discussed. I read

782
00:45:55,239 --> 00:45:57,319
Speaker 1: a book a couple of years ago called It's called

783
00:45:57,360 --> 00:46:01,279
Speaker 1: Red Carpet. There's a chapter in it that basically unpacks

784
00:46:01,360 --> 00:46:06,000
Speaker 1: like a series of entertainment careers that were indefinitely put

785
00:46:06,080 --> 00:46:10,760
Speaker 1: on hold because someone was too vocal about being allied

786
00:46:10,840 --> 00:46:14,800
Speaker 1: with the Free Tibet movement. Yeah, and the biggest example

787
00:46:14,840 --> 00:46:19,040
Speaker 1: of that, I honestly don't understand how Scorsese recovered, but

788
00:46:19,239 --> 00:46:22,959
Speaker 1: he directed a movie in ninety seven that I feel

789
00:46:22,960 --> 00:46:25,800
Speaker 1: like so few people have seen called Coundon, which is

790
00:46:25,840 --> 00:46:29,359
Speaker 1: basically a biopic about the Dalai Lama, and I think

791
00:46:29,360 --> 00:46:32,560
Speaker 1: that Dalai Lama was like meaningfully included in it. Melissa

792
00:46:32,600 --> 00:46:35,719
Speaker 1: Matheson wrote the movie and became a close friend of

793
00:46:35,760 --> 00:46:39,560
Speaker 1: the Dalai Lama while they worked on it for years,

794
00:46:40,040 --> 00:46:44,680
Speaker 1: and this turned her into a lifelong activist for Tibetan freedom.

795
00:46:44,920 --> 00:46:47,040
Speaker 1: And at the time she died, she was like on

796
00:46:47,080 --> 00:46:50,319
Speaker 1: the board for the International Campaign for Tibet and just

797
00:46:50,400 --> 00:46:53,560
Speaker 1: really did like a lot of really effective advocacy work.

798
00:46:54,000 --> 00:46:57,960
Speaker 1: But you can see after she writes Condon, her career

799
00:46:58,160 --> 00:47:02,759
Speaker 1: like it falls off. And I don't know necessarily, I

800
00:47:02,800 --> 00:47:07,279
Speaker 1: wasn't able to find confirmation necessarily, or if she just

801
00:47:07,320 --> 00:47:09,920
Speaker 1: wanted to step away to focus on advocacy work. But

802
00:47:10,080 --> 00:47:13,799
Speaker 1: it just feels like she wrote et she wrote The

803
00:47:13,840 --> 00:47:16,239
Speaker 1: Black Stallie, I mean, and the only things that we

804
00:47:16,320 --> 00:47:21,879
Speaker 1: really see her right after that is she wrote one

805
00:47:21,920 --> 00:47:24,960
Speaker 1: more movie for Spielberg, she wrote the BFG, But even

806
00:47:25,000 --> 00:47:27,960
Speaker 1: that seems like well because they had a good working relationship,

807
00:47:28,000 --> 00:47:30,640
Speaker 1: But there's not other big directors that she really works

808
00:47:30,719 --> 00:47:33,040
Speaker 1: with after that, Like you see a very similar story

809
00:47:33,080 --> 00:47:37,520
Speaker 1: with Richard Gear who also was a very loud advocate

810
00:47:37,719 --> 00:47:38,400
Speaker 1: for Tibet.

811
00:47:38,520 --> 00:47:39,480
Speaker 3: Oh, I don't realize that.

812
00:47:39,840 --> 00:47:42,840
Speaker 1: Yeah, it's weird. I don't know why it's not, especially

813
00:47:43,760 --> 00:47:46,160
Speaker 1: like in recent years. I think it would make a

814
00:47:46,160 --> 00:47:48,560
Speaker 1: lot of sense to just kind of revisit those stories.

815
00:47:48,560 --> 00:47:51,000
Speaker 1: But yeah, Richard Gear, he was kind of the focal

816
00:47:51,040 --> 00:47:53,400
Speaker 1: point of that chapter. I've got to remember exactly what

817
00:47:53,440 --> 00:47:56,680
Speaker 1: the book was called, but that he was such a

818
00:47:56,760 --> 00:47:59,560
Speaker 1: huge deal in the eighties and nineties and then towards

819
00:47:59,600 --> 00:48:01,520
Speaker 1: the end of the nineties he became a very vocal

820
00:48:01,600 --> 00:48:04,759
Speaker 1: advocate for Tibet, and he stopped getting cast and you

821
00:48:04,880 --> 00:48:07,799
Speaker 1: really don't see him very much after that outside of

822
00:48:07,840 --> 00:48:11,080
Speaker 1: like Chicago. But like I mean, name of Richard gear

823
00:48:11,160 --> 00:48:13,360
Speaker 1: Roll from the last twenty years.

824
00:48:12,920 --> 00:48:16,400
Speaker 3: Like Knights in rodanthy was he in that?

825
00:48:17,800 --> 00:48:20,839
Speaker 1: There we go? I bet asked, let's call my mom,

826
00:48:20,920 --> 00:48:22,400
Speaker 1: let's see, let's get my mom on the horn, and

827
00:48:22,520 --> 00:48:25,960
Speaker 1: she would know. But yeah, like Tibet obviously a very

828
00:48:25,960 --> 00:48:28,520
Speaker 1: complicated history that I'm not an expert on. But basically

829
00:48:28,520 --> 00:48:32,040
Speaker 1: it's like, if your blockbuster movies were vocally pro Tibet,

830
00:48:32,239 --> 00:48:35,239
Speaker 1: they would not play in China, which is a gigantic

831
00:48:35,280 --> 00:48:39,960
Speaker 1: movie market, and so anyone who was too vocally supportive

832
00:48:40,040 --> 00:48:44,720
Speaker 1: of Tibet would be kind of soft blacklisted. I'm curious

833
00:48:44,760 --> 00:48:47,319
Speaker 1: if there was anything written let us know, listeners, if

834
00:48:47,360 --> 00:48:50,359
Speaker 1: there was ever sort of this line drawn directly with

835
00:48:50,440 --> 00:48:54,840
Speaker 1: Melissa Matheson. But anyways, what a cool lay. Also, Francis

836
00:48:54,880 --> 00:48:57,240
Speaker 1: Ford Coppola cheated on his wife with her.

837
00:48:57,600 --> 00:49:02,359
Speaker 3: Oh whoa oh you mean the director of megalopolypse go

838
00:49:02,440 --> 00:49:09,400
Speaker 3: Off Kateles go Off cinematic masterpiece Megalopa lips megal what's

839
00:49:09,440 --> 00:49:14,080
Speaker 3: it called Megatropolis. I don't have that movie gave me

840
00:49:14,280 --> 00:49:17,960
Speaker 3: a lobotomy, so I don't know how to use my

841
00:49:18,000 --> 00:49:18,680
Speaker 3: brain anymore.

842
00:49:19,560 --> 00:49:23,480
Speaker 1: Anyway, Megal, what's the name of the Aubrey Plaza character.

843
00:49:23,560 --> 00:49:28,839
Speaker 3: It's like, oh, Platinum Wow, plank Wow, something like that.

844
00:49:30,280 --> 00:49:34,959
Speaker 1: We can't let him get away with this. Not Platinum Wow.

845
00:49:35,160 --> 00:49:35,200
Speaker 2: No.

846
00:49:35,440 --> 00:49:39,759
Speaker 1: Melissa Mathieson. Outside of being Gone Too Soon, just a

847
00:49:39,800 --> 00:49:45,320
Speaker 1: great Wikipedia experience. It's early Years, screenwriting and production credits.

848
00:49:45,440 --> 00:49:48,640
Speaker 1: Dalai Lama Personal life. She has a whole section called

849
00:49:48,719 --> 00:49:50,440
Speaker 1: Dalai Lama and you've gotta love that.

850
00:49:50,880 --> 00:49:53,239
Speaker 3: I love it. She also wrote the screenplay for The

851
00:49:53,280 --> 00:49:57,120
Speaker 3: Indian in the Cupboard, which I vaguely remember from my childhood.

852
00:49:57,360 --> 00:50:03,440
Speaker 3: And she was a story consultant on Ponia that studio.

853
00:50:03,520 --> 00:50:06,359
Speaker 3: And I never know if it's Ghibli or gible so

854
00:50:06,360 --> 00:50:09,239
Speaker 3: someone please tell me gibley Okay, I.

855
00:50:09,200 --> 00:50:12,440
Speaker 1: Think so, But her personal life section is awesome. It's

856
00:50:12,600 --> 00:50:15,760
Speaker 1: Matheson had an extra marital relationship with Francis Ford Coplo

857
00:50:15,800 --> 00:50:18,520
Speaker 1: while working as his assistant on Godfather Part two, an

858
00:50:18,560 --> 00:50:21,640
Speaker 1: affair that lasted through the production of Apocalypse Now. So

859
00:50:21,680 --> 00:50:26,040
Speaker 1: that's an affair of the five years damn Wow and

860
00:50:26,040 --> 00:50:28,640
Speaker 1: then she was married to Harrison Ford for twenty years.

861
00:50:28,960 --> 00:50:31,440
Speaker 3: Oh my gosh, I did not realize that either. Apparently

862
00:50:31,480 --> 00:50:34,960
Speaker 3: I did not research enough about Melissa Matheson.

