1
00:00:00,440 --> 00:00:05,560
Speaker 1: Hi, everybody. Casey here, I'm going to start this episode

2
00:00:05,760 --> 00:00:10,240
Speaker 1: a little differently today. Millie is also here. Don't be alarmed,

3
00:00:11,680 --> 00:00:15,640
Speaker 1: but I'm going to start things off a little differently

4
00:00:16,560 --> 00:00:20,560
Speaker 1: this week because, you know, we both try to be

5
00:00:20,840 --> 00:00:26,120
Speaker 1: authentic people on this show and bring our real selves

6
00:00:26,160 --> 00:00:29,680
Speaker 1: to this show. And something has happened in my life

7
00:00:29,720 --> 00:00:33,400
Speaker 1: this week, and too many people's lives this week, that

8
00:00:33,680 --> 00:00:38,240
Speaker 1: has really impacted me. Many of you know, I'm from Minneapolis.

9
00:00:38,280 --> 00:00:44,080
Speaker 1: I grew up here and I went to Annunciation School

10
00:00:45,120 --> 00:00:49,760
Speaker 1: from kindergarten through eighth grade. And many of you heard

11
00:00:49,840 --> 00:00:53,200
Speaker 1: that there was a school shooting there this week. We're

12
00:00:53,200 --> 00:00:57,000
Speaker 1: recording on Friday and the twenty ninth, and the school

13
00:00:57,000 --> 00:01:02,320
Speaker 1: shooting happened on August twenty seventh and Wednesday in the morning.

14
00:01:02,600 --> 00:01:08,760
Speaker 1: And I'm very connected to Annunciation. I know a lot

15
00:01:08,800 --> 00:01:11,760
Speaker 1: of people who were there during the shooting, and I

16
00:01:11,880 --> 00:01:14,720
Speaker 1: know a lot of people whose kids were there during

17
00:01:14,720 --> 00:01:20,280
Speaker 1: the shooting. And when we found out that it was happening,

18
00:01:22,040 --> 00:01:23,600
Speaker 1: like I said, I know a lot of people who

19
00:01:24,080 --> 00:01:29,000
Speaker 1: worked there, and we didn't know who was alive, and

20
00:01:29,040 --> 00:01:31,800
Speaker 1: we were texting just trying to figure out if these

21
00:01:31,840 --> 00:01:36,520
Speaker 1: people that we know and love are still with us

22
00:01:36,760 --> 00:01:43,480
Speaker 1: and Annunciation is a huge part of my life. Like

23
00:01:43,520 --> 00:01:46,440
Speaker 1: I said, I went there from kindergarten three eighth grade,

24
00:01:47,080 --> 00:01:50,640
Speaker 1: but I was also in their youth ministry program. Aam

25
00:01:51,120 --> 00:01:55,400
Speaker 1: all through high school. I was an intern at the church.

26
00:01:56,000 --> 00:01:59,000
Speaker 1: In college. I worked for the church in their youth

27
00:01:59,040 --> 00:02:04,720
Speaker 1: ministry program. I had my wedding, my marriage blessed there.

28
00:02:04,720 --> 00:02:07,080
Speaker 1: We didn't get married there, but we had our marriage

29
00:02:08,120 --> 00:02:11,680
Speaker 1: blessed there by the priest, so to fulfill the sacrament

30
00:02:11,720 --> 00:02:15,320
Speaker 1: of marriage. There. My nephew was baptized there. I had

31
00:02:15,320 --> 00:02:20,440
Speaker 1: my first communion there. All my brothers went there. My

32
00:02:21,240 --> 00:02:24,560
Speaker 1: family it's gone to that church for a long time,

33
00:02:24,840 --> 00:02:30,520
Speaker 1: and this was a very devastating week for us and

34
00:02:30,600 --> 00:02:38,799
Speaker 1: the entire community. I love Annunciation. It's a deep part

35
00:02:38,840 --> 00:02:42,639
Speaker 1: of who I am. It's a very creative place. It's

36
00:02:42,639 --> 00:02:45,440
Speaker 1: a very creative school. I would I learned all of

37
00:02:45,480 --> 00:02:49,800
Speaker 1: my like passion and love for art there. You know,

38
00:02:49,840 --> 00:02:53,800
Speaker 1: our creative art teacher. I went there during college. After

39
00:02:53,840 --> 00:02:55,720
Speaker 1: I finished one of my films. I wanted to show

40
00:02:55,720 --> 00:03:00,360
Speaker 1: our art teacher my film. My grade school teacher, mist Brookland,

41
00:03:00,400 --> 00:03:04,760
Speaker 1: who passed away this year, but she was a huge

42
00:03:04,760 --> 00:03:07,320
Speaker 1: influence on me and that place, and it fostered a

43
00:03:07,360 --> 00:03:12,639
Speaker 1: lot of artists to come out of there. And the church, I,

44
00:03:12,760 --> 00:03:14,520
Speaker 1: like I said, was a part of the youth group there,

45
00:03:14,600 --> 00:03:21,000
Speaker 1: and you know it wasn't we weren't like super religious people.

46
00:03:21,080 --> 00:03:22,600
Speaker 1: I mean, we went to church there, but this was

47
00:03:22,600 --> 00:03:24,600
Speaker 1: more of a community space. I would go there to

48
00:03:24,600 --> 00:03:27,880
Speaker 1: watch Vikings games every Sunday in the youth ministry room

49
00:03:27,919 --> 00:03:30,480
Speaker 1: because it was like open to teens basically to like

50
00:03:30,639 --> 00:03:32,360
Speaker 1: go in and hang out. And so it was like

51
00:03:32,400 --> 00:03:39,800
Speaker 1: a safe place for us. And to see Annunciation on

52
00:03:39,880 --> 00:03:44,920
Speaker 1: the national news and to see like celebrities retweeting pictures

53
00:03:44,920 --> 00:03:51,880
Speaker 1: of moms running towards the shooting on the news, it's

54
00:03:51,920 --> 00:03:57,200
Speaker 1: really hard. It's really devastating. Feels like a total violation,

55
00:03:58,320 --> 00:04:04,760
Speaker 1: and it feels so personal and intimate. And you know,

56
00:04:06,320 --> 00:04:10,200
Speaker 1: we were driving to the vigil the other night and

57
00:04:10,240 --> 00:04:12,360
Speaker 1: my mom was saying, she was like, I can't believe

58
00:04:12,400 --> 00:04:14,160
Speaker 1: I turned on when I turned on the news and

59
00:04:14,160 --> 00:04:18,800
Speaker 1: I saw Nunciation on the screen. I thought, that's our home,

60
00:04:18,960 --> 00:04:24,039
Speaker 1: that's our safe place. You know. It's just really devastating,

61
00:04:24,320 --> 00:04:30,000
Speaker 1: and it's horrible for all these children that were injured

62
00:04:30,000 --> 00:04:33,680
Speaker 1: by gun violence and the two babies that were killed

63
00:04:34,240 --> 00:04:38,679
Speaker 1: there that day. And I know a lot of people

64
00:04:38,680 --> 00:04:42,760
Speaker 1: are affected by this, but I was very deeply affected

65
00:04:42,760 --> 00:04:45,080
Speaker 1: by this. I'm still very connected to the place there

66
00:04:45,400 --> 00:04:50,080
Speaker 1: and it's had a huge impact on me, and I

67
00:04:50,160 --> 00:04:51,920
Speaker 1: just wanted to express that at the top of the

68
00:04:51,960 --> 00:04:55,200
Speaker 1: show because I'm dealing with that in real time and

69
00:04:55,320 --> 00:05:00,560
Speaker 1: I'm excited to record this podcast with Millie and this

70
00:05:00,720 --> 00:05:03,560
Speaker 1: is a joy for me. But to bring my sort

71
00:05:03,600 --> 00:05:07,360
Speaker 1: of authentic self to this place, I just want to

72
00:05:07,400 --> 00:05:11,320
Speaker 1: discuss sort of what's happening in my life. And I'm

73
00:05:11,320 --> 00:05:14,960
Speaker 1: not going to make some you know, grand standing political

74
00:05:15,000 --> 00:05:18,520
Speaker 1: statement about this, but I don't understand why we can't

75
00:05:18,800 --> 00:05:21,600
Speaker 1: fix the leading cause of death and children when the

76
00:05:21,640 --> 00:05:25,000
Speaker 1: answer is a very clear to take away guns. I

77
00:05:25,000 --> 00:05:27,080
Speaker 1: don't understand why we can't do it. I don't think

78
00:05:27,080 --> 00:05:29,480
Speaker 1: anyone should own a gun, let alone an assault rifle.

79
00:05:30,320 --> 00:05:37,359
Speaker 1: And I don't have any delusions that this is going

80
00:05:37,440 --> 00:05:40,000
Speaker 1: to change anything. I felt this way before, I feel

81
00:05:40,000 --> 00:05:44,240
Speaker 1: it now, but it's just very close to me, and

82
00:05:45,160 --> 00:05:46,600
Speaker 1: I just think to not bring it up would have

83
00:05:46,600 --> 00:05:53,680
Speaker 1: been very painful for me and inauthentic. And yeah, so

84
00:05:55,400 --> 00:05:59,680
Speaker 1: I don't have much more to say about that, But

85
00:06:00,560 --> 00:06:05,440
Speaker 1: there are a lot of gofundmes for the children that

86
00:06:07,040 --> 00:06:13,000
Speaker 1: were injured by gunfire, and a lot of those are

87
00:06:13,000 --> 00:06:15,760
Speaker 1: getting filled, so I might it might by the time

88
00:06:15,839 --> 00:06:18,960
Speaker 1: this podcast comes out, those might be kind of already

89
00:06:18,960 --> 00:06:21,960
Speaker 1: filled up. But I'm going to post some places that

90
00:06:22,000 --> 00:06:26,520
Speaker 1: you can donate to Annunciation School in Church if you'd like.

91
00:06:26,560 --> 00:06:28,200
Speaker 1: It would mean a lot to me if you did.

92
00:06:29,080 --> 00:06:34,160
Speaker 1: But yeah, it's a very space. I can't emphasize enough

93
00:06:34,600 --> 00:06:39,320
Speaker 1: how much a part of me that place is. I

94
00:06:39,720 --> 00:06:44,080
Speaker 1: to this day. I filmed a movie in February, and

95
00:06:44,160 --> 00:06:47,600
Speaker 1: about a third of that movie is filmed in Annunciation School.