863
00:50:35,320 --> 00:50:36,800
Speaker 1: They had two kids together.

864
00:50:37,280 --> 00:50:42,360
Speaker 3: Wow. Harrison Ford was in et as a principal that

865
00:50:42,440 --> 00:50:43,840
Speaker 3: they never show on screen.

866
00:50:43,920 --> 00:50:45,680
Speaker 1: Wait, I didn't know that, but you like.

867
00:50:45,640 --> 00:50:49,239
Speaker 3: Hear his voice reprimanding Elliott in the scene where he's

868
00:50:49,280 --> 00:50:52,640
Speaker 3: like drunkenly letting all the frogs. Go oh yeah, but

869
00:50:52,680 --> 00:50:53,359
Speaker 3: then they cut it.

870
00:50:54,640 --> 00:50:59,040
Speaker 1: That's really funny. Gosh, what an incestuous kind of like groom.

871
00:50:59,120 --> 00:51:01,200
Speaker 1: Because I'm like, is that how they met? Like because

872
00:51:01,239 --> 00:51:03,520
Speaker 1: they got married in eighty three, the year after this

873
00:51:03,640 --> 00:51:05,960
Speaker 1: came out. But they were married for twenty years and

874
00:51:06,000 --> 00:51:08,280
Speaker 1: had two Like yeah, they married in eighty three, divorce

875
00:51:08,360 --> 00:51:11,560
Speaker 1: and O four So wow, look at that.

876
00:51:12,080 --> 00:51:15,720
Speaker 3: In addition to this movie being written by a woman,

877
00:51:15,760 --> 00:51:18,680
Speaker 3: it was also edited by a woman, an editor named

878
00:51:18,800 --> 00:51:22,239
Speaker 3: Carol Lyttleton. And two of the major producers of this

879
00:51:22,320 --> 00:51:25,840
Speaker 3: movie are women, one of course being Melissa Matheson, the

880
00:51:25,920 --> 00:51:27,560
Speaker 3: other one being Kathleen Kennedy.

881
00:51:27,920 --> 00:51:31,479
Speaker 1: Young Kathleen. Kathleen Kennedy produced this damn movie when she's

882
00:51:31,520 --> 00:51:37,920
Speaker 1: twenty nine. I'm like, shut up, shot enough, stop up.

883
00:51:38,960 --> 00:51:42,719
Speaker 1: I was pleasantly surprised to see how many women were

884
00:51:42,760 --> 00:51:46,680
Speaker 1: meaningfully involved in this movie, and I just I don't

885
00:51:46,680 --> 00:51:49,200
Speaker 1: know everything again, like not to just like geek out

886
00:51:49,239 --> 00:51:51,759
Speaker 1: about it, but everything about the set and environment of

887
00:51:51,800 --> 00:51:56,520
Speaker 1: this movie just seemed so sweet and like thoughtful. And

888
00:51:57,440 --> 00:52:01,440
Speaker 1: there's footage of like they were shooting on Howen and

889
00:52:01,800 --> 00:52:04,560
Speaker 1: Spielberg dressed up in drag all day because I think

890
00:52:04,680 --> 00:52:09,600
Speaker 1: like Henry Thomas like dared him too, okay, and he

891
00:52:09,800 --> 00:52:13,560
Speaker 1: was like this is so Spielberg. There's I mean, and honey,

892
00:52:13,560 --> 00:52:16,399
Speaker 1: he looks great. He really does. And it's like it's

893
00:52:16,600 --> 00:52:19,840
Speaker 1: very I don't know, just like really sweet, because I

894
00:52:19,840 --> 00:52:22,040
Speaker 1: think it was like Henry Thomas was like, if you're

895
00:52:22,040 --> 00:52:24,479
Speaker 1: gonna make Et dress up in drag, you have to too,

896
00:52:24,880 --> 00:52:27,280
Speaker 1: and he's like, I'll do it and it's very cute.

897
00:52:27,400 --> 00:52:31,160
Speaker 3: Wow. Well, speaking of shall we talk about the gender

898
00:52:31,320 --> 00:52:34,880
Speaker 3: projections of et Et and gender?

899
00:52:35,239 --> 00:52:36,120
Speaker 1: Yes, let's do it.

900
00:52:36,239 --> 00:52:38,880
Speaker 3: We talked about it a little bit already, but like

901
00:52:38,920 --> 00:52:43,319
Speaker 3: we mentioned, when Gerty first encounters Et, she says is

902
00:52:43,360 --> 00:52:47,520
Speaker 3: he a boy or girl? And then Elliott very definitively

903
00:52:47,760 --> 00:52:51,480
Speaker 3: says he's a boy, and then Gerty asks if Et

904
00:52:51,760 --> 00:52:55,120
Speaker 3: was wearing any clothes when Elliott found him, and he

905
00:52:55,200 --> 00:52:59,319
Speaker 3: says no. So it's just like, yeah, he's just a

906
00:52:59,360 --> 00:53:05,040
Speaker 3: boy because I said so. And later Gerty puts Et

907
00:53:05,600 --> 00:53:10,680
Speaker 3: in women's clothing, you know, a dress, like a pearl necklace,

908
00:53:10,880 --> 00:53:15,160
Speaker 3: this long blonde wig, a little missus nesbit hat kind

909
00:53:15,200 --> 00:53:20,239
Speaker 3: of thing. And Elliott comes home and finds Et in

910
00:53:20,560 --> 00:53:24,759
Speaker 3: drag and gets upset and says, you should give him

911
00:53:24,800 --> 00:53:28,160
Speaker 3: his dignity. This is the most ridiculous thing I've ever seen.

912
00:53:28,360 --> 00:53:33,160
Speaker 3: And we're like, Okay, Elliott hates drag.

913
00:53:33,440 --> 00:53:38,400
Speaker 1: Yeah, I think Elliot's denying something within himself. He's a

914
00:53:38,480 --> 00:53:42,240
Speaker 1: confused child during the Reagan administration. I want to believe

915
00:53:42,239 --> 00:53:45,080
Speaker 1: in him. I want to believe yeah, he grows up

916
00:53:45,120 --> 00:53:46,920
Speaker 1: to do better. But I do think it is like

917
00:53:47,080 --> 00:53:49,680
Speaker 1: not like I mean to the point where I never

918
00:53:49,760 --> 00:53:54,200
Speaker 1: really even thought about it until this viewing, but how

919
00:53:54,960 --> 00:53:58,160
Speaker 1: all of the kids are trying to understand Et based

920
00:53:58,200 --> 00:54:01,000
Speaker 1: on what their limited conception of the world and themselves

921
00:54:01,040 --> 00:54:04,480
Speaker 1: are right. And obviously a big part of that is

922
00:54:04,560 --> 00:54:09,600
Speaker 1: like the limited gender expression in like Suburbia in the eighties.

923
00:54:09,800 --> 00:54:14,200
Speaker 1: And there's not really a big comment made, but I

924
00:54:14,200 --> 00:54:16,400
Speaker 1: thought it was like pretty thoughtfully done.

925
00:54:17,200 --> 00:54:22,839
Speaker 3: Right, because like, Elliott finds this creature who he befriends,

926
00:54:23,040 --> 00:54:27,440
Speaker 3: and presumably he wants a friend who he can closely

927
00:54:27,520 --> 00:54:30,560
Speaker 3: identify with, and that for him would mean a friend

928
00:54:30,600 --> 00:54:35,120
Speaker 3: who's a boy. Meanwhile, Gertie is hoping that Et is

929
00:54:35,600 --> 00:54:41,200
Speaker 3: a girl, and presumably that's why she dresses Et in

930
00:54:41,239 --> 00:54:43,400
Speaker 3: a wig and a dress and all that kind of stuff,

931
00:54:43,440 --> 00:54:46,880
Speaker 3: because she wants a little girl friend. And Et is

932
00:54:47,000 --> 00:54:48,879
Speaker 3: like whatever, He's like, I don't care.

933
00:54:49,520 --> 00:54:53,320
Speaker 1: It a crap. Yeah, I thought that that was like, again,

934
00:54:53,520 --> 00:54:56,400
Speaker 1: especially for the eight there's I think like this movie

935
00:54:56,480 --> 00:55:00,720
Speaker 1: sincerity is like so much of like why it holds

936
00:55:00,840 --> 00:55:03,839
Speaker 1: up so well because you think of like even other

937
00:55:03,880 --> 00:55:06,799
Speaker 1: eighties kids movies that would have gone so far in

938
00:55:06,840 --> 00:55:09,279
Speaker 1: the other direction, and you do get a little bit

939
00:55:09,280 --> 00:55:11,520
Speaker 1: of like, yeah, he needs his dignity, but that's like

940
00:55:11,600 --> 00:55:17,640
Speaker 1: as severe as it gets, right, and I appreciate that.

941
00:55:18,000 --> 00:55:21,560
Speaker 1: And Ets so he's such a chiller, he just wants

942
00:55:21,640 --> 00:55:23,120
Speaker 1: to text his mom.

943
00:55:24,920 --> 00:55:28,359
Speaker 3: Yes. Another reason I think this movie holds up as

944
00:55:28,360 --> 00:55:34,239
Speaker 3: well as it does is its exploration of the emotional

945
00:55:34,239 --> 00:55:40,200
Speaker 3: intelligence of the male characters. Because you have Elliott being

946
00:55:40,320 --> 00:55:48,760
Speaker 3: this generally sensitive, gentle, compassionate kid. He wants to again

947
00:55:49,000 --> 00:55:54,040
Speaker 3: befriend Et and protect him. They develop this empathic connection

948
00:55:54,239 --> 00:55:57,640
Speaker 3: where they feel each other's feelings, and that is a

949
00:55:57,760 --> 00:56:02,520
Speaker 3: power that we'll see in movies, but that is almost

950
00:56:02,520 --> 00:56:06,640
Speaker 3: always ascribed to women in movies, where if there's like

951
00:56:06,680 --> 00:56:10,800
Speaker 3: a super hero character I'm thinking of, is it mantis

952
00:56:10,840 --> 00:56:14,799
Speaker 3: in like the Marvel Universe, characters like that, where like

953
00:56:15,000 --> 00:56:20,600
Speaker 3: their power is empathic, And again it's almost always ascribed

954
00:56:20,600 --> 00:56:25,200
Speaker 3: to women, So it's not typical for a like empathic

955
00:56:25,960 --> 00:56:29,960
Speaker 3: power or ability to be ascribed to a male character.

956
00:56:30,040 --> 00:56:34,920
Speaker 3: But we see that with Elliot, and it is generally

957
00:56:35,280 --> 00:56:40,040
Speaker 3: a nice connection except that one time where Et does

958
00:56:40,080 --> 00:56:45,120
Speaker 3: make Elliott surprise kiss a girl at school, But other

959
00:56:45,239 --> 00:56:50,160
Speaker 3: than that, it manifests in a really like sweet, nice way.

960
00:56:50,840 --> 00:56:53,480
Speaker 1: Yeah, And I mean that's like another thing that I

961
00:56:53,480 --> 00:56:57,640
Speaker 1: think is also contrasted between the brothers, because this is

962
00:56:57,680 --> 00:57:01,040
Speaker 1: definitely not like, yeah, a movie about women, but it

963
00:57:01,120 --> 00:57:04,200
Speaker 1: is a movie, like you're saying about, especially in the eighties,

964
00:57:04,239 --> 00:57:07,280
Speaker 1: Like I feel like that would have made a real difference.

965
00:57:07,280 --> 00:57:12,520
Speaker 1: It's like celebrating like this young boy's ability to express

966
00:57:12,640 --> 00:57:16,520
Speaker 1: and want to understand how others are feeling, and I

967
00:57:16,600 --> 00:57:18,919
Speaker 1: really like again, it's I feel like the movie sort

968
00:57:18,960 --> 00:57:24,120
Speaker 1: of like evades this trope of like the older brothers

969
00:57:24,240 --> 00:57:27,080
Speaker 1: just like a piece of shit who doesn't get it

970
00:57:27,120 --> 00:57:30,080
Speaker 1: and blah blah blah, where it's like they are different,

971
00:57:30,120 --> 00:57:32,680
Speaker 1: they're also just at different stages of development. But it's

972
00:57:33,480 --> 00:57:36,320
Speaker 1: d Wallace is raising these kids, right. They care about

973
00:57:36,360 --> 00:57:41,840
Speaker 1: each other. Yeah, and even though they like whatever, antagonize

974
00:57:41,840 --> 00:57:44,440
Speaker 1: each other the way the brothers do, Like Michael's a

975
00:57:44,480 --> 00:57:48,320
Speaker 1: sweet kid. He cares about Elliott and yeah, I just

976
00:57:48,320 --> 00:57:52,120
Speaker 1: think it's really nice. I'm gonna start crying. And even

977
00:57:52,160 --> 00:57:55,000
Speaker 1: with their sister where they antagonize her, but it doesn't

978
00:57:55,000 --> 00:57:57,160
Speaker 1: feel like I don't know, again, it just it feels

979
00:57:57,280 --> 00:58:01,840
Speaker 1: very natural and they all genuinely do care about each other.

980
00:58:02,880 --> 00:58:07,320
Speaker 3: Yeah. I felt that too about Michael, who I think

981
00:58:07,320 --> 00:58:11,480
Speaker 3: he's probably like fourteen, so he has a few years

982
00:58:11,520 --> 00:58:16,000
Speaker 3: on Elliott and has been exposed to more socialization of

983
00:58:16,120 --> 00:58:19,680
Speaker 3: like what boys are supposed to be. Like, he's displaying

984
00:58:19,760 --> 00:58:25,200
Speaker 3: more like quote unquote typical masculinity compared to Elliott, because

985
00:58:25,200 --> 00:58:30,520
Speaker 3: you know, you see him with his like teen boy pals,

986
00:58:30,560 --> 00:58:31,440
Speaker 3: and they tend.

987
00:58:31,240 --> 00:58:32,960
Speaker 1: To like smoking SIGs.

988
00:58:33,360 --> 00:58:36,080
Speaker 3: I'm like, oh, they'll gang up on Elliott and kind

989
00:58:36,080 --> 00:58:37,920
Speaker 3: of give him a hard time and tease him and

990
00:58:37,960 --> 00:58:40,120
Speaker 3: call him names and stuff like that. And Michael just

991
00:58:40,280 --> 00:58:44,320
Speaker 3: seems to be a little bit more like easily aggravated

992
00:58:44,520 --> 00:58:47,080
Speaker 3: and hostile compared to Elliott, but not in a way

993
00:58:47,120 --> 00:58:51,440
Speaker 3: that is cruel necessary. It's just again, he's been exposed

994
00:58:51,480 --> 00:58:54,920
Speaker 3: to more like masculine social conditioning.

995
00:58:55,200 --> 00:58:57,680
Speaker 1: Yeah, Elliot's embarrassing him in front of his friends.

996
00:58:57,800 --> 00:59:01,320
Speaker 3: Uh yeah, right, his friends who all want to dress

997
00:59:01,360 --> 00:59:05,040
Speaker 3: as terrorists for Halloween. I'm like, what the fuck?

998
00:59:05,960 --> 00:59:08,240
Speaker 1: But then you see them and you're like what I

999
00:59:08,520 --> 00:59:10,960
Speaker 1: was whatever that joke was. I was like, baby, you

1000
00:59:11,040 --> 00:59:13,040
Speaker 1: had to be in nineteen eighty two, but I was

1001
00:59:13,080 --> 00:59:14,560
Speaker 1: not because I was like, it's a guy with an

1002
00:59:14,600 --> 00:59:15,919
Speaker 1: ax through and said what.

1003
00:59:16,120 --> 00:59:18,160
Speaker 3: Well, I think that's what he changed into because his

1004
00:59:18,240 --> 00:59:21,400
Speaker 3: mom was like, Mary said, you're not going dressed like that,

1005
00:59:21,520 --> 00:59:24,120
Speaker 3: So he switches to a different costume.

1006
00:59:24,320 --> 00:59:25,840
Speaker 1: Oh I don't love that choke.

1007
00:59:26,280 --> 00:59:29,760
Speaker 3: Yeah, I don't know about it. But either way, yes,

1008
00:59:29,840 --> 00:59:36,440
Speaker 3: Michael has had more like typical social masculine conditioning, but

1009
00:59:36,640 --> 00:59:40,040
Speaker 3: he also has compassion. You know, he looks out for

1010
00:59:40,240 --> 00:59:43,760
Speaker 3: their mom. When Elliott makes a comment about their dad

1011
00:59:43,800 --> 00:59:46,280
Speaker 3: being in Mexico with his new girlfriend and he knows

1012
00:59:46,280 --> 00:59:49,680
Speaker 3: that this upsets his mom and he wants to protect her,

1013
00:59:49,720 --> 00:59:53,120
Speaker 3: and Michael tells Elliott, like, think about how other people feel.

1014
00:59:53,160 --> 00:59:56,160
Speaker 3: For a change, that's not an exchange that you would

1015
00:59:56,360 --> 01:00:00,920
Speaker 3: usually see in a movie between two male care Yeah,

1016
01:00:01,000 --> 01:00:04,760
Speaker 3: one encouraging the other to consider other people's feelings. So yeah,

1017
01:00:04,800 --> 01:00:09,080
Speaker 3: I found that to be like refreshing and interesting. And

1018
01:00:09,120 --> 01:00:13,920
Speaker 3: then even for Keys, who is presented as an antagonistic force,

1019
01:00:14,920 --> 01:00:16,880
Speaker 3: a lot of movies, I feel like would frame him

1020
01:00:16,920 --> 01:00:22,760
Speaker 3: as just like this blatant, big, bad, cruel, greedy, heartless,

1021
01:00:23,480 --> 01:00:26,760
Speaker 3: but he also displays compassion too, because you know, he

1022
01:00:26,880 --> 01:00:32,000
Speaker 3: understands that Elliot has this empathic connection with et and

1023
01:00:32,080 --> 01:00:34,400
Speaker 3: that he would want to say goodbye to e T

1024
01:00:34,600 --> 01:00:37,920
Speaker 3: when he dies, and he gives Elliott some time alone

1025
01:00:38,000 --> 01:00:44,080
Speaker 3: to say that goodbye. And in the sequel treatment that again,

1026
01:00:44,360 --> 01:00:47,840
Speaker 3: sequel never existed, but the treatment for it does have

1027
01:00:48,080 --> 01:00:56,280
Speaker 3: Keys and Mary getting together romantically, which feels unnecessary and annoying.