96
00:06:48,360 --> 00:06:50,839
Speaker 1: Because I knew I needed a school location, and I

97
00:06:50,880 --> 00:06:53,480
Speaker 1: know people that worked there. I knew they would let

98
00:06:53,480 --> 00:06:55,839
Speaker 1: me film there for free because I'm like a part

99
00:06:55,839 --> 00:06:59,840
Speaker 1: of that community, you know. So Millie, I want to

100
00:06:59,839 --> 00:07:03,000
Speaker 1: say thank you for letting me talk about this a

101
00:07:03,080 --> 00:07:05,360
Speaker 1: little bit at the top. I know this is tonally

102
00:07:05,440 --> 00:07:11,360
Speaker 1: not how our show normally is, but it's important to me,

103
00:07:11,400 --> 00:07:14,520
Speaker 1: and so thank you for letting me talk on that

104
00:07:14,640 --> 00:07:17,840
Speaker 1: for a little bit. We've got a great show today

105
00:07:18,640 --> 00:07:23,560
Speaker 1: and we will be talking about Manila in the clause

106
00:07:23,600 --> 00:07:27,640
Speaker 1: of light and We've got a film Regret and a

107
00:07:27,680 --> 00:07:30,320
Speaker 1: film Grape, and I hope you're able to enjoy the

108
00:07:30,360 --> 00:07:33,280
Speaker 1: rest of this show. Thank you for listening, and we've

109
00:07:33,320 --> 00:07:34,360
Speaker 1: got a great show for you guys.

110
00:07:34,760 --> 00:07:41,360
Speaker 2: Thank you, and I've got to.

111
00:07:43,880 --> 00:07:48,680
Speaker 1: Love me to check the box.

112
00:08:03,320 --> 00:08:07,280
Speaker 2: Welcome everyone to another episode of Dear Movies, I Love You.

113
00:08:07,840 --> 00:08:10,280
Speaker 2: This is a podcast for those who are in a

114
00:08:10,720 --> 00:08:16,600
Speaker 2: relationship with movies and maybe sometimes it's one sided. Maybe

115
00:08:16,600 --> 00:08:23,000
Speaker 2: it's that you have a favorite celebrity and you like

116
00:08:23,040 --> 00:08:25,480
Speaker 2: to stare at their picture on a photo album and

117
00:08:25,520 --> 00:08:28,200
Speaker 2: then you're like, what would it be like if I

118
00:08:28,240 --> 00:08:30,080
Speaker 2: became their assistant?

119
00:08:30,760 --> 00:08:34,600
Speaker 1: Are there any actors that you would go like just

120
00:08:34,920 --> 00:08:38,319
Speaker 1: like go see a movie four Like you're like, oh,

121
00:08:38,360 --> 00:08:40,440
Speaker 1: they're in it. I need to see that movie, like

122
00:08:40,679 --> 00:08:44,400
Speaker 1: Sight Unseen sort of yeah, because I feel like I

123
00:08:44,440 --> 00:08:47,800
Speaker 1: feel like my parents' generation, they're like, oh, so and

124
00:08:47,840 --> 00:08:50,560
Speaker 1: So's in it. I'm seeing it. I don't have the

125
00:08:50,559 --> 00:08:54,320
Speaker 1: same relationship with actors. Does that make sense?

126
00:08:54,679 --> 00:08:57,200
Speaker 2: Yeah, I mean I guess, I mean there, I'm sure

127
00:08:57,200 --> 00:09:00,280
Speaker 2: there are several. I mean I think about like, Okay,

128
00:09:01,080 --> 00:09:07,320
Speaker 2: I will watch any Dana McBride TV show, sure, Like

129
00:09:07,400 --> 00:09:09,280
Speaker 2: it doesn't even matter I was like, as long as

130
00:09:09,320 --> 00:09:15,160
Speaker 2: he talks like a braddy, filthy southern middle schooler, then

131
00:09:15,200 --> 00:09:18,080
Speaker 2: I'm I'm there for whatever iteration of that.

132
00:09:18,240 --> 00:09:20,840
Speaker 1: But with him, though, there's sort of the understanding that

133
00:09:20,880 --> 00:09:22,800
Speaker 1: he's like writing in direct, like he's a part of

134
00:09:22,840 --> 00:09:25,400
Speaker 1: the creative process of course, you know what I mean.

135
00:09:25,559 --> 00:09:28,760
Speaker 1: So like that gives it a little more oomph. But like,

136
00:09:29,960 --> 00:09:31,880
Speaker 1: I don't feel like if I'm like, oh, Tom Hanks

137
00:09:32,000 --> 00:09:34,280
Speaker 1: is in this movie, even though I love Tom Hanks,

138
00:09:34,559 --> 00:09:36,760
Speaker 1: I wouldn't be like I gotta see that because I'm like, well,

139
00:09:36,840 --> 00:09:38,160
Speaker 1: let me see what is this movie?

140
00:09:38,240 --> 00:09:40,559
Speaker 2: I mean, you know, Keanu Reeves is.

141
00:09:40,480 --> 00:09:42,760
Speaker 1: Probably that might be the answer.

142
00:09:44,120 --> 00:09:47,840
Speaker 2: I really love him. Yeah, and usually it feels like

143
00:09:47,880 --> 00:09:50,240
Speaker 2: now if he is in a movie, it's within the

144
00:09:50,320 --> 00:09:53,840
Speaker 2: John Wick property universe, and that's always a yes. So,

145
00:09:55,200 --> 00:09:57,400
Speaker 2: by the way, my name is Millie to Jericho.

146
00:09:57,920 --> 00:09:59,920
Speaker 1: Oh, mine is Casey Obra.

147
00:10:00,120 --> 00:10:05,320
Speaker 2: I will pose another question to you along those lines

148
00:10:05,400 --> 00:10:09,080
Speaker 2: as we talk about Manila and the Clause of Light.

149
00:10:09,200 --> 00:10:13,360
Speaker 2: But yeah, this week is going to be kind of

150
00:10:13,360 --> 00:10:15,920
Speaker 2: interesting because we're really kind of focusing in on this

151
00:10:16,040 --> 00:10:20,480
Speaker 2: one film that is what many people say is the

152
00:10:20,520 --> 00:10:23,000
Speaker 2: greatest Filipino movie. Of all time.

153
00:10:23,120 --> 00:10:25,920
Speaker 1: That's what I was reading. They say it's the greatest

154
00:10:25,960 --> 00:10:30,599
Speaker 1: Filipino movie of all time. That's quite high status.

155
00:10:31,040 --> 00:10:34,720
Speaker 2: Well, and it's interesting because I would be willing to

156
00:10:34,760 --> 00:10:43,000
Speaker 2: bet that most people who consider themselves movie lovers could

157
00:10:43,080 --> 00:10:48,839
Speaker 2: not even fathom they're being a greatest Filipino movie of

158
00:10:48,840 --> 00:10:51,040
Speaker 2: all time. They were like what, I didn't even realized

159
00:10:51,080 --> 00:10:53,640
Speaker 2: they had movies? Do you know what I'm saying? That's

160
00:10:53,679 --> 00:10:59,080
Speaker 2: how Yeah, that's how sort of I don't know, relatively

161
00:10:59,200 --> 00:11:02,440
Speaker 2: unknown the Filipino film industry is, which is, you know,

162
00:11:02,800 --> 00:11:05,520
Speaker 2: like it is what it is type of thing. But

163
00:11:06,480 --> 00:11:08,400
Speaker 2: maybe we'll shed some light on it a little bit

164
00:11:08,440 --> 00:11:08,960
Speaker 2: this week.

165
00:11:09,640 --> 00:11:12,400
Speaker 1: Sure, I hope we do. With your guidance.

166
00:11:13,040 --> 00:11:16,440
Speaker 2: Yeah, and then we have We're going to reach the

167
00:11:16,440 --> 00:11:19,920
Speaker 2: mail bag and read a couple of emails that we've

168
00:11:19,960 --> 00:11:23,360
Speaker 2: been getting. We've been getting a lot of film gripes

169
00:11:23,360 --> 00:11:24,720
Speaker 2: and film regrets.

170
00:11:25,080 --> 00:11:27,760
Speaker 1: I love to see that. I feel like we're really

171
00:11:27,880 --> 00:11:33,520
Speaker 1: establishing a community here of people who regret and grape.

172
00:11:33,720 --> 00:11:35,400
Speaker 1: And I love that too.

173
00:11:35,440 --> 00:11:40,040
Speaker 2: I love the negativity of it all. We need more

174
00:11:40,559 --> 00:11:41,400
Speaker 2: in this film world.

175
00:11:41,880 --> 00:11:43,120
Speaker 1: We do, We truly do.

176
00:11:43,679 --> 00:11:47,560
Speaker 2: So what do you think about I never do this

177
00:11:47,600 --> 00:11:49,720
Speaker 2: By the way, I think this might be the am

178
00:11:49,800 --> 00:11:51,480
Speaker 2: I opening up the film diary.

179
00:11:52,120 --> 00:11:56,800
Speaker 1: We need your strength, Okay, Millie, you lift more than

180
00:11:56,800 --> 00:11:59,440
Speaker 1: I do, so you really should be opening it every time.

181
00:11:59,880 --> 00:12:02,640
Speaker 1: I'm just carrying around a fat little baby. Maybe that

182
00:12:02,640 --> 00:12:05,080
Speaker 1: that's where my strength comes from, but I'm not. You know,

183
00:12:05,120 --> 00:12:05,920
Speaker 1: in the gym, do.

184
00:12:05,920 --> 00:12:08,800
Speaker 2: You think we should like compare? Do you know what

185
00:12:08,840 --> 00:12:09,520
Speaker 2: you deadlift?

186
00:12:10,120 --> 00:12:14,080
Speaker 1: I have a million, I have no idea. I bet

187
00:12:14,120 --> 00:12:16,440
Speaker 1: you lift more than I bet you can lift. I

188
00:12:16,480 --> 00:12:18,800
Speaker 1: bet you can almost lift twice as much as I can.

189
00:12:19,800 --> 00:12:23,760
Speaker 2: I will probably say you're correct on that. But I

190
00:12:23,800 --> 00:12:30,040
Speaker 2: haven't actually been weightlifting lately. Yeah, I've been, uh well,

191
00:12:30,280 --> 00:12:32,200
Speaker 2: I kind of have taken a little break from it

192
00:12:33,240 --> 00:12:38,840
Speaker 2: injuries and whatnot. But I bet even if it's been

193
00:12:38,880 --> 00:12:42,440
Speaker 2: a while, I could still probably deadlift pretty well. Because

194
00:12:42,480 --> 00:12:46,800
Speaker 2: you know, as you know, the origin story for this

195
00:12:46,840 --> 00:12:50,600
Speaker 2: whole deadlifting endeavor to begin with was started on my

196
00:12:50,679 --> 00:12:54,520
Speaker 2: old podcast. Yes I saw what you did. And the

197
00:12:54,559 --> 00:12:57,200
Speaker 2: whole reason why I even started weightlifting to begin with

198
00:12:57,400 --> 00:13:00,080
Speaker 2: is because I wanted to be able to lift the

199
00:13:00,120 --> 00:13:05,160
Speaker 2: weight of the actor James Kahn, And it really was

200
00:13:05,280 --> 00:13:07,160
Speaker 2: because of the film Misery.

201
00:13:07,920 --> 00:13:10,280
Speaker 1: Oh okay, this makes sense, Yeah, you want it?