1028
01:00:56,520 --> 01:00:58,640
Speaker 1: Cares I was like, again, that's like the movie is

1029
01:00:58,680 --> 01:01:01,840
Speaker 1: too good for that. That's another thing that I like,

1030
01:01:01,880 --> 01:01:05,880
Speaker 1: where they don't say like, oh, well, what we need

1031
01:01:06,120 --> 01:01:09,680
Speaker 1: is a new father for these kids. It's like, I

1032
01:01:09,760 --> 01:01:12,680
Speaker 1: really like Dee Wallace's performance in this movie because it's like,

1033
01:01:12,720 --> 01:01:14,640
Speaker 1: we don't know a lot about Mary, but I feel

1034
01:01:14,640 --> 01:01:18,000
Speaker 1: like a lot comes through in the performance. She's a

1035
01:01:18,040 --> 01:01:21,240
Speaker 1: good mom, but also she's the sole breadwinner, so sometimes

1036
01:01:21,320 --> 01:01:23,320
Speaker 1: she's you know, it's like a latch key kid thing.

1037
01:01:23,440 --> 01:01:26,560
Speaker 3: Yeah, breadwinter and caregiver. Yeah yeah.

1038
01:01:26,720 --> 01:01:28,960
Speaker 1: Their house is so nice. I was like, oh my god,

1039
01:01:29,400 --> 01:01:32,400
Speaker 1: their house probably would cost two million dollars today, if

1040
01:01:32,440 --> 01:01:34,240
Speaker 1: not more. But you know, I think that there is

1041
01:01:34,360 --> 01:01:36,680
Speaker 1: room to know more about her. But because we're seeing

1042
01:01:36,720 --> 01:01:40,080
Speaker 1: this from the kid's perspectives, they wouldn't be like, what

1043
01:01:40,240 --> 01:01:43,120
Speaker 1: is mom's job? Like, we just know that she has

1044
01:01:43,200 --> 01:01:44,880
Speaker 1: to go to work. She's around them as much as

1045
01:01:44,920 --> 01:01:47,600
Speaker 1: she can be. And again, it's just like really sort

1046
01:01:47,640 --> 01:01:52,920
Speaker 1: of like a genuine feeling family dynamic where her kids

1047
01:01:52,960 --> 01:01:56,720
Speaker 1: love her, but they're also little assholes because they're kids, right,

1048
01:01:56,760 --> 01:01:59,080
Speaker 1: But she's not made out to be like the I

1049
01:01:59,080 --> 01:02:01,680
Speaker 1: feel like a lot again and another like kid's movie

1050
01:02:01,720 --> 01:02:04,760
Speaker 1: trope where it's like the parents are totally goofy and

1051
01:02:04,880 --> 01:02:08,120
Speaker 1: like I have no idea what's going on, And she

1052
01:02:08,240 --> 01:02:11,720
Speaker 1: doesn't know what's going on for a while, but when

1053
01:02:11,920 --> 01:02:14,640
Speaker 1: she finds out what's going on, she takes her kids

1054
01:02:14,760 --> 01:02:19,040
Speaker 1: feelings about it seriously mm hmmm. And I just like

1055
01:02:19,160 --> 01:02:22,960
Speaker 1: she Yeah, I like that she is, I mean, a

1056
01:02:23,000 --> 01:02:26,160
Speaker 1: good parent, but also like a complicated person, And you

1057
01:02:26,240 --> 01:02:28,880
Speaker 1: get those moments to know like she's also going through

1058
01:02:29,160 --> 01:02:32,280
Speaker 1: a lot for sure, but they don't try to resolve

1059
01:02:32,360 --> 01:02:36,120
Speaker 1: that by being like, here's a new husband, which is

1060
01:02:36,200 --> 01:02:38,400
Speaker 1: like the laziest thing you could possibly do.

1061
01:02:38,960 --> 01:02:43,000
Speaker 3: Right. There's one scene where she has a few like

1062
01:02:43,840 --> 01:02:47,120
Speaker 3: close encounters damn of the third kind.

1063
01:02:47,520 --> 01:02:48,520
Speaker 1: That's et.

1064
01:02:49,800 --> 01:02:52,640
Speaker 3: The scene where Et is like hiding among the stuffed

1065
01:02:52,680 --> 01:02:56,280
Speaker 3: animals and she doesn't notice, or the scene where Et

1066
01:02:56,480 --> 01:02:59,360
Speaker 3: is literally like right there walking around the kitchen and

1067
01:02:59,440 --> 01:03:02,160
Speaker 3: Gertie is trying to like introduce her mom to Et,

1068
01:03:02,920 --> 01:03:06,200
Speaker 3: and Mary is too preoccupied with like putting away the

1069
01:03:06,240 --> 01:03:09,360
Speaker 3: groceries to notice. And I feel like you could argue, oh,

1070
01:03:09,440 --> 01:03:12,720
Speaker 3: that's like a mother character being written to be so

1071
01:03:12,800 --> 01:03:15,960
Speaker 3: cartoonish that she doesn't even notice the alien that's right there.

1072
01:03:16,440 --> 01:03:19,880
Speaker 3: I honestly chalked it up to like she is the

1073
01:03:19,920 --> 01:03:24,800
Speaker 3: sole provider and caregiver for this family, and so she

1074
01:03:25,200 --> 01:03:28,960
Speaker 3: is going to be preoccupied, especially because like two of

1075
01:03:29,000 --> 01:03:33,080
Speaker 3: these kids are pretty young and right, So I'm like, yeah,

1076
01:03:33,120 --> 01:03:37,280
Speaker 3: she's just like handling the responsibility that she needs to

1077
01:03:37,320 --> 01:03:40,440
Speaker 3: handle as a parent. So it didn't feel written to

1078
01:03:40,480 --> 01:03:44,320
Speaker 3: me that she was like, oh, women or mothers are

1079
01:03:44,520 --> 01:03:48,480
Speaker 3: so oblivious. It's just that she's like got a lot

1080
01:03:48,520 --> 01:03:49,360
Speaker 3: on her plate.

1081
01:03:49,440 --> 01:03:52,720
Speaker 1: Right, the things that she doesn't know about. It makes

1082
01:03:52,920 --> 01:03:56,760
Speaker 1: sense and it doesn't make her negligent. And also just

1083
01:03:56,800 --> 01:03:59,560
Speaker 1: like her having to deal with like I guess Harrison

1084
01:03:59,680 --> 01:04:02,720
Speaker 1: Ford calling her and being like, Elliot's drunk at school.

1085
01:04:02,960 --> 01:04:07,920
Speaker 1: She's like, what, No, Yeah. I feel like she had

1086
01:04:07,960 --> 01:04:10,640
Speaker 1: like just the right amount of presence in the movie

1087
01:04:10,760 --> 01:04:14,520
Speaker 1: and is still like a very complicated, well thought out character.

1088
01:04:15,160 --> 01:04:18,760
Speaker 3: I also appreciate that you can tell that the kids

1089
01:04:19,240 --> 01:04:22,040
Speaker 3: miss their dad, that you know, there's a scene where

1090
01:04:22,760 --> 01:04:25,400
Speaker 3: Elliott and Michael find a shirt of their dad's in

1091
01:04:25,440 --> 01:04:27,840
Speaker 3: the garage and they're like smelling it and they're like, oh,

1092
01:04:27,880 --> 01:04:32,960
Speaker 3: it's old spice, dad's old cologne. And then there's another

1093
01:04:33,000 --> 01:04:36,800
Speaker 3: part where Elliott has told his family about finding whatever

1094
01:04:36,840 --> 01:04:40,160
Speaker 3: this creature is before they know what it is, and

1095
01:04:40,680 --> 01:04:44,000
Speaker 3: no one believes him, and he says, like Dad would

1096
01:04:44,000 --> 01:04:46,760
Speaker 3: have believed me. So you get little hints of that

1097
01:04:46,800 --> 01:04:49,800
Speaker 3: throughout the movie, but there's no sense of like the

1098
01:04:49,920 --> 01:04:54,920
Speaker 3: kids deeply resenting their mother, that no, it's not parents

1099
01:04:54,920 --> 01:04:57,640
Speaker 3: have split up, or that the like brothers have like

1100
01:04:58,000 --> 01:05:02,120
Speaker 3: a desperate longing for a man parental figure. You don't

1101
01:05:02,280 --> 01:05:06,920
Speaker 3: get those like very I think tropy senses that you

1102
01:05:06,960 --> 01:05:07,600
Speaker 3: would see.

1103
01:05:07,480 --> 01:05:09,480
Speaker 1: Right, And it's just like the reason that it's painful

1104
01:05:09,560 --> 01:05:12,480
Speaker 1: is just because it's different and they feel like abandoned.

1105
01:05:12,480 --> 01:05:14,680
Speaker 1: But I, yeah, you're told, I didn't even connect that

1106
01:05:14,720 --> 01:05:18,840
Speaker 1: where it's like some divorce narratives involved the kids being like, well,

1107
01:05:18,880 --> 01:05:21,920
Speaker 1: what did mom do wrong? She must have done something wrong.

1108
01:05:22,080 --> 01:05:24,200
Speaker 1: And I feel like there's another really good moment that

1109
01:05:24,280 --> 01:05:28,720
Speaker 1: I liked between Michael and his mom when Elliott has

1110
01:05:28,760 --> 01:05:31,680
Speaker 1: that moment of being like, well, dad's in Mexico with

1111
01:05:31,880 --> 01:05:35,560
Speaker 1: Sally and she has a moment and Michael gets really

1112
01:05:35,560 --> 01:05:38,760
Speaker 1: defensive of his mom, which feels just really like would

1113
01:05:38,840 --> 01:05:41,800
Speaker 1: totally make sense for the eldest kid because he was

1114
01:05:42,440 --> 01:05:45,560
Speaker 1: the most cognizant of what would have been going on

1115
01:05:45,760 --> 01:05:48,080
Speaker 1: and how it would have affected his mom, And that

1116
01:05:48,200 --> 01:05:51,080
Speaker 1: was just like I thought a really nice moment between

1117
01:05:51,800 --> 01:05:54,640
Speaker 1: you know, you don't really get any moments between Michael

1118
01:05:54,640 --> 01:05:58,600
Speaker 1: and his mom besides hearing off screen that he has

1119
01:05:58,640 --> 01:06:02,240
Speaker 1: a fucked up Halloween cause but like that moment you're like, oh,

1120
01:06:02,400 --> 01:06:05,760
Speaker 1: that totally makes sense and I feel like really endears

1121
01:06:05,800 --> 01:06:08,880
Speaker 1: you to Michael early in the movie where he wants

1122
01:06:08,920 --> 01:06:11,680
Speaker 1: to you know, be there for his mom. But also

1123
01:06:11,760 --> 01:06:16,880
Speaker 1: he's fourteen, right, it's just really thoughtful and yeah, like

1124
01:06:16,960 --> 01:06:20,080
Speaker 1: effortless where it's like his absence is there, but it's

1125
01:06:20,120 --> 01:06:27,080
Speaker 1: not like ET is my dad now, it's like like

1126
01:06:27,240 --> 01:06:29,920
Speaker 1: nothing weird like that. I did read that there was

1127
01:06:30,000 --> 01:06:34,680
Speaker 1: a like one of those like novelizations of ET where

1128
01:06:34,760 --> 01:06:39,920
Speaker 1: it's heavily implied that Mary wants to fuck Et whoa

1129
01:06:40,760 --> 01:06:42,800
Speaker 1: that she has a little bit of a crush on

1130
01:06:42,960 --> 01:06:47,360
Speaker 1: Okay Kinky kind of like I would read that book.

1131
01:06:47,720 --> 01:06:49,000
Speaker 1: I was like, yeah, forget.

1132
01:06:48,800 --> 01:06:51,120
Speaker 3: Keys, Yeah, ET's right.

1133
01:06:51,080 --> 01:06:54,880
Speaker 1: But mom, fuck e T meet your new father. It's ET.

1134
01:06:57,640 --> 01:07:01,600
Speaker 3: Well. The other thing about Mary is that she doesn't

1135
01:07:01,640 --> 01:07:06,960
Speaker 3: believe Michael about finding this like Goblin in the Woods

1136
01:07:07,000 --> 01:07:10,160
Speaker 3: or whatever. But she doesn't not not believe like it's right.

1137
01:07:10,360 --> 01:07:12,440
Speaker 3: She even says it's not that we don't believe you,

1138
01:07:13,400 --> 01:07:16,640
Speaker 3: but maybe you did imagine it, So she kind of

1139
01:07:16,640 --> 01:07:20,800
Speaker 3: dismisses him, but not entirely. We've talked about like children

1140
01:07:21,080 --> 01:07:25,880
Speaker 3: being believed or not being believed in different episodes as

1141
01:07:25,920 --> 01:07:29,600
Speaker 3: sort of a representation of how children are often not

1142
01:07:29,680 --> 01:07:34,200
Speaker 3: believed in real life and not taken seriously about certain matters.

1143
01:07:34,360 --> 01:07:37,880
Speaker 3: So I appreciate that that was addressed, and it felt

1144
01:07:37,960 --> 01:07:41,160
Speaker 3: like a realistic response, where like, yeah, if a kid

1145
01:07:41,200 --> 01:07:43,360
Speaker 3: comes up to you and it's like, yeah, I met

1146
01:07:43,440 --> 01:07:48,240
Speaker 3: a goblin in the field, you'd be like, are you

1147
01:07:48,360 --> 01:07:49,840
Speaker 3: sure it was a goblin?

1148
01:07:51,200 --> 01:07:54,480
Speaker 1: So well, but like she takes the concern seriously.

1149
01:07:54,640 --> 01:07:57,280
Speaker 3: Yeah, she doesn't entirely dismiss him, but she's also just

1150
01:07:57,360 --> 01:07:59,800
Speaker 3: like are you sure though, And it turns out he

1151
01:07:59,880 --> 01:08:03,720
Speaker 3: was sure because it is an alien, so egg on

1152
01:08:03,760 --> 01:08:08,640
Speaker 3: her face. But I felt like that was handled realistically.

1153
01:08:08,440 --> 01:08:09,440
Speaker 1: At least I agree.

1154
01:08:10,080 --> 01:08:12,479
Speaker 3: I agree, And then I wanted to talk a little

1155
01:08:12,520 --> 01:08:19,160
Speaker 3: bit about who is inside of ET because there were

1156
01:08:19,200 --> 01:08:23,400
Speaker 3: three people who took turns wearing the ET costume. So

1157
01:08:23,439 --> 01:08:28,400
Speaker 3: ET was a combination of like animatronic face stuff that

1158
01:08:28,560 --> 01:08:32,639
Speaker 3: was like done by puppeteers offscreen obviously, and then there

1159
01:08:32,640 --> 01:08:36,839
Speaker 3: were also people inside an Et costume, and so depending

1160
01:08:36,920 --> 01:08:40,879
Speaker 3: on what scene was being filmed, there were three possible

1161
01:08:40,920 --> 01:08:43,400
Speaker 3: people who it might have been. Two of them were

1162
01:08:43,520 --> 01:08:49,080
Speaker 3: little people. Their names are Tamara de Troux and Pat Bylon,

1163
01:08:49,920 --> 01:08:54,320
Speaker 3: and there was also a twelve year old kid named

1164
01:08:54,560 --> 01:08:55,400
Speaker 3: Matthew Demerit.

1165
01:08:55,720 --> 01:08:56,840
Speaker 1: I didn't know any of this.

1166
01:08:57,040 --> 01:09:02,160
Speaker 3: Wow, yes, I found it on scholarly journal Wikipedia. So

1167
01:09:02,200 --> 01:09:06,479
Speaker 3: Matthew DeMarre was born without legs, and he walked on

1168
01:09:06,640 --> 01:09:10,080
Speaker 3: his hands, and he played all the scenes where Et

1169
01:09:10,520 --> 01:09:15,400
Speaker 3: walked awkwardly or fell over, which is the phrasing that

1170
01:09:15,760 --> 01:09:18,280
Speaker 3: scholarly journal Wikipedia uses, like.

1171
01:09:18,280 --> 01:09:20,320
Speaker 1: When these like drunk kind of thing.

1172
01:09:20,720 --> 01:09:21,920
Speaker 3: Okay, yeah, I think so.

1173
01:09:22,280 --> 01:09:23,439
Speaker 1: Wow, I did not know that.

1174
01:09:23,800 --> 01:09:27,840
Speaker 3: Yes, So what I want to say is that little

1175
01:09:27,840 --> 01:09:31,400
Speaker 3: people and people with other physical disabilities get so little

1176
01:09:32,000 --> 01:09:35,360
Speaker 3: visibility in media, and if they are involved in a movie,

1177
01:09:35,439 --> 01:09:39,040
Speaker 3: it's often in a capacity like this like The Lord

1178
01:09:39,040 --> 01:09:42,559
Speaker 3: of the Rings, like Force perspective stuff comes to mind,

1179
01:09:42,600 --> 01:09:45,800
Speaker 3: where they would have little people playing the Hobbits and

1180
01:09:46,400 --> 01:09:50,280
Speaker 3: things like that, where it's very rarely characters who are

1181
01:09:50,320 --> 01:09:55,840
Speaker 3: actually seen visibly on screen as little people living in society.

1182
01:09:56,200 --> 01:10:02,280
Speaker 3: It's actors who are little people playing some creature or

1183
01:10:02,320 --> 01:10:05,000
Speaker 3: something like that, or it's you know, other actors with

1184
01:10:05,040 --> 01:10:09,080
Speaker 3: other physical disabilities doing something where they're not actually seen

1185
01:10:09,160 --> 01:10:13,960
Speaker 3: visibly on screen as they are there being some creature.

1186
01:10:14,680 --> 01:10:19,200
Speaker 3: So I wanted to acknowledge those actors and performers for

1187
01:10:19,240 --> 01:10:21,240
Speaker 3: the work that they did on the movie, and also

1188
01:10:21,320 --> 01:10:26,160
Speaker 3: acknowledge that there's that major lack of visibility for absolutely.

1189
01:10:26,160 --> 01:10:29,200
Speaker 1: I mean I just like I didn't know at all. Yeah,

1190
01:10:29,200 --> 01:10:34,560
Speaker 1: there were and that ET's voice, yeah, Pat Welsh like hmm, uncredited.

1191
01:10:35,040 --> 01:10:39,559
Speaker 3: Yes, she smoked two packs a day of cigarettes to

1192
01:10:39,680 --> 01:10:42,840
Speaker 3: give her the like quality of voice that Et has.