202
00:13:10,480 --> 00:13:14,640
Speaker 2: Yeah, I basically wanted to be Kathy Bates throwing James

203
00:13:14,679 --> 00:13:18,400
Speaker 2: conn around down the stairs, you know, yeah, throwing his

204
00:13:18,480 --> 00:13:21,120
Speaker 2: ass around the house. That's what was like. And I thought, Wow,

205
00:13:21,160 --> 00:13:22,120
Speaker 2: that's a fitness goal.

206
00:13:22,720 --> 00:13:25,920
Speaker 1: And because that life, what that type of lifestyle wasn't

207
00:13:25,920 --> 00:13:28,439
Speaker 1: available to you, and you wanted to make it available

208
00:13:28,480 --> 00:13:33,800
Speaker 1: to you to be able to, yeah, to throw men around.

209
00:13:32,920 --> 00:13:36,000
Speaker 2: Grown men. Well, and I achieved that goal. I mean,

210
00:13:36,040 --> 00:13:38,280
Speaker 2: and again it was a rough estimate to how much

211
00:13:38,280 --> 00:13:40,280
Speaker 2: he actually weighed when he was alive, but it was.

212
00:13:40,280 --> 00:13:42,280
Speaker 1: Like, you had to be close. I think you were

213
00:13:42,320 --> 00:13:44,199
Speaker 1: within striking distance at least.

214
00:13:44,720 --> 00:13:47,559
Speaker 2: Yeah, let's see what was my PR? I got it

215
00:13:47,679 --> 00:13:52,320
Speaker 2: right here, my PR meeting my personal record is that

216
00:13:52,360 --> 00:13:56,120
Speaker 2: what I mean? Yes, for the deadlift was.

217
00:13:58,400 --> 00:14:02,839
Speaker 1: Five whoa, oh, yeah, you definitely could. And even if

218
00:14:02,840 --> 00:14:05,840
Speaker 1: it was more than that, you know, if adrenaline kicked in,

219
00:14:05,880 --> 00:14:11,880
Speaker 1: I think you could definitely deadlift James con Well, okay, Millie,

220
00:14:12,000 --> 00:14:14,000
Speaker 1: what have you watched this week?

221
00:14:14,200 --> 00:14:18,040
Speaker 2: Well, I gotta tell you it wasn't outside of the

222
00:14:18,160 --> 00:14:23,480
Speaker 2: scope of this episode unfortunately, So essentially, because we were

223
00:14:23,480 --> 00:14:29,080
Speaker 2: doing this episode, I watched two films and They are

224
00:14:29,120 --> 00:14:32,920
Speaker 2: both directed by the director of the film we're talking

225
00:14:32,920 --> 00:14:39,080
Speaker 2: about this week, Lino Burka. I rewatched his film in

226
00:14:39,240 --> 00:14:44,160
Speaker 2: Siang from nineteen seventy six. Okay, we've done an episode

227
00:14:44,320 --> 00:14:46,200
Speaker 2: of that on I saw, which did if you want

228
00:14:46,240 --> 00:14:48,160
Speaker 2: to go back into the feed and listen to it,

229
00:14:48,160 --> 00:14:51,400
Speaker 2: it's there for you. And then I watched brand new

230
00:14:51,440 --> 00:14:53,960
Speaker 2: Watch for me. I had never seen this before because

231
00:14:54,040 --> 00:14:59,040
Speaker 2: it was only made available recently because they did like

232
00:14:59,080 --> 00:15:03,320
Speaker 2: a restoration in a blu ray. But I watched Bona

233
00:15:03,800 --> 00:15:08,680
Speaker 2: from nineteen eighty, which is another one of Lenobroker's films.

234
00:15:08,800 --> 00:15:14,560
Speaker 2: I man, these shits hit hard for me.

235
00:15:14,880 --> 00:15:17,440
Speaker 1: I mean, if there anything like Manila in the clause

236
00:15:17,440 --> 00:15:20,800
Speaker 1: of light, that's a that's a tough week.

237
00:15:20,960 --> 00:15:21,520
Speaker 2: You bet YOUA.

238
00:15:21,760 --> 00:15:25,360
Speaker 1: It was a lot beta. Hey, that's my that's language

239
00:15:25,360 --> 00:15:25,920
Speaker 1: of my people.

240
00:15:26,080 --> 00:15:29,480
Speaker 2: I know, That's why I said it. I I yeah,

241
00:15:29,560 --> 00:15:35,400
Speaker 2: it's been a rough, melodramatic, tumultuous, family drama type week.

242
00:15:37,000 --> 00:15:39,400
Speaker 2: But I will say I mean in siong you know

243
00:15:39,440 --> 00:15:41,560
Speaker 2: my thoughts about that. You just go listen to the episode.

244
00:15:41,600 --> 00:15:45,080
Speaker 2: But Bona, Man was really intense, and it was so

245
00:15:45,200 --> 00:15:47,480
Speaker 2: intense that that was what I was teasing at the

246
00:15:47,480 --> 00:15:53,720
Speaker 2: beginning of the episode about wanting to be in a

247
00:15:53,760 --> 00:15:58,960
Speaker 2: relationship where you are obsessed with a celebrity and then

248
00:15:59,040 --> 00:16:02,040
Speaker 2: want to become there assistant.

249
00:16:03,040 --> 00:16:05,440
Speaker 1: I see, I didn't see that one over my head.

250
00:16:05,480 --> 00:16:05,600
Speaker 3: I know.

251
00:16:05,760 --> 00:16:08,080
Speaker 2: I think I think it would have been impossible for

252
00:16:08,120 --> 00:16:11,880
Speaker 2: you to clock, being that she probably hadn't seen Bona.

253
00:16:12,000 --> 00:16:16,040
Speaker 2: But that's the movie. The movie essentially is essentially about

254
00:16:16,120 --> 00:16:20,400
Speaker 2: a woman, a young woman who basically is obsessed with

255
00:16:20,440 --> 00:16:22,840
Speaker 2: this actor. And he's not even like a he's like

256
00:16:22,880 --> 00:16:25,920
Speaker 2: a bit day at he's like a bit player day

257
00:16:26,120 --> 00:16:30,680
Speaker 2: like a day day guy. And she becomes so obsessed

258
00:16:30,720 --> 00:16:33,040
Speaker 2: with him that she just starts like following him around

259
00:16:33,080 --> 00:16:35,600
Speaker 2: on set, you know, doing being his assistant. And then

260
00:16:35,600 --> 00:16:39,560
Speaker 2: she like moves in with him and is like bathing

261
00:16:39,680 --> 00:16:44,720
Speaker 2: him and feeding him, and he is of course just

262
00:16:44,840 --> 00:16:49,520
Speaker 2: like whatever and brings women home and all this stuff

263
00:16:49,840 --> 00:16:52,240
Speaker 2: it is, and then of course her family is like,

264
00:16:52,320 --> 00:16:54,760
Speaker 2: what are you doing? You should be in school, do

265
00:16:54,880 --> 00:16:56,920
Speaker 2: not you know, move in with this guy or not

266
00:16:57,000 --> 00:16:59,280
Speaker 2: married to and then she has like a lot of

267
00:16:59,320 --> 00:17:04,280
Speaker 2: drama with her but it's it is kind of insane.

268
00:17:04,920 --> 00:17:05,480
Speaker 1: Whoa.

269
00:17:05,560 --> 00:17:10,399
Speaker 2: But it's really as we'll talk about shortly it is

270
00:17:10,480 --> 00:17:12,560
Speaker 2: kind of in line with all of the other like

271
00:17:12,720 --> 00:17:16,159
Speaker 2: Leno Broca movies that I've seen in this way, but

272
00:17:17,200 --> 00:17:21,359
Speaker 2: very intense, and also just like like Manila in the

273
00:17:21,359 --> 00:17:25,160
Speaker 2: Clause of Light is focusing, you know, on this kind

274
00:17:25,200 --> 00:17:32,679
Speaker 2: of I you know, this sort of like ramshackle inner

275
00:17:32,680 --> 00:17:36,840
Speaker 2: city life where it's basically they focus in on this

276
00:17:36,920 --> 00:17:41,280
Speaker 2: kind of ramshackle really hardcore city life where people are

277
00:17:41,280 --> 00:17:44,760
Speaker 2: living in slums, and and it's it's kind of I

278
00:17:44,800 --> 00:17:47,040
Speaker 2: don't know, Like I said, it was a nice little

279
00:17:47,880 --> 00:17:53,240
Speaker 2: week of movies focusing on Lino Broke but also deeply.

280
00:17:53,520 --> 00:17:58,920
Speaker 1: Depressing, deeply Jesus, I don't know if I could. I don't.

281
00:17:59,040 --> 00:18:01,560
Speaker 1: I mean, we'll get into it with Manila in the

282
00:18:01,600 --> 00:18:03,000
Speaker 1: Clauset of Light, but I don't know if I would

283
00:18:03,080 --> 00:18:08,320
Speaker 1: rush to watch another movie of his immediately after that one.

284
00:18:09,359 --> 00:18:11,200
Speaker 1: You this is such an aside, but have you ever

285
00:18:11,200 --> 00:18:15,240
Speaker 1: seen the German film Der Fan from nineteen eighty two?

286
00:18:15,960 --> 00:18:17,960
Speaker 2: Yes, are you about to tell me that you watched

287
00:18:18,000 --> 00:18:19,240
Speaker 2: it for your film dire No?

288
00:18:19,359 --> 00:18:21,040
Speaker 1: I didn't, but it just reminded me of what you

289
00:18:21,080 --> 00:18:23,560
Speaker 1: were saying and in that movie, I'll give us I'm

290
00:18:23,600 --> 00:18:25,520
Speaker 1: just going to give a big spoiler. In that movie,

291
00:18:25,600 --> 00:18:28,240
Speaker 1: she's obsessed with the lead singer of a band. She

292
00:18:28,400 --> 00:18:33,119
Speaker 1: follows him, they have a relationship, and then she kills

293
00:18:33,160 --> 00:18:37,840
Speaker 1: and eats him, and it's a very satisfy.

294
00:18:37,400 --> 00:18:42,080
Speaker 2: Yes, I think maybe we should do we should do

295
00:18:42,200 --> 00:18:45,000
Speaker 2: like a little mini film festival one week of the

296
00:18:45,000 --> 00:18:47,400
Speaker 2: podcast where it's like obsessed fan movies or.

297
00:18:47,320 --> 00:18:50,280
Speaker 1: Something sessed fan movies. Yes, that's good. Yeah, I think

298
00:18:50,320 --> 00:18:57,080
Speaker 1: that's great. Okay, I actually didn't watch any movies this week,

299
00:18:57,680 --> 00:19:03,560
Speaker 1: but uh, I watched so many movies the week before

300
00:19:04,200 --> 00:19:06,040
Speaker 1: then I and I didn't bring up too so I'm

301
00:19:06,040 --> 00:19:09,400
Speaker 1: just gonna bring those up from this little film diary here.