1193
01:10:43,040 --> 01:10:45,240
Speaker 3: It reminded me of the thing we talked about on

1194
01:10:46,000 --> 01:10:48,880
Speaker 3: The Exorcist where Mercedes McCambridge.

1195
01:10:49,160 --> 01:10:51,919
Speaker 1: Oh yeah, just like got fucked up all day long.

1196
01:10:51,880 --> 01:10:55,560
Speaker 3: And yeah, like would drink whiskey and ate rags and

1197
01:10:55,600 --> 01:10:59,519
Speaker 3: stuff to make the demon voice sound as intimidating.

1198
01:10:58,920 --> 01:11:03,120
Speaker 1: As it was. Like check in with me later, freed kid. Yeah,

1199
01:11:03,320 --> 01:11:07,800
Speaker 1: it's certainly an approach, but also I appreciate that the

1200
01:11:07,880 --> 01:11:13,360
Speaker 1: people who brought Et to life also not prescriptive to gender,

1201
01:11:13,520 --> 01:11:17,400
Speaker 1: Like it's that knife like that's further kind of lays

1202
01:11:17,439 --> 01:11:22,320
Speaker 1: out that you know, Et genderless icon gender doesn't give

1203
01:11:22,320 --> 01:11:27,240
Speaker 1: a shit, Like he's literally just trying to phone home.

1204
01:11:28,000 --> 01:11:30,120
Speaker 1: That's all. That's it.

1205
01:11:30,800 --> 01:11:32,439
Speaker 3: Yeah, yeah, is.

1206
01:11:32,360 --> 01:11:35,240
Speaker 1: There anything else you wanted to talk about with it? Oh? Well,

1207
01:11:35,280 --> 01:11:38,120
Speaker 1: I guess the surprise I thought the surprise kiss was

1208
01:11:38,160 --> 01:11:42,599
Speaker 1: so unnecessary in the middle of that, Like I thought

1209
01:11:42,640 --> 01:11:46,479
Speaker 1: that just felt very dated, and also knowing that like

1210
01:11:46,600 --> 01:11:50,200
Speaker 1: Henry Thomas, I guess was really really really uncomfortable being

1211
01:11:50,240 --> 01:11:53,000
Speaker 1: asked to do that and like didn't want to do

1212
01:11:53,080 --> 01:11:56,559
Speaker 1: it because he was just a little kid who was

1213
01:11:56,640 --> 01:12:00,360
Speaker 1: not interested in kissing. So I don't know. I mean,

1214
01:12:00,400 --> 01:12:05,320
Speaker 1: it's a smallish thing in the scope of eighties kids movies.

1215
01:12:05,400 --> 01:12:09,040
Speaker 1: ET is doing almost everything right, but I just did

1216
01:12:09,080 --> 01:12:11,759
Speaker 1: want to single that out. It's like not necessary, especially

1217
01:12:11,760 --> 01:12:15,200
Speaker 1: if they're not going to bother to like characterize.

1218
01:12:15,840 --> 01:12:19,960
Speaker 3: Little girl that Yeah. Yeah, it just feels very very

1219
01:12:20,000 --> 01:12:25,879
Speaker 3: reflective of the time where a surprise kiss was considered

1220
01:12:25,880 --> 01:12:30,439
Speaker 3: to be a romantic gesture, and the way it's framed

1221
01:12:30,479 --> 01:12:35,160
Speaker 3: in the movie is like ET is like helping Elliott

1222
01:12:35,320 --> 01:12:39,519
Speaker 3: do all these good things, such as release frogs from

1223
01:12:39,560 --> 01:12:44,240
Speaker 3: being killed ugly, that's a good thing, but also kissing

1224
01:12:44,280 --> 01:12:47,880
Speaker 3: a girl in his class without her consent, not good,

1225
01:12:48,040 --> 01:12:50,439
Speaker 3: not the same thing, Like, why would you pair those

1226
01:12:50,439 --> 01:12:51,160
Speaker 3: two things together?

1227
01:12:51,280 --> 01:12:54,360
Speaker 1: This is all like both seen as like heroic.

1228
01:12:54,000 --> 01:12:58,000
Speaker 3: Acts, right, and it was yucky.

1229
01:12:59,320 --> 01:13:02,839
Speaker 1: Sorry, I just saw my rug moving on the floor.

1230
01:13:03,439 --> 01:13:05,880
Speaker 1: What the fuck Casper got under the rug?

1231
01:13:06,000 --> 01:13:06,200
Speaker 3: Oh?

1232
01:13:06,760 --> 01:13:12,559
Speaker 1: Okay, around he was scaring my ass. Sorry, everything I'm saying, I'm.

1233
01:13:12,520 --> 01:13:15,680
Speaker 3: Safe now, Okay, good, glad to hear it. But no,

1234
01:13:15,800 --> 01:13:18,200
Speaker 3: that was really all I had. I'm sure there's some

1235
01:13:18,360 --> 01:13:20,960
Speaker 3: lure that we're missing, you know, there's so much with

1236
01:13:21,040 --> 01:13:24,920
Speaker 3: this movie. But yeah, those were the main points that

1237
01:13:25,080 --> 01:13:27,120
Speaker 3: I had. Did you have anything else?

1238
01:13:27,800 --> 01:13:30,960
Speaker 1: No, I think just the last This isn't a discourse thing,

1239
01:13:31,040 --> 01:13:32,960
Speaker 1: but the last thing I just wanted to single out

1240
01:13:33,200 --> 01:13:37,479
Speaker 1: was the creator of ET, or like the designer of ET.

1241
01:13:37,640 --> 01:13:38,479
Speaker 3: I guess yes.

1242
01:13:38,760 --> 01:13:41,800
Speaker 1: It was a guy named Carlo Rambaldi, and he just

1243
01:13:42,040 --> 01:13:45,599
Speaker 1: has an incredible resume. I just wanted to share other

1244
01:13:45,640 --> 01:13:49,559
Speaker 1: movies he did special effects on, including he had previously

1245
01:13:49,680 --> 01:13:55,240
Speaker 1: done Close Encounters with Spielberg. He did Alien one the

1246
01:13:55,320 --> 01:13:57,960
Speaker 1: seventy nine to one and won an Oscar for it.

1247
01:13:58,000 --> 01:14:01,439
Speaker 1: I believe he did Possession in the year before ET,

1248
01:14:01,640 --> 01:14:04,719
Speaker 1: which is like just wild. He did David Lynch Dune.

1249
01:14:05,479 --> 01:14:08,920
Speaker 1: He did just like all of these kind of incredible

1250
01:14:09,320 --> 01:14:13,639
Speaker 1: iconic special effects designs, and yeah when they Oscar twice

1251
01:14:13,720 --> 01:14:18,479
Speaker 1: once for Alien and once for et nice. And also

1252
01:14:18,560 --> 01:14:20,840
Speaker 1: I think that this is like a time that just

1253
01:14:20,840 --> 01:14:23,280
Speaker 1: something you don't see a lot or as much of

1254
01:14:23,520 --> 01:14:26,600
Speaker 1: anymore where It's like this huge blockbuster also got a

1255
01:14:26,640 --> 01:14:32,400
Speaker 1: lot of awards recognition because it's good, like and I

1256
01:14:32,439 --> 01:14:35,160
Speaker 1: think hopefully it seems like we're kind of turning a

1257
01:14:35,240 --> 01:14:37,599
Speaker 1: corner there where you can't just make a movie that's

1258
01:14:37,720 --> 01:14:41,840
Speaker 1: so bad and like I'm just like talking about Marvel stuff,

1259
01:14:42,120 --> 01:14:43,840
Speaker 1: but like, you can't just make a movie that's like

1260
01:14:43,920 --> 01:14:46,000
Speaker 1: a big piece of shit and expect to make a

1261
01:14:46,040 --> 01:14:48,759
Speaker 1: billion dollars. Like I think there is a turning audience

1262
01:14:48,840 --> 01:14:51,120
Speaker 1: expectation too. You do have to write to make it

1263
01:14:51,200 --> 01:14:54,599
Speaker 1: be good. It can't just look like shit.

1264
01:14:54,760 --> 01:14:57,479
Speaker 3: Yeah, Francis Ford Coppole, you can't just spend one hundred

1265
01:14:57,479 --> 01:15:00,560
Speaker 3: and twenty million dollars of your own money embarrassing.

1266
01:15:01,040 --> 01:15:03,280
Speaker 1: I mean, at least it was his money.

1267
01:15:04,280 --> 01:15:08,639
Speaker 3: True, Yeah, he should honestly just redistribute his wealth by

1268
01:15:08,720 --> 01:15:10,759
Speaker 3: making bad movies.

1269
01:15:10,840 --> 01:15:13,600
Speaker 1: Bad movies. At very least when I see someone like

1270
01:15:13,680 --> 01:15:17,240
Speaker 1: Blow that amount of their own personal accrude wealth. I'm like, well,

1271
01:15:17,240 --> 01:15:20,360
Speaker 1: at least they're not using it to hurt anybody. They're

1272
01:15:20,479 --> 01:15:22,080
Speaker 1: just except Caitlin's head.

1273
01:15:23,640 --> 01:15:24,000
Speaker 3: Yeah.

1274
01:15:24,040 --> 01:15:29,040
Speaker 1: True, But yeah. ET was nominated for nine Oscars how Wild,

1275
01:15:29,280 --> 01:15:32,080
Speaker 1: including Best Picture, It's Amazing.

1276
01:15:31,880 --> 01:15:37,120
Speaker 3: And Best Director, and it won Score, Original Score, Best

1277
01:15:37,200 --> 01:15:41,320
Speaker 3: Visual Effects, Best Sound, and Sound Editing. So more of

1278
01:15:41,320 --> 01:15:42,519
Speaker 3: the technical stuff.

1279
01:15:43,080 --> 01:15:45,720
Speaker 1: I still feel like Henry Thomas should have gotten like

1280
01:15:46,000 --> 01:15:49,920
Speaker 1: Best like it's such a special performance.

1281
01:15:50,320 --> 01:15:50,759
Speaker 5: Yeah.

1282
01:15:50,880 --> 01:15:52,800
Speaker 1: Anyways, Yeah, that's all I have to say. I'd say

1283
01:15:52,800 --> 01:15:57,320
Speaker 1: it does pass the Bechdel test because ET's genderless icon

1284
01:15:57,520 --> 01:16:02,400
Speaker 1: and there is a conversation between Mary and Gerty about

1285
01:16:02,720 --> 01:16:03,000
Speaker 1: E T.

1286
01:16:03,600 --> 01:16:08,320
Speaker 3: Yeah, I would agree with that. So even though they project,

1287
01:16:08,560 --> 01:16:14,840
Speaker 3: you know, man gender onto ET, I think ET rejects

1288
01:16:15,280 --> 01:16:16,080
Speaker 3: that projection.

1289
01:16:16,760 --> 01:16:18,880
Speaker 1: I think ET is like, there's bigger We've got bigger

1290
01:16:18,880 --> 01:16:20,479
Speaker 1: fish to fry. Can we stop?

1291
01:16:21,280 --> 01:16:25,959
Speaker 3: Yeah. As far as our nipple scale though, the scale

1292
01:16:26,160 --> 01:16:29,120
Speaker 3: where we rate the movie zero to five nipples based

1293
01:16:29,160 --> 01:16:33,800
Speaker 3: on examining it through an intersectional feminist lens, yeah, I

1294
01:16:33,840 --> 01:16:39,360
Speaker 3: mean characters of marginalized genders are not necessarily the focal

1295
01:16:39,439 --> 01:16:45,080
Speaker 3: point of ET, unless you count Et himself or themselves,

1296
01:16:46,960 --> 01:16:50,400
Speaker 3: but as far as like the human Women and Girls,

1297
01:16:50,680 --> 01:16:55,839
Speaker 3: which is pretty much only Merry and Girty, and Girty

1298
01:16:55,920 --> 01:17:01,080
Speaker 3: gets less screen time compared to her two brothers, and

1299
01:17:01,160 --> 01:17:04,200
Speaker 3: Mary doesn't get a lot of screen time because it's

1300
01:17:04,240 --> 01:17:08,000
Speaker 3: you know, coming from the kid's perspective of hiding this

1301
01:17:08,120 --> 01:17:13,160
Speaker 3: creature from their mom, so she's less of a presence

1302
01:17:13,360 --> 01:17:17,000
Speaker 3: than maybe some other kids movies. But I still appreciate

1303
01:17:17,040 --> 01:17:24,040
Speaker 3: how the movie handles emotional expression from the male characters

1304
01:17:24,320 --> 01:17:28,840
Speaker 3: and how it's presented as a strength, and the fact that,

1305
01:17:28,920 --> 01:17:33,519
Speaker 3: like the big connection between Et and Elliott is a

1306
01:17:33,760 --> 01:17:37,519
Speaker 3: like emotional one and an empathic one where they feel

1307
01:17:37,520 --> 01:17:41,040
Speaker 3: each other's feelings, and you don't really see that in

1308
01:17:41,160 --> 01:17:45,320
Speaker 3: most movies where there's some strong, like empathic connection between

1309
01:17:45,320 --> 01:17:50,960
Speaker 3: male characters or between a boy or man and anyone else.

1310
01:17:51,160 --> 01:17:54,080
Speaker 3: So I liked that. I liked that the other male

1311
01:17:54,160 --> 01:18:00,120
Speaker 3: characters are similarly compassionate, but also like multi dimensional. All

1312
01:18:00,160 --> 01:18:04,880
Speaker 3: the characters feel multi dimensional, and I feel like I

1313
01:18:04,920 --> 01:18:08,240
Speaker 3: want to feel like three nipples. I don't know why,

1314
01:18:08,360 --> 01:18:13,160
Speaker 3: but it just feels right in my heart, light and

1315
01:18:13,320 --> 01:18:15,759
Speaker 3: my in the tip of my finger.

1316
01:18:17,479 --> 01:18:19,679
Speaker 1: I love that, who are you giving your nipples?

1317
01:18:19,680 --> 01:18:22,960
Speaker 3: To I'll give one to the scene where Et gets

1318
01:18:23,000 --> 01:18:26,960
Speaker 3: plastered off of like one and a half cans of

1319
01:18:27,200 --> 01:18:32,560
Speaker 3: cores Iconic. I'll give one.

1320
01:18:32,560 --> 01:18:37,160
Speaker 1: To little Drew Barrymore, who.

1321
01:18:37,400 --> 01:18:43,000
Speaker 3: Was you know, her dad was an abusive parent and

1322
01:18:43,120 --> 01:18:47,519
Speaker 3: not really present in her life, and Steven Spielberg kind

1323
01:18:47,520 --> 01:18:51,200
Speaker 3: of adopted her slash became her godfather and like felt

1324
01:18:51,360 --> 01:18:54,880
Speaker 3: very responsible also wanted to maintain the illusion that Et

1325
01:18:55,160 --> 01:18:59,920
Speaker 3: was real. For Drew Barrymore, I love that story because

1326
01:19:00,040 --> 01:19:01,880
Speaker 3: she thought he was real and she would like have

1327
01:19:02,000 --> 01:19:05,559
Speaker 3: lunch with him on set and stuff. And one day

1328
01:19:05,600 --> 01:19:09,679
Speaker 3: she found like the various puppeteers and stuff who were

1329
01:19:09,720 --> 01:19:14,559
Speaker 3: controlling the like animatronic stuff with Et, and She's like,

1330
01:19:14,640 --> 01:19:17,679
Speaker 3: what's all this? And Spielberg was like, don't worry. Et

1331
01:19:17,840 --> 01:19:20,720
Speaker 3: is so important that he has eight assistants, Like those

1332
01:19:20,720 --> 01:19:22,920
Speaker 3: are just his little his assistants.

1333
01:19:23,479 --> 01:19:27,559
Speaker 1: Yeah, they're like Et is a diva. He has a

1334
01:19:27,600 --> 01:19:32,679
Speaker 1: lot of people, don't worry about I really like I again,

1335
01:19:32,800 --> 01:19:37,080
Speaker 1: it's like Spielberg is, he's a fucking Zionist. I will

1336
01:19:37,120 --> 01:19:39,479
Speaker 1: say that in the past, and still I mean it's hard,

1337
01:19:39,760 --> 01:19:44,040
Speaker 1: Like I really again appreciate especially like if you're we

1338
01:19:44,080 --> 01:19:46,280
Speaker 1: talk about this a lot, but not necessarily with like

1339
01:19:46,400 --> 01:19:50,479
Speaker 1: directors directing children, but like having you know, like if

1340
01:19:50,520 --> 01:19:53,840
Speaker 1: you are bringing an actor you know who is somehow

1341
01:19:53,920 --> 01:19:56,360
Speaker 1: vulnerable into your space. I also think about like when

1342
01:19:56,360 --> 01:19:59,800
Speaker 1: people cast non actors in their work, it's like you

1343
01:19:59,840 --> 01:20:03,639
Speaker 1: are to some extent I think responsible to like look

1344
01:20:03,680 --> 01:20:08,080
Speaker 1: out for them and like realize what incredible trust it takes,

1345
01:20:08,200 --> 01:20:11,200
Speaker 1: especially for a kid to trust you. It's like it's

1346
01:20:11,680 --> 01:20:14,840
Speaker 1: I'm glad that he like provided support even when she

1347
01:20:15,000 --> 01:20:15,679
Speaker 1: wasn't doing.

1348
01:20:15,520 --> 01:20:20,320
Speaker 3: Okay, yeah, yeah, yeah, And I'll split my final nipple

1349
01:20:20,479 --> 01:20:26,280
Speaker 3: between the three performers who were in the et suit

1350
01:20:26,760 --> 01:20:32,200
Speaker 3: and made et come to life in that way.

1351
01:20:31,439 --> 01:20:33,960
Speaker 1: I'm gonna go three and a half. I think I'm

1352
01:20:34,040 --> 01:20:36,240
Speaker 1: grading it probably on a curve because I just think

1353
01:20:36,240 --> 01:20:38,559
Speaker 1: it's such a beautiful movie. Again, I think, like there's

1354
01:20:38,600 --> 01:20:41,400
Speaker 1: absolutely not even a shred or a suggestion of any

1355
01:20:41,400 --> 01:20:46,720
Speaker 1: diversity within the casting of this movie, which is embarrassing.