302
00:19:09,960 --> 00:19:13,919
Speaker 1: I saw Steven Soderberg's presence. Have you seen this?

303
00:19:14,160 --> 00:19:14,240
Speaker 2: No?

304
00:19:14,440 --> 00:19:16,960
Speaker 1: Is that the It came out in twenty twenty four.

305
00:19:17,119 --> 00:19:21,439
Speaker 1: It's a ghost movie. Basically, the catch is the camera

306
00:19:21,600 --> 00:19:25,280
Speaker 1: viewpoint is of a ghost. Woh, and it like is

307
00:19:25,880 --> 00:19:28,800
Speaker 1: like floating through the house. It was pretty good. It

308
00:19:28,840 --> 00:19:31,439
Speaker 1: did make me think, like, you know, he's spying on

309
00:19:31,480 --> 00:19:34,359
Speaker 1: people and people don't know the ghost is there. It

310
00:19:34,440 --> 00:19:39,040
Speaker 1: did make me think about farting alone and if a

311
00:19:39,040 --> 00:19:43,000
Speaker 1: ghost was in there hearing and smelling my farts. I

312
00:19:43,040 --> 00:19:45,480
Speaker 1: don't know. That was what I was thinking about in

313
00:19:45,520 --> 00:19:46,000
Speaker 1: that movie.

314
00:19:46,119 --> 00:19:48,360
Speaker 2: That's a very attractive man in that movie.

315
00:19:48,960 --> 00:19:53,160
Speaker 1: Oh he's the Sun. Yeah he's a hottie. I thought

316
00:19:53,200 --> 00:19:55,760
Speaker 1: you were talking about Chris Sullivan, who's in this is

317
00:19:55,800 --> 00:19:58,160
Speaker 1: a Oh yeah, Julia Fox is in it. Very briefly.

318
00:19:58,520 --> 00:20:01,480
Speaker 1: It's a it's good. I enjoyed it. I mean, Steven Soderberg,

319
00:20:01,720 --> 00:20:05,679
Speaker 1: I love. It's a pretty light, little horror ish movie.

320
00:20:06,080 --> 00:20:13,240
Speaker 1: And then I watched a little indie called We're All

321
00:20:13,280 --> 00:20:16,159
Speaker 1: Gonna Die from twenty twenty four. This is a post

322
00:20:16,160 --> 00:20:21,200
Speaker 1: apocalyptic kind of like romantic comedy where in the future,

323
00:20:21,240 --> 00:20:26,320
Speaker 1: a giant alien spike appears. It's like a huge spike

324
00:20:26,400 --> 00:20:29,080
Speaker 1: into the earth, like the size of I don't know,

325
00:20:29,160 --> 00:20:31,720
Speaker 1: It's like a mile wide. It's like this huge thing

326
00:20:31,800 --> 00:20:34,160
Speaker 1: and it just keeps kind of moving around the earth randomly,

327
00:20:34,160 --> 00:20:36,639
Speaker 1: and so people are like dying randomly all the time.

328
00:20:37,960 --> 00:20:40,120
Speaker 2: There's a very attractive man in that movie too.

329
00:20:40,600 --> 00:20:43,080
Speaker 1: There is another Asian fellow.

330
00:20:44,640 --> 00:20:44,800
Speaker 4: Good.

331
00:20:45,400 --> 00:20:45,880
Speaker 2: It was good.

332
00:20:45,960 --> 00:20:48,840
Speaker 1: It was I think the script was lacking a little bit,

333
00:20:48,840 --> 00:20:50,320
Speaker 1: but I thought it was a good concept. And I

334
00:20:50,400 --> 00:20:55,000
Speaker 1: always love low budget indie sci fi post apocalyptic movies.

335
00:20:55,160 --> 00:20:59,000
Speaker 1: So yeah, I enjoyed it. So those are the two.

336
00:20:59,440 --> 00:21:02,920
Speaker 2: Well that's oh very good. Yeah, yep, yep, yep, yep.

337
00:21:02,960 --> 00:21:05,600
Speaker 1: Well, we have a lot to talk about with Manila

338
00:21:05,600 --> 00:21:06,879
Speaker 1: in the close of light. So why don't we just

339
00:21:06,880 --> 00:21:09,760
Speaker 1: get right into it and close up the film diary?

340
00:21:10,440 --> 00:21:32,199
Speaker 1: Could chunk coud chunk it's closed, Millie, you suggested watching

341
00:21:32,240 --> 00:21:33,680
Speaker 1: this movie.

342
00:21:34,359 --> 00:21:36,879
Speaker 2: I did. It's not surprising if you know me.

343
00:21:37,400 --> 00:21:38,560
Speaker 1: Why did you do that?

344
00:21:39,480 --> 00:21:44,520
Speaker 2: Well, I think for a couple of different reasons. Number one,

345
00:21:44,880 --> 00:21:49,560
Speaker 2: you had mentioned recently that you have Filipinos in your life.

346
00:21:50,359 --> 00:21:54,119
Speaker 1: I've got a few. I've got a wife and a daughter.

347
00:21:54,560 --> 00:21:57,720
Speaker 2: Right, and you have a podcast Extended.

348
00:21:57,240 --> 00:21:59,920
Speaker 1: Family, and I have a podcast the most intimate Relation

349
00:22:00,040 --> 00:22:04,200
Speaker 1: and tips in my life. Wife, daughter, podcast co host

350
00:22:04,800 --> 00:22:05,760
Speaker 1: are all Filipino.

351
00:22:05,960 --> 00:22:11,480
Speaker 2: That's right. And you know, I was like thinking about

352
00:22:11,600 --> 00:22:14,840
Speaker 2: a movie like this recently because I don't know what

353
00:22:14,960 --> 00:22:18,080
Speaker 2: it was that I was watching, but you know, I

354
00:22:18,119 --> 00:22:22,080
Speaker 2: was starting to think about like my favorite melodramas. Sure,

355
00:22:22,640 --> 00:22:25,719
Speaker 2: and you know you hear about the kind of the

356
00:22:25,760 --> 00:22:29,840
Speaker 2: baddies of melodrama, like the directors, right, the batties, the baddies,

357
00:22:30,359 --> 00:22:34,359
Speaker 2: you know, people like Michael Curtiz and Douglas Cerk and

358
00:22:34,560 --> 00:22:39,680
Speaker 2: you know Fastbender and Todd Haynes and you know, sort

359
00:22:39,720 --> 00:22:45,879
Speaker 2: of these like classic directors that are either doing like

360
00:22:46,000 --> 00:22:49,280
Speaker 2: classic melodrama from the you know, nineteen forties and nineteen

361
00:22:49,280 --> 00:22:56,359
Speaker 2: fifties to kind of like little reworkings of melodrama. I

362
00:22:56,359 --> 00:23:02,879
Speaker 2: would say in the Fastbender and Todd Haynes' universe, and

363
00:23:02,880 --> 00:23:04,600
Speaker 2: that I was like, oh, you know who is actually

364
00:23:04,600 --> 00:23:07,600
Speaker 2: my favorite One of my favorite directors of melodrama is

365
00:23:07,720 --> 00:23:12,960
Speaker 2: Leno Broka, who is a Filipino filmmaker.

366
00:23:13,920 --> 00:23:15,119
Speaker 1: Would you say goat?

367
00:23:15,480 --> 00:23:19,240
Speaker 2: I would say he's the goat, to be honest, And

368
00:23:19,320 --> 00:23:22,520
Speaker 2: we'll get into that a little bit more because again,

369
00:23:22,680 --> 00:23:25,040
Speaker 2: unbeknownst to I think a lot of people and even me,

370
00:23:26,880 --> 00:23:31,280
Speaker 2: they're the whole world of Filipino cinema is really interesting

371
00:23:31,359 --> 00:23:35,440
Speaker 2: because they have multiple Golden ages is what they would

372
00:23:35,480 --> 00:23:37,800
Speaker 2: call it, or and then there's actually a new a

373
00:23:37,840 --> 00:23:42,400
Speaker 2: Filipino new wave that's kind of happening right now, which

374
00:23:42,440 --> 00:23:45,080
Speaker 2: is really interesting too. But you know, a lot of

375
00:23:45,119 --> 00:23:49,520
Speaker 2: times when you think about countries other than the West

376
00:23:49,600 --> 00:23:54,560
Speaker 2: in maybe like Japan or something, or even like South Korea,

377
00:23:54,760 --> 00:23:57,600
Speaker 2: like one of the you know these you know countries

378
00:23:57,600 --> 00:23:59,840
Speaker 2: that you think about around the world that has these

379
00:24:00,000 --> 00:24:05,600
Speaker 2: really robust film industries, you don't you basically don't think

380
00:24:05,600 --> 00:24:11,440
Speaker 2: about countries that are not in that view having multiple

381
00:24:11,480 --> 00:24:16,440
Speaker 2: iterations of like film ages, right, you don't think, oh,

382
00:24:16,480 --> 00:24:19,399
Speaker 2: what's a nineteen thirties Filipino movie or you know what

383
00:24:19,440 --> 00:24:21,560
Speaker 2: I mean. Like it's just such a come to mind.

384
00:24:22,119 --> 00:24:26,040
Speaker 2: But so when I was doing research, both now but

385
00:24:26,160 --> 00:24:28,280
Speaker 2: also in the past, what I was doing in Sianga,

386
00:24:28,320 --> 00:24:31,320
Speaker 2: when I've just done film research as a film historian

387
00:24:31,400 --> 00:24:34,919
Speaker 2: or whatever, You're like, oh, they've had movies in this

388
00:24:35,040 --> 00:24:40,520
Speaker 2: country for over one hundred years, and you know, as

389
00:24:40,840 --> 00:24:43,719
Speaker 2: people who live in America, you don't have access to

390
00:24:43,760 --> 00:24:47,320
Speaker 2: them for the most part. And why is the big

391
00:24:47,400 --> 00:24:51,359
Speaker 2: question I always have. Why is it that I've only

392
00:24:51,400 --> 00:24:55,560
Speaker 2: seen like a handful of Lino Brookeo movies, who's arguably

393
00:24:55,600 --> 00:24:58,720
Speaker 2: the most famous director of Filipino cinema, and yet he's

394
00:24:58,880 --> 00:25:03,800
Speaker 2: he made and dozens of films. So it's just interesting

395
00:25:03,800 --> 00:25:05,520
Speaker 2: to me because I just felt like this was like

396
00:25:05,560 --> 00:25:07,880
Speaker 2: a week where we could talk a little bit about that,

397
00:25:08,000 --> 00:25:11,119
Speaker 2: just about yeah, you know, like world cinema, but also

398
00:25:11,720 --> 00:25:16,720
Speaker 2: world cinema that's not like French or Italian or Australian

399
00:25:17,080 --> 00:25:17,680
Speaker 2: or whatever.