1356
01:20:48,320 --> 01:20:51,040
Speaker 1: This takes place in southern California in eighty two. There's

1357
01:20:51,040 --> 01:20:55,599
Speaker 1: absolutely no reason that there shouldn't be a more diverse cast. Yeah,

1358
01:20:55,680 --> 01:20:57,479
Speaker 1: I mean I do think, yeah, like you're saying that

1359
01:20:57,720 --> 01:21:01,280
Speaker 1: a movie that, yes, it is a boys on Bikes movie,

1360
01:21:01,280 --> 01:21:03,640
Speaker 1: but it's my favorite boys on Bikes movie because it

1361
01:21:03,720 --> 01:21:08,000
Speaker 1: is all about like sensitivity and emotional intelligence. But they're

1362
01:21:08,040 --> 01:21:13,080
Speaker 1: not like Mary Sue kids. Like they still are obviously kids,

1363
01:21:13,120 --> 01:21:15,400
Speaker 1: and they still kind of give each other shit, and

1364
01:21:15,439 --> 01:21:20,200
Speaker 1: like it feels like really authentic relationships between the kids

1365
01:21:20,320 --> 01:21:24,080
Speaker 1: that encourages, you know, young boys at a time where

1366
01:21:24,200 --> 01:21:28,080
Speaker 1: nothing about culture was encouraging young boys to feel their

1367
01:21:28,160 --> 01:21:31,680
Speaker 1: feelings and not be like ashamed of it, and that

1368
01:21:31,680 --> 01:21:34,800
Speaker 1: that's like a strength. And yeah, the way that the

1369
01:21:34,800 --> 01:21:37,559
Speaker 1: family dynamics I kind of wonder. I mean, I don't

1370
01:21:37,600 --> 01:21:40,280
Speaker 1: think obviously this is far from the first movie that

1371
01:21:40,400 --> 01:21:43,960
Speaker 1: presents a divorced family, but even so, I think, like

1372
01:21:44,080 --> 01:21:46,920
Speaker 1: doing that on such a large scale and doing it

1373
01:21:46,960 --> 01:21:50,120
Speaker 1: in a way that is not blamey or shamey towards

1374
01:21:50,760 --> 01:21:55,519
Speaker 1: their mom, it's just difficult things really beautiful and yeah,

1375
01:21:55,600 --> 01:21:59,280
Speaker 1: I just love this damn movie. Et looks ugly though.

1376
01:22:01,960 --> 01:22:03,200
Speaker 3: There's no getting around it.

1377
01:22:03,360 --> 01:22:07,120
Speaker 1: But yeah, even though the characters we generally focus on, well,

1378
01:22:07,160 --> 01:22:10,840
Speaker 1: I mean, Elliott is a boy et genderless icon, but

1379
01:22:10,960 --> 01:22:14,519
Speaker 1: I just feel like there is equity not in screen time,

1380
01:22:14,640 --> 01:22:18,599
Speaker 1: but in how the care that every character is treated

1381
01:22:18,880 --> 01:22:23,000
Speaker 1: with and considered, and that feels so rare. I feel

1382
01:22:23,000 --> 01:22:26,559
Speaker 1: like so many mom characters or little sister characters just

1383
01:22:26,560 --> 01:22:29,840
Speaker 1: fade into the background or they're the joke, and that's

1384
01:22:29,880 --> 01:22:32,280
Speaker 1: not the case for this movie. So I'm gonna give

1385
01:22:32,320 --> 01:22:34,519
Speaker 1: it three and a half nipples. I'm gonna give one

1386
01:22:34,520 --> 01:22:38,719
Speaker 1: to Melissa Matheson. I'm going to also split one between

1387
01:22:39,280 --> 01:22:42,719
Speaker 1: the three performers. I'm gonna give one to d Wallace

1388
01:22:42,800 --> 01:22:45,760
Speaker 1: because I feel like she is so good in this

1389
01:22:45,920 --> 01:22:48,880
Speaker 1: and also like I'm sort of giving the nipple mostly

1390
01:22:48,960 --> 01:22:52,400
Speaker 1: too when she can't stop herself from laughing when Elliott

1391
01:22:52,920 --> 01:22:57,040
Speaker 1: calls Michael Penis breath. That felt like, that's just like

1392
01:22:57,200 --> 01:23:00,000
Speaker 1: such a great moment. And I'll give my last half

1393
01:23:00,120 --> 01:23:02,280
Speaker 1: to Pat Welsh and her cigarettes.

1394
01:23:03,160 --> 01:23:07,720
Speaker 3: Yes, indeed, Well, listeners, there you have it.

1395
01:23:08,320 --> 01:23:11,600
Speaker 1: Do do do do do? Dude? We phoned home, but

1396
01:23:11,680 --> 01:23:12,760
Speaker 1: we didn't phone it in.

1397
01:23:12,920 --> 01:23:14,840
Speaker 3: We didn't phone it in, but we did phone at

1398
01:23:14,840 --> 01:23:18,120
Speaker 3: home to your home and to your ears. What if

1399
01:23:18,160 --> 01:23:22,000
Speaker 3: we recorded the podcast using the same device like communication

1400
01:23:22,080 --> 01:23:24,160
Speaker 3: device that ET uses.

1401
01:23:24,560 --> 01:23:27,840
Speaker 1: This whole thing has been recorded with a buzzsaw and

1402
01:23:27,880 --> 01:23:31,320
Speaker 1: a spell it sounds, so if it sounds bad, that's

1403
01:23:31,320 --> 01:23:31,599
Speaker 1: a lie.

1404
01:23:31,920 --> 01:23:38,559
Speaker 3: That's why. Well, but yeah, thank you for listening, and

1405
01:23:39,680 --> 01:23:44,560
Speaker 3: you can follow us on social media on Instagram at Bechdelcast.

1406
01:23:44,680 --> 01:23:47,520
Speaker 3: You can subscribe to our Matreon.

1407
01:23:48,240 --> 01:23:48,919
Speaker 1: Uh huh.

1408
01:23:49,080 --> 01:23:51,640
Speaker 3: This month we did the poll and the winners of

1409
01:23:51,680 --> 01:23:57,400
Speaker 3: the pole. It's Women Thieves Ary aka.

1410
01:23:57,400 --> 01:24:05,720
Speaker 6: Women's Wrongs Right and Women's Wrongs Women be Stealing is

1411
01:24:05,800 --> 01:24:10,000
Speaker 6: the theme because it's the Bling Ring and Ocean's eight.

1412
01:24:10,479 --> 01:24:13,000
Speaker 1: I'm very excited. I have seen neither, so I'm very

1413
01:24:13,040 --> 01:24:17,840
Speaker 1: excited to get into that month. We referenced our recent

1414
01:24:17,840 --> 01:24:21,120
Speaker 1: episode on The Exorcist. That's over there. We just finished

1415
01:24:21,120 --> 01:24:24,040
Speaker 1: our Horror Month. A lot of good stuff going on

1416
01:24:24,040 --> 01:24:26,639
Speaker 1: on the Matreon, so please go over. It's the best

1417
01:24:26,680 --> 01:24:29,639
Speaker 1: way to directly support the show. People sometimes will ask

1418
01:24:29,720 --> 01:24:32,200
Speaker 1: like what is that is the way to directly support

1419
01:24:32,320 --> 01:24:32,639
Speaker 1: the show?

1420
01:24:32,800 --> 01:24:35,679
Speaker 3: Way to do it? So go to patreon dot com

1421
01:24:35,680 --> 01:24:39,519
Speaker 3: slash Bechtel Cast and pledge only five dollars a month.

1422
01:24:40,000 --> 01:24:42,680
Speaker 1: What a bargain for a back catalog of over one

1423
01:24:42,720 --> 01:24:45,400
Speaker 1: hundred and fifty episodes. You can also grab some merch

1424
01:24:45,439 --> 01:24:48,000
Speaker 1: of your so inclined at teapublic dot com slash the

1425
01:24:48,280 --> 01:24:53,800
Speaker 1: Bechdel Cast and with that let's freaking go home. My

1426
01:24:53,880 --> 01:24:55,640
Speaker 1: mom just got here. My mom's here to pick me up.

1427
01:24:55,720 --> 01:24:57,240
Speaker 1: My mom's here to pick me up. I gotta go.

1428
01:24:57,400 --> 01:24:59,200
Speaker 3: We gotta go by.

1429
01:24:59,400 --> 01:25:03,080
Speaker 1: My mom's here. Gotta go bye. That's what he says.

1430
01:25:08,240 --> 01:25:11,559
Speaker 3: The Bechdel Cast is a production of iHeartMedia, hosted by

1431
01:25:11,600 --> 01:25:15,479
Speaker 3: Caitlin Derante and Jamie Loftis, produced by Sophie Lichterman, edited

1432
01:25:15,560 --> 01:25:18,760
Speaker 3: by Mola bord Our. Theme song was composed by Mike

1433
01:25:18,840 --> 01:25:23,200
Speaker 3: Kaplan with vocals by Katherine Voskressensky. Our logo and merch

1434
01:25:23,360 --> 01:25:26,360
Speaker 3: is designed by Jamie Loftis and a special thanks to

1435
01:25:26,360 --> 01:25:30,800
Speaker 3: Aristotle Assevedo. For more information about the podcast, please visit

1436
01:25:30,840 --> 01:25:32,840
Speaker 3: linktree slash Bechdel Cast