400
00:25:17,880 --> 00:25:20,720
Speaker 1: So yeah, no, I think that's great. And the timing

401
00:25:20,760 --> 00:25:24,119
Speaker 1: of this is sort of bizarre because the cinematographer and

402
00:25:24,200 --> 00:25:27,080
Speaker 1: producer of this movie, who is also a famed Filipino

403
00:25:27,080 --> 00:25:30,320
Speaker 1: filmmaker named Mike de Leone, he died yesterday.

404
00:25:30,359 --> 00:25:32,280
Speaker 2: He died yesterday, yes.

405
00:25:32,359 --> 00:25:35,679
Speaker 1: And he's the cinematographer and producer of Manila in the

406
00:25:35,680 --> 00:25:36,320
Speaker 1: clause of late.

407
00:25:36,440 --> 00:25:41,479
Speaker 2: So yeah, yeah, he died yesterday, which is actually pretty

408
00:25:41,520 --> 00:25:46,200
Speaker 2: crazy that we're doing this episode today and Mike DeLeon

409
00:25:46,320 --> 00:25:50,040
Speaker 2: did his own films, which I feel like now are

410
00:25:50,119 --> 00:25:53,680
Speaker 2: being released in America on like kind of these boutique

411
00:25:53,800 --> 00:25:58,600
Speaker 2: Blu Ray labels like Canny Releasing. Canny Releasing is actually

412
00:25:59,200 --> 00:26:04,760
Speaker 2: an interesting little boutique Blu Ray label and it's ka

413
00:26:04,840 --> 00:26:06,720
Speaker 2: and I. By the way, if you want to go

414
00:26:06,920 --> 00:26:10,359
Speaker 2: to their social media to check them out. But I mean,

415
00:26:11,320 --> 00:26:18,119
Speaker 2: they're releasing great Asian cinema, like stuff that's like contemporary

416
00:26:18,200 --> 00:26:22,400
Speaker 2: but also stuff from like the seventies and eighties, and

417
00:26:22,560 --> 00:26:27,680
Speaker 2: it's across the board Hong Kong, Philippines, Japan, Like that's

418
00:26:27,880 --> 00:26:30,720
Speaker 2: I think I logged that movie. My heart is that

419
00:26:30,800 --> 00:26:33,320
Speaker 2: Eternal Rose I don't know if I logged it on

420
00:26:33,359 --> 00:26:37,800
Speaker 2: my letterbox film diary, but they released that Blu ray,

421
00:26:38,200 --> 00:26:41,720
Speaker 2: so his movies are kind of getting out there too.

422
00:26:41,840 --> 00:26:45,160
Speaker 2: But yeah, he was the cinematographer for this film and

423
00:26:46,200 --> 00:26:48,920
Speaker 2: was kind of a really good filmmaker in his own right. Well,

424
00:26:48,960 --> 00:26:50,960
Speaker 2: I was wondering, did you want to do a little

425
00:26:51,000 --> 00:26:52,679
Speaker 2: synopsis of Manila in the Clubs of Light?

426
00:26:53,000 --> 00:26:56,640
Speaker 1: I would love to. This movie felt like a novel

427
00:26:56,760 --> 00:27:04,320
Speaker 1: to me. It felt like huge and there's so much

428
00:27:04,960 --> 00:27:08,080
Speaker 1: he goes on, so many trials and tribulations. It's kind

429
00:27:08,119 --> 00:27:12,760
Speaker 1: of like a Picicerresque story. I believe I'm using that

430
00:27:12,880 --> 00:27:18,679
Speaker 1: term correctly. But we're in Manila, Philippines. Julio played by

431
00:27:18,760 --> 00:27:23,200
Speaker 1: Raphael Rocco Junior has moved to the busy metropolis from

432
00:27:23,200 --> 00:27:26,560
Speaker 1: his island home. He is searching for his lost girlfriend,

433
00:27:26,600 --> 00:27:31,360
Speaker 1: Legaya played by Hilda Coronel, who was coerced to move

434
00:27:31,440 --> 00:27:35,240
Speaker 1: to Manila from their kind of island village by this

435
00:27:35,480 --> 00:27:43,320
Speaker 1: duplicitous and mysterious Missus Cruz. Julio and Legaya's family has

436
00:27:43,440 --> 00:27:45,840
Speaker 1: They've lost all contact with her. They don't know where

437
00:27:45,840 --> 00:27:48,760
Speaker 1: she is, and he doesn't really even know where to

438
00:27:48,840 --> 00:27:52,480
Speaker 1: kind of start. He's just sort of following up the

439
00:27:52,480 --> 00:27:55,639
Speaker 1: best leads he can. He thinks she's in this apartment

440
00:27:55,640 --> 00:27:59,119
Speaker 1: building that he frequently goes back to, but he doesn't

441
00:27:59,160 --> 00:28:01,600
Speaker 1: quite know if she there, but he thinks she might

442
00:28:01,640 --> 00:28:06,040
Speaker 1: be there. But while he's in Manila, life is so hard.

443
00:28:06,640 --> 00:28:08,600
Speaker 1: It's really hard to find work, and the work he

444
00:28:08,640 --> 00:28:10,720
Speaker 1: finds is like very dangerous. He was like working on

445
00:28:10,760 --> 00:28:14,920
Speaker 1: a construction site and a guy was killed and he's

446
00:28:14,960 --> 00:28:20,200
Speaker 1: sleeping on floors and his life is just really terrible

447
00:28:20,200 --> 00:28:23,359
Speaker 1: and dangerous. I mean he even is forced into sex

448
00:28:23,440 --> 00:28:26,000
Speaker 1: work at one point in the film. But he does

449
00:28:26,119 --> 00:28:30,119
Speaker 1: find community with all of these struggling men, and he

450
00:28:30,160 --> 00:28:33,040
Speaker 1: finds many friends who are like so sweet and help

451
00:28:33,080 --> 00:28:35,720
Speaker 1: him along the way. But you know, will he ever

452
00:28:35,760 --> 00:28:38,480
Speaker 1: find the Gaya, is she even alive? And will he

453
00:28:38,520 --> 00:28:40,760
Speaker 1: ever get out of Manila? Those are the questions we

454
00:28:40,880 --> 00:28:45,320
Speaker 1: have leading into this conversation. There isn't as much of

455
00:28:45,360 --> 00:28:49,400
Speaker 1: a like strict plot. It is sort of like a

456
00:28:49,440 --> 00:28:56,200
Speaker 1: series of challenges he faces through the movie.

457
00:28:56,400 --> 00:29:01,160
Speaker 2: Yeah, you're also kind of not sure of like where

458
00:29:01,200 --> 00:29:06,080
Speaker 2: you're being dropped into kind of temporally, right, because.

459
00:29:06,080 --> 00:29:11,000
Speaker 1: Yeah, it seems to jump time as well, and he's

460
00:29:11,040 --> 00:29:13,480
Speaker 1: been there for a while, so you're like, not sure.

461
00:29:14,320 --> 00:29:16,600
Speaker 1: It's not like he just arrived in the city. He's

462
00:29:16,600 --> 00:29:19,080
Speaker 1: been there for like a year. And that's when we're

463
00:29:19,160 --> 00:29:19,600
Speaker 1: dropped in.

464
00:29:19,800 --> 00:29:23,520
Speaker 2: Yeah, and then there's all these flashback sequences to back

465
00:29:23,560 --> 00:29:27,840
Speaker 2: in their village where they were together and then her

466
00:29:27,920 --> 00:29:30,000
Speaker 2: kind of subsequent kidnapping.

467
00:29:30,120 --> 00:29:33,080
Speaker 1: Really yeah, and the village that they flashed back to,

468
00:29:33,240 --> 00:29:35,120
Speaker 1: it couldn't be more I mean, it looks like Heaven,

469
00:29:35,200 --> 00:29:38,600
Speaker 1: it looks like paradise in the flashbacks. And then you

470
00:29:38,640 --> 00:29:43,080
Speaker 1: come to the present and Manila is portrayed as so

471
00:29:44,520 --> 00:29:49,640
Speaker 1: dirty and dangerous and scary and just the life he

472
00:29:49,680 --> 00:29:54,560
Speaker 1: has to lead is so horrible. I mean, it really

473
00:29:54,680 --> 00:29:59,840
Speaker 1: is a bleak picture. He is painting of life in.

474
00:30:01,600 --> 00:30:03,080
Speaker 2: Have you ever been to the Philippines.

475
00:30:03,640 --> 00:30:07,080
Speaker 1: I haven't. My wife has been a couple times. I

476
00:30:07,080 --> 00:30:09,160
Speaker 1: think the most recent time she went was about ten

477
00:30:09,240 --> 00:30:12,680
Speaker 1: years ago. But her parents are from the Philippines. Yeah,

478
00:30:12,720 --> 00:30:17,160
Speaker 1: and you know, her dad goes back pretty frequently, and

479
00:30:17,200 --> 00:30:20,920
Speaker 1: she's got a lot of cousins there. Yeah too, she and.

480
00:30:20,880 --> 00:30:25,240
Speaker 2: Me both I have been. It was It's actually like

481
00:30:26,760 --> 00:30:30,080
Speaker 2: one of the most it's probably the most memorable one

482
00:30:30,120 --> 00:30:31,920
Speaker 2: of the most memorable trips I've ever been on in

483
00:30:31,920 --> 00:30:38,280
Speaker 2: my life. Obviously, sure, my mom's from Samar which is

484
00:30:38,280 --> 00:30:45,200
Speaker 2: in the province of Laity. And it was crazy because

485
00:30:46,200 --> 00:30:52,840
Speaker 2: the trip was grueling because basically from Atlanta, you we

486
00:30:53,040 --> 00:30:55,440
Speaker 2: at least we did this. I mean, Delta has a

487
00:30:55,480 --> 00:31:01,080
Speaker 2: direct flight to Tokyo, so we flew Atlanta too, had

488
00:31:01,120 --> 00:31:04,280
Speaker 2: a little bit of a layover, then flew into Manila,

489
00:31:04,720 --> 00:31:07,400
Speaker 2: which is the capital of the Philippines, and then we

490
00:31:07,560 --> 00:31:13,800
Speaker 2: took a domestic Philippine Airlines flight from Manila to Klobin,

491
00:31:14,240 --> 00:31:18,400
Speaker 2: which is the biggest city in the Leati province, and

492
00:31:18,440 --> 00:31:21,520
Speaker 2: then got into a fucking jeepney and drove like another

493
00:31:21,640 --> 00:31:23,880
Speaker 2: hour to get to like where my family is from.

494
00:31:24,400 --> 00:31:26,760
Speaker 1: Can you explain what a jeepney is for people who

495
00:31:26,800 --> 00:31:27,720
Speaker 1: don't know what that is.

496
00:31:28,880 --> 00:31:32,240
Speaker 2: So Jimny, I know it is, Yeah, of course you do.

497
00:31:32,360 --> 00:31:37,760
Speaker 2: A jeepni is kind of like a slightly smaller I mean,

498
00:31:37,800 --> 00:31:39,840
Speaker 2: I would say it's kind of almost you know how

499
00:31:39,920 --> 00:31:45,040
Speaker 2: there's like a small school bus for like churches and schools,

500
00:31:45,040 --> 00:31:47,200
Speaker 2: and I mean it doesn't have to be a school bus,

501
00:31:47,240 --> 00:31:50,200
Speaker 2: but it's like a tidy bus that seats I don't know,

502
00:31:50,200 --> 00:31:54,600
Speaker 2: maybe like twenty people. Imagine that a little bit smaller,

503
00:31:55,080 --> 00:31:59,520
Speaker 2: maybe fitting like ten people. And then it's kind of

504
00:31:59,600 --> 00:32:02,520
Speaker 2: open error and there's not really like seat seats. It's

505
00:32:02,560 --> 00:32:04,640
Speaker 2: kind of just like bench seats that everybody kind of

506
00:32:04,640 --> 00:32:06,640
Speaker 2: squeezes onto, and I guess you can hang off the

507
00:32:06,640 --> 00:32:08,400
Speaker 2: back if you want to, and maybe even on the

508
00:32:08,400 --> 00:32:13,800
Speaker 2: top if you wanted to get a little crazy. But essentially,

509
00:32:13,840 --> 00:32:19,120
Speaker 2: the jeepney drivers own the actual jeepney and then they

510
00:32:19,200 --> 00:32:24,040
Speaker 2: kind of decorate it to their own family brand or

511
00:32:24,080 --> 00:32:27,000
Speaker 2: their own vibe or whatever. So they tend to be

512
00:32:27,040 --> 00:32:29,640
Speaker 2: these like kind of you know, they have a lot

513
00:32:29,640 --> 00:32:33,000
Speaker 2: of personality. There's always like paintings and drawings and you know,

514
00:32:33,040 --> 00:32:36,200
Speaker 2: the Virgin Mary and shit and everything. And so, yeah,

515
00:32:36,960 --> 00:32:39,240
Speaker 2: one of my cousins is the jeepney driver. So he

516
00:32:39,280 --> 00:32:42,720
Speaker 2: picked us up from the Taklobin airport, which by the way,

517
00:32:42,760 --> 00:32:46,520
Speaker 2: did not have it did have at the time, and

518
00:32:46,560 --> 00:32:51,840
Speaker 2: this was posts nine to eleven. Mind you, they had

519
00:32:53,400 --> 00:32:57,400
Speaker 2: X ray machines and metal detectors, but they were broken,

520
00:32:57,520 --> 00:33:00,640
Speaker 2: so we just walked around all of it. And that

521
00:33:00,720 --> 00:33:03,040
Speaker 2: was the airport that we flew in and out of.

522
00:33:05,240 --> 00:33:06,920
Speaker 2: But yeah, I had to get into a jeepney and

523
00:33:07,000 --> 00:33:10,200
Speaker 2: drive like an hour into the woods, essentially the jungle,

524
00:33:10,760 --> 00:33:12,760
Speaker 2: to get to where my mom is from. She's like

525
00:33:12,920 --> 00:33:17,160
Speaker 2: from a very rural part of town. It's like Western

526
00:33:17,200 --> 00:33:21,920
Speaker 2: Simmar basically. And so when I was watching Manila in

527
00:33:21,960 --> 00:33:26,080
Speaker 2: the closet light, and when I was watching what you

528
00:33:26,240 --> 00:33:28,840
Speaker 2: just spoke of sort of the like flashback sequences of

529
00:33:28,920 --> 00:33:35,360
Speaker 2: like him being with Legaya in their like peaceful country

530
00:33:35,440 --> 00:33:38,320
Speaker 2: province paradise, and then it's like matched up with like

531
00:33:38,440 --> 00:33:43,520
Speaker 2: the grittiness and the poverty of Manila. I experienced that.

532
00:33:43,600 --> 00:33:48,040
Speaker 2: I feel like I experienced those two feelings because where

533
00:33:48,040 --> 00:33:50,560
Speaker 2: my mom is from is the country and it's beautiful.

534
00:33:50,560 --> 00:33:52,600
Speaker 2: And we stayed on the beach and it was just

535
00:33:52,720 --> 00:33:56,560
Speaker 2: like heaven, Like it was literal heaven, Like the water

536
00:33:56,880 --> 00:33:59,160
Speaker 2: was beautiful. There were all these like rocks and just

537
00:33:59,200 --> 00:34:04,080
Speaker 2: like boats floating by, and my aunts were like or

538
00:34:04,160 --> 00:34:09,080
Speaker 2: my aatis were my atis, my teitaes and my atis

539
00:34:09,120 --> 00:34:14,120
Speaker 2: were washing our clothes in the water with like rocks,

540
00:34:14,560 --> 00:34:18,840
Speaker 2: and I mean it was just like so nice, so beautiful.

541
00:34:18,840 --> 00:34:21,160
Speaker 2: And then it was like we spent the last half

542
00:34:21,200 --> 00:34:25,799
Speaker 2: of the trip in Manila, and that was pretty much

543
00:34:25,920 --> 00:34:28,320
Speaker 2: as you see it, and that I think is maybe

544
00:34:28,480 --> 00:34:30,319
Speaker 2: one of the biggest things that I feel like I

545
00:34:30,440 --> 00:34:36,960
Speaker 2: noticed about having gone to the Philippines and seeing these

546
00:34:37,080 --> 00:34:40,239
Speaker 2: movies like these Lineal Broker movies, but especially Manila in

547
00:34:40,239 --> 00:34:43,680
Speaker 2: the Closet Light, these movies that are being made in

548
00:34:43,680 --> 00:34:48,600
Speaker 2: the seventies and eighties. Got to say, it doesn't look

549
00:34:49,440 --> 00:34:50,160
Speaker 2: much different.

550
00:34:51,520 --> 00:34:54,760
Speaker 1: It's so interesting because when the movie started, it starts

551
00:34:54,800 --> 00:34:57,560
Speaker 1: in black and white, and I was like, oh, this

552
00:34:57,640 --> 00:35:02,200
Speaker 1: is a period film because there's like horse and buggies

553
00:35:02,239 --> 00:35:05,120
Speaker 1: going through Manila and stuff. And then it comes goes

554
00:35:05,160 --> 00:35:10,120
Speaker 1: to color and I realized, oh, wait, no, this isn't

555
00:35:10,120 --> 00:35:13,919
Speaker 1: a period piece. They just have horse and buggies going

556
00:35:13,960 --> 00:35:19,880
Speaker 1: through like very urban areas in Manila. Yeah, and I

557
00:35:19,880 --> 00:35:21,439
Speaker 1: don't know if it's like that still to the stay,

558
00:35:21,480 --> 00:35:24,640
Speaker 1: but in the movie in the seventies it was so yeah.

559
00:35:24,680 --> 00:35:29,759
Speaker 2: I mean there's like jeep knees and rickshaw drivers and

560
00:35:29,840 --> 00:35:35,560
Speaker 2: like you know, animals, Like there's animals like everywhere. That

561
00:35:35,640 --> 00:35:37,800
Speaker 2: I think is I mean, if you go to certain

562
00:35:37,800 --> 00:35:40,279
Speaker 2: parts of Manila, like if you go to Makati by

563
00:35:40,320 --> 00:35:42,080
Speaker 2: the way, it which is kind of like the fancy,

564
00:35:42,560 --> 00:35:45,520
Speaker 2: it's like where all the malls are and it's fancy.

565
00:35:45,960 --> 00:35:48,240
Speaker 2: It's it's up there with like a you know, a

566
00:35:48,320 --> 00:35:52,200
Speaker 2: major city in America even but like a lot of

567
00:35:52,239 --> 00:35:56,759
Speaker 2: the outskirts and especially out in the provinces where we were,

568
00:35:56,880 --> 00:36:01,600
Speaker 2: it's very much still like this, Like it's not modernized

569
00:36:01,719 --> 00:36:04,440
Speaker 2: in this way that you would imagine like a city

570
00:36:04,440 --> 00:36:06,920
Speaker 2: to be modernized, just in your western brain, do you

571
00:36:06,920 --> 00:36:07,560
Speaker 2: know what I'm saying.

572
00:36:08,200 --> 00:36:09,520
Speaker 1: Yeah, absolutely so.

573
00:36:09,640 --> 00:36:11,520
Speaker 2: I don't know, it just felt and I mean that's

574
00:36:11,560 --> 00:36:13,080
Speaker 2: the thing about when I watched Madon Miller in the

575
00:36:13,080 --> 00:36:15,120
Speaker 2: Closetlight again, where I was just like, wow, it just

576
00:36:15,280 --> 00:36:18,799
Speaker 2: feels so that feels like how I experienced it in

577
00:36:18,800 --> 00:36:21,000
Speaker 2: a weird way. It just makes it kind of feel

578
00:36:21,040 --> 00:36:22,799
Speaker 2: more connective for me.

579
00:36:23,800 --> 00:36:24,520
Speaker 1: Yeah, totally.

580
00:36:24,719 --> 00:36:26,520
Speaker 2: I like to talk a little bit about the director

581
00:36:26,600 --> 00:36:29,840
Speaker 2: Leido Broka because he I think he's such a fascinating dude.

582
00:36:31,160 --> 00:36:33,520
Speaker 2: He passed away in the nineties. He actually got into

583
00:36:33,640 --> 00:36:38,520
Speaker 2: a car accident and he was only in his fifties.

584
00:36:38,560 --> 00:36:40,680
Speaker 2: I think when he did he was fifty two. But

585
00:36:40,800 --> 00:36:44,400
Speaker 2: he's a very interesting director, not just in the scope

586
00:36:44,440 --> 00:36:48,160
Speaker 2: of Filipinos cinema, but like also just generally, like he

587
00:36:48,960 --> 00:36:53,840
Speaker 2: was a gay man and he grew up really poor

588
00:36:54,120 --> 00:36:59,000
Speaker 2: and then had the opportunity to basically go into the

589
00:36:59,040 --> 00:37:02,560
Speaker 2: city and go to like a proper college, right, which

590
00:37:02,640 --> 00:37:05,520
Speaker 2: was like kind of rare for a lot of people.

591
00:37:05,719 --> 00:37:08,880
Speaker 2: It still is, I think in the Philippines. So he

592
00:37:08,960 --> 00:37:13,880
Speaker 2: learned filmmaking and you know, the craft of storytelling and

593
00:37:13,920 --> 00:37:18,280
Speaker 2: stuff like that, and was starting to make movies. What's

594
00:37:18,280 --> 00:37:25,080
Speaker 2: interesting about him though, is that he was Mormon and

595
00:37:26,080 --> 00:37:31,400
Speaker 2: was essentially a gay man in the Mormon faith and

596
00:37:31,560 --> 00:37:34,680
Speaker 2: was doing missionary work and things.

597
00:37:35,320 --> 00:37:38,799
Speaker 1: Is there a large contingent of Mormon people in the

598
00:37:38,840 --> 00:37:42,520
Speaker 1: Philippines because from what I understand is that the Philippines

599
00:37:42,520 --> 00:37:43,560
Speaker 1: are very Catholic.

600
00:37:44,560 --> 00:37:47,440
Speaker 2: Yeah, it's Catholic, and I think the South Philippines is

601
00:37:47,480 --> 00:37:48,320
Speaker 2: more Muslim.

602
00:37:49,000 --> 00:37:50,560
Speaker 1: Yes, I actually don't know.

603
00:37:50,640 --> 00:37:55,719
Speaker 2: I mean he converted so fascinating. Yeah. I think at

604
00:37:55,719 --> 00:38:05,680
Speaker 2: one point he wastioning his sexuality via his religion, right,

605
00:38:06,120 --> 00:38:09,879
Speaker 2: kind of being like why was I made this way?

606
00:38:10,840 --> 00:38:13,400
Speaker 2: And he was open, I mean, he was not closeted,

607
00:38:13,520 --> 00:38:18,040
Speaker 2: so it was like maybe the conversion was a way

608
00:38:18,080 --> 00:38:21,480
Speaker 2: for him to kind of I don't know, pick apart

609
00:38:21,800 --> 00:38:25,640
Speaker 2: his whole life, I suppose, But he did come back

610
00:38:25,680 --> 00:38:29,040
Speaker 2: to Manila and start making movies. And you know, he

611
00:38:29,120 --> 00:38:33,120
Speaker 2: was a kind of director who was doing the thing

612
00:38:33,360 --> 00:38:36,840
Speaker 2: that someone like Steven Soderberg for example, does, which is

613
00:38:36,840 --> 00:38:39,960
Speaker 2: that he was doing commercial things. Like he was making

614
00:38:40,000 --> 00:38:43,120
Speaker 2: like bigger movies and doing commercial work, but then he

615
00:38:43,200 --> 00:38:47,759
Speaker 2: was like making smaller projects or more personal projects at

616
00:38:47,800 --> 00:38:48,600
Speaker 2: the same time.

617
00:38:49,040 --> 00:38:51,240
Speaker 1: Kind of the one for you, one for me type

618
00:38:51,239 --> 00:38:51,560
Speaker 1: of thing.

619
00:38:51,800 --> 00:38:54,360
Speaker 2: Yes, exactly, So, you know, making a bunch of money

620
00:38:54,360 --> 00:38:57,160
Speaker 2: on something commercial and then going back and making his

621
00:38:57,200 --> 00:39:00,480
Speaker 2: own stuff. Right. But what I think was the most

622
00:39:00,640 --> 00:39:06,880
Speaker 2: influential thing to his filmmaking career was the Marcos family

623
00:39:07,040 --> 00:39:10,799
Speaker 2: and the Marcos regime in the Philippines, which you know,

624
00:39:10,840 --> 00:39:12,840
Speaker 2: I don't know if you know a ton about that era.

625
00:39:13,680 --> 00:39:16,320
Speaker 2: Most people probably don't unless you grew up in the eighties.

626
00:39:16,480 --> 00:39:20,400
Speaker 2: I mean I remember Marcos because I was a child

627
00:39:20,400 --> 00:39:23,359
Speaker 2: in the eighties and my parents referenced it a ton

628
00:39:23,560 --> 00:39:25,799
Speaker 2: and there was all you know, if you grew up

629
00:39:25,840 --> 00:39:31,080
Speaker 2: in the eighties, you'll always remember the whole Amelda Marcos

630
00:39:31,200 --> 00:39:33,719
Speaker 2: having a lot of shoes thing that was like her thing.

631
00:39:34,040 --> 00:39:37,640
Speaker 2: Do you remember that? Oh yeah, oh yeah yeah. But

632
00:39:37,680 --> 00:39:42,120
Speaker 2: the Marcos family were basically this family of dictators that

633
00:39:42,400 --> 00:39:45,920
Speaker 2: took over the Philippines for many, many years in the

634
00:39:46,000 --> 00:39:49,799
Speaker 2: seventies and eighties. And there's this really great documentary that

635
00:39:49,880 --> 00:39:54,360
Speaker 2: was made in twenty nineteen by Lauren Greenfield called The Kingmaker.

636
00:39:54,880 --> 00:40:01,560
Speaker 2: It was basically all about Amelda Marcos and essentially, I mean,

637
00:40:01,640 --> 00:40:05,440
Speaker 2: I don't think I'm the first person to make this connection,

638
00:40:05,520 --> 00:40:09,359
Speaker 2: but it is giving the Trump family in a way

639
00:40:09,400 --> 00:40:10,640
Speaker 2: that you won't believe.

640
00:40:10,719 --> 00:40:13,000
Speaker 1: I'm sure. I mean, yes, you know what I mean.

641
00:40:13,640 --> 00:40:17,640
Speaker 2: But the whole thing about both Lena Brooker and most

642
00:40:17,800 --> 00:40:20,799
Speaker 2: artists in the Philippines during the Marcus regime is that,

643
00:40:21,320 --> 00:40:24,560
Speaker 2: I mean, they were taking over everything. They took over

644
00:40:24,600 --> 00:40:28,120
Speaker 2: the film industry and they were basically like, you know,

645
00:40:28,480 --> 00:40:32,680
Speaker 2: hiring people to be in these committees that were inspecting

646
00:40:32,719 --> 00:40:36,200
Speaker 2: all the films, and they were, you know, destroying movies

647
00:40:36,280 --> 00:40:40,040
Speaker 2: that weren't, you know, up to their standards.

648
00:40:40,520 --> 00:40:44,919
Speaker 1: And the current president of the Philippines is a member

649
00:40:44,920 --> 00:40:45,920
Speaker 1: of the Marcos family.

650
00:40:46,120 --> 00:40:49,399
Speaker 2: Yes, but the thing about Lena Brooker was initially when

651
00:40:49,440 --> 00:40:52,080
Speaker 2: he was starting to make movies, he was actually friends

652
00:40:52,440 --> 00:40:57,080
Speaker 2: with Imy Marcos, who is the daughter of Ferdinand and Amelda, right,

653
00:40:57,960 --> 00:41:02,040
Speaker 2: And so it was weird because I Mey actually helped

654
00:41:03,040 --> 00:41:05,920
Speaker 2: with in Siong like when he made that movie. I

655
00:41:05,920 --> 00:41:08,520
Speaker 2: think she like produced it or like at least got

656
00:41:08,520 --> 00:41:14,520
Speaker 2: it to be screened in the Philippines, but it would

657
00:41:14,560 --> 00:41:18,440
Speaker 2: be it's crazy because there there was that at the

658
00:41:18,480 --> 00:41:23,360
Speaker 2: same time. Later many years later, he was actually having

659
00:41:23,400 --> 00:41:26,520
Speaker 2: to smuggle films out of the Philippines in order for

660
00:41:26,560 --> 00:41:30,640
Speaker 2: them to show at like the con Film Festival because

661
00:41:30,719 --> 00:41:35,000
Speaker 2: the restrictions against exporting Filipino movies that again were not

662
00:41:35,160 --> 00:41:39,759
Speaker 2: up to this like code that they had established was

663
00:41:39,880 --> 00:41:43,399
Speaker 2: really hard. So he kind of weirdly had a tie

664
00:41:43,480 --> 00:41:47,000
Speaker 2: to the family, but then eventually went against them and

665
00:41:47,120 --> 00:41:53,640
Speaker 2: actually was really big politically and was very anti authoritarian

666
00:41:53,719 --> 00:41:56,359
Speaker 2: at one point to try to kind of remove their

667
00:41:56,360 --> 00:41:59,919
Speaker 2: influence from the country, which basically they had to show

668
00:42:00,080 --> 00:42:02,040
Speaker 2: cold on the Philippines for many many years. I mean,

669
00:42:02,080 --> 00:42:05,080
Speaker 2: they assassinated somebody who was trying to go against Ferdinand

670
00:42:05,120 --> 00:42:08,520
Speaker 2: at one point. But you know, I think that that

671
00:42:08,719 --> 00:42:13,120
Speaker 2: is interesting conditions for filmmakers to be working in, no

672
00:42:13,160 --> 00:42:17,520
Speaker 2: matter what country you're in, right, And so you have

673
00:42:17,560 --> 00:42:23,719
Speaker 2: this openly gay director in a very poor country run

674
00:42:23,760 --> 00:42:27,480
Speaker 2: by dictators who is just trying to make his art right.

675
00:42:28,280 --> 00:42:30,919
Speaker 2: And so what I think is interesting about the melodrama

676
00:42:31,000 --> 00:42:33,719
Speaker 2: component is it's like that was the kind of paintbrush

677
00:42:33,800 --> 00:42:36,480
Speaker 2: that he was using, I think for his films, which

678
00:42:37,360 --> 00:42:41,520
Speaker 2: many people think that melodrama is lame. Right If you

679
00:42:41,560 --> 00:42:45,200
Speaker 2: think about like, melodrama's had such a bad rap over

680
00:42:45,200 --> 00:42:47,560
Speaker 2: the years because they're seen as.

681
00:42:47,400 --> 00:42:52,160
Speaker 1: Like chicks picks or it didn't like women's film, women's

682
00:42:52,200 --> 00:42:56,960
Speaker 1: pictures kind of, it's like it's denigrated because it's just

683
00:42:57,040 --> 00:43:00,400
Speaker 1: for women. It's not it's not good, you know.

684
00:43:00,480 --> 00:43:03,520
Speaker 2: And they're seen as being very campy or being very gay,

685
00:43:03,640 --> 00:43:07,400
Speaker 2: which of course makes them stupid and you know, you know,

686
00:43:07,480 --> 00:43:12,640
Speaker 2: accord to according to like snobby sinophiles that melodrama is

687
00:43:13,360 --> 00:43:15,239
Speaker 2: for the women and for the gay is that it's

688
00:43:15,239 --> 00:43:19,839
Speaker 2: not serious or doesn't have any serious implications or serious messaging. Right.

689
00:43:20,120 --> 00:43:24,359
Speaker 2: But I think we know now that sometimes people do

690
00:43:24,520 --> 00:43:33,360
Speaker 2: take these genres and can make really interesting, politically focused art,

691
00:43:33,800 --> 00:43:36,400
Speaker 2: even in the scope of a melodrama. Does that make sense?

692
00:43:36,840 --> 00:43:37,440
Speaker 1: Absolutely?

693
00:43:37,520 --> 00:43:40,200
Speaker 2: Yeah. I mean you think about a movie like Randier

694
00:43:40,280 --> 00:43:45,160
Speaker 2: Werner Fastbenders, Ali Fury, It's the Soul from nineteen seventy four,

695
00:43:45,520 --> 00:43:48,480
Speaker 2: I believe, but that is you know, what would be

696
00:43:48,560 --> 00:43:51,759
Speaker 2: probably considered a melodrama. I mean it is considered a

697
00:43:51,760 --> 00:43:58,640
Speaker 2: melodrama really yeah, but has all these messages about racism

698
00:43:59,280 --> 00:44:05,680
Speaker 2: and age and misogyny and this kind of stuff. So yeah,

699
00:44:05,719 --> 00:44:10,879
Speaker 2: I feel like you can use these tools that are

700
00:44:11,239 --> 00:44:15,400
Speaker 2: seen as you know whatever, like campy or feminine or

701
00:44:15,840 --> 00:44:17,840
Speaker 2: you know, maybe they're just like deride it is not

702
00:44:17,880 --> 00:44:21,160
Speaker 2: as serious as actual cinema or something like that, and

703
00:44:21,200 --> 00:44:23,480
Speaker 2: make like important statements. I mean, that's what John Waters

704
00:44:23,480 --> 00:44:27,759
Speaker 2: has been doing his whole career. So but I will say,

705
00:44:27,760 --> 00:44:31,319
Speaker 2: if you want to read more about this, and specifically

706
00:44:31,440 --> 00:44:35,719
Speaker 2: Lino Brooker, the director, there's this book I'm pointing I'm

707
00:44:35,760 --> 00:44:38,760
Speaker 2: showing you and you you can't even see it, guys,

708
00:44:39,200 --> 00:44:40,440
Speaker 2: but it's called Marsha.

709
00:44:40,440 --> 00:44:42,880
Speaker 1: It's a beautiful book. It's a beautiful looking book.

710
00:44:42,960 --> 00:44:47,520
Speaker 2: Yeah, but it's called Marshal Law Melodrama. And it's by

711
00:44:47,960 --> 00:44:50,960
Speaker 2: a film writer in a film historian. His name is

712
00:44:51,000 --> 00:44:55,880
Speaker 2: jose B. Kipino, and he's a really good scholar of

713
00:44:55,960 --> 00:44:59,080
Speaker 2: Lino Baroko's movies. But he talks about that. He's basically like,

714
00:45:00,520 --> 00:45:03,080
Speaker 2: you know, broke of making melodramas. In the martial Law

715
00:45:03,080 --> 00:45:07,359
Speaker 2: eyra of the Philippines being in and because of that

716
00:45:07,520 --> 00:45:12,040
Speaker 2: being political, and these movies have political implications, and I

717
00:45:12,080 --> 00:45:14,760
Speaker 2: would say Manila in the clause of Light definitely does.

718
00:45:14,640 --> 00:45:17,879
Speaker 1: Don't you think, Oh yeah, absolutely?

719
00:45:19,600 --> 00:45:21,319
Speaker 2: So what were you thinking when you watched it? This

720
00:45:21,400 --> 00:45:22,360
Speaker 2: is the first time watch for you?

721
00:45:22,960 --> 00:45:26,000
Speaker 1: Yes? Absolutely? I mean it is bleak as hell. Yes,

722
00:45:27,800 --> 00:45:30,840
Speaker 1: sorry about that, Really it really is. I mean it's

723
00:45:30,840 --> 00:45:35,239
Speaker 1: it is beautiful and really well, it's a it's a

724
00:45:35,280 --> 00:45:40,440
Speaker 1: great film, I mean, but it is bleak, and I

725
00:45:40,440 --> 00:45:44,400
Speaker 1: think the thing that I walked away from I won't

726
00:45:44,480 --> 00:45:48,120
Speaker 1: maybe not, I won't spoil the ending maybe.

727
00:45:47,760 --> 00:45:47,920
Speaker 2: But.

728
00:45:49,400 --> 00:45:56,000
Speaker 1: It's a dark ending and it leaves you feeling a

729
00:45:56,040 --> 00:45:59,560
Speaker 1: little bit hopeless. But I think the thing I think

730
00:45:59,560 --> 00:46:03,680
Speaker 1: about with this movie and that really touched me was

731
00:46:04,480 --> 00:46:07,400
Speaker 1: the friends he made along the way. I mean, the

732
00:46:07,480 --> 00:46:10,480
Speaker 1: male friendship in this movie is so touching. They help

733
00:46:10,520 --> 00:46:12,520
Speaker 1: each other out and give each other money when they

734
00:46:12,520 --> 00:46:16,279
Speaker 1: have none, they share food, They really help each other

735
00:46:16,360 --> 00:46:18,520
Speaker 1: and it just seems like it comes from such a pure,

736
00:46:19,480 --> 00:46:25,520
Speaker 1: beautiful place of companionship and camaraderie. And that I loved

737
00:46:25,560 --> 00:46:27,960
Speaker 1: that in this movie. It was very touching.

738
00:46:28,960 --> 00:46:32,480
Speaker 2: Yeah, and I know you haven't seen Bona, but there is.

739
00:46:32,640 --> 00:46:35,840
Speaker 2: There are shades of that in that film too, where

740
00:46:37,400 --> 00:46:42,359
Speaker 2: the community that surrounds this person who is at a

741
00:46:42,560 --> 00:46:47,440
Speaker 2: very low point or is disaffected or is like facing extreme,

742
00:46:48,800 --> 00:46:55,640
Speaker 2: particularly extreme economic challenges becomes like helped or propped up

743
00:46:55,640 --> 00:46:58,399
Speaker 2: by the people around them, like they're friends, the people

744
00:46:58,440 --> 00:47:02,719
Speaker 2: in the neighborhoods. And I don't want to say that

745
00:47:02,719 --> 00:47:06,920
Speaker 2: that's a Filipino quality, but it I feel like it is.

746
00:47:07,880 --> 00:47:10,239
Speaker 1: Yeah, you know, absolutely.

747
00:47:10,360 --> 00:47:13,799
Speaker 2: I mean, I'm just not to get props to my

748
00:47:13,840 --> 00:47:18,520
Speaker 2: own people. But we're pretty nice and we're really sweet.

749
00:47:19,000 --> 00:47:22,600
Speaker 2: A lot of us are in the medical fields helping

750
00:47:22,640 --> 00:47:24,240
Speaker 2: people as nurses and whatnot.

751
00:47:24,760 --> 00:47:27,280
Speaker 1: Absolutely, and we're.

752
00:47:27,120 --> 00:47:32,080
Speaker 2: Family oriented and we like to laugh. So we are

753
00:47:32,160 --> 00:47:35,480
Speaker 2: breaking off a bit of our rice and our fish

754
00:47:35,480 --> 00:47:38,840
Speaker 2: stew for you if you're hungry. Yes, we'll get you

755
00:47:39,040 --> 00:47:42,000
Speaker 2: a couple of packs of cigarettes and a couple of

756
00:47:42,040 --> 00:47:46,919
Speaker 2: bottles if you need it. You know, when they need

757
00:47:47,160 --> 00:47:52,560
Speaker 2: to look good, wear my shirt to the gay brothel. Yes,

758
00:47:53,160 --> 00:47:55,360
Speaker 2: you want to talk about that sequence, by the way.

759
00:47:55,200 --> 00:48:00,080
Speaker 1: Because well, the depths to which this character has to

760
00:48:00,120 --> 00:48:03,839
Speaker 1: go to survive, you know, he's not I didn't get

761
00:48:03,840 --> 00:48:08,840
Speaker 1: any implication that he had any queer tendencies whatsoever. Yeah,

762
00:48:09,640 --> 00:48:13,400
Speaker 1: but he saw a friend of his was making pretty

763
00:48:13,440 --> 00:48:17,239
Speaker 1: good money doing sex work, and so he does it,

764
00:48:17,400 --> 00:48:23,319
Speaker 1: and you can tell it's so unnatural and awful for him,

765
00:48:23,400 --> 00:48:25,600
Speaker 1: but he does it to survive, to get money to

766
00:48:25,640 --> 00:48:31,640
Speaker 1: find his girlfriend, and his friend takes him to a

767
00:48:31,680 --> 00:48:37,040
Speaker 1: brothel where it's just all these fabulous men working there

768
00:48:37,080 --> 00:48:39,680
Speaker 1: and they, I mean, they seemed to be pretty happy

769
00:48:40,719 --> 00:48:44,360
Speaker 1: because they were making good money. But it's an uncomfortable

770
00:48:44,400 --> 00:48:48,480
Speaker 1: scene because Julio is so clearly like I hate this

771
00:48:48,560 --> 00:48:49,520
Speaker 1: and I don't want to do this.

772
00:48:49,880 --> 00:48:54,920
Speaker 2: Yeah, it's such a fascinating sequence because it really is

773
00:48:55,440 --> 00:48:58,160
Speaker 2: like a part Well, first of all, you know, to

774
00:48:58,320 --> 00:49:04,600
Speaker 2: see even gayme interacting with each other in American film

775
00:49:04,719 --> 00:49:09,120
Speaker 2: of the seventies was kind of rare. Let alone.

776
00:49:09,480 --> 00:49:14,560
Speaker 1: I was surprised and impressed by that inclusion in the film.

777
00:49:14,640 --> 00:49:20,160
Speaker 2: Yeah, it felt very inherent to the storyline, and it's like,

778
00:49:20,560 --> 00:49:23,120
Speaker 2: basically the vibe is his friend brings them up to

779
00:49:23,200 --> 00:49:26,440
Speaker 2: this building and there's like a bunch of you know,

780
00:49:26,920 --> 00:49:29,680
Speaker 2: Filipino gay men who are kind of congregating, and they

781
00:49:29,719 --> 00:49:32,600
Speaker 2: seem to all be friends, they kind of know each other. Yeah,

782
00:49:32,640 --> 00:49:35,200
Speaker 2: it's almost kind of like a club. But then like

783
00:49:35,360 --> 00:49:40,000
Speaker 2: you know, obviously customers who are friends with them kind

784
00:49:40,000 --> 00:49:42,480
Speaker 2: of come in and pick out the boy that they

785
00:49:42,520 --> 00:49:44,360
Speaker 2: want or whatever for the night, and then they go

786
00:49:44,440 --> 00:49:48,719
Speaker 2: back into one of the rooms. And this part was

787
00:49:49,040 --> 00:49:51,600
Speaker 2: hilarious to me because it was just so absurd. But

788
00:49:51,680 --> 00:49:56,479
Speaker 2: like one of the guys that comes in has himself a.

789
00:49:56,400 --> 00:50:00,359
Speaker 1: Small dog, and we love this little Pekinese we were

790
00:50:00,400 --> 00:50:05,000
Speaker 1: I loved this this little dog. And he I think

791
00:50:05,640 --> 00:50:10,480
Speaker 1: they're engaging in sexual activity on the bed and this

792
00:50:10,520 --> 00:50:13,480
Speaker 1: little dog is like right next to their heads, and

793
00:50:13,520 --> 00:50:16,880
Speaker 1: the guys he like refuses to put the dog on

794
00:50:16,920 --> 00:50:19,160
Speaker 1: the floor or too far from them because it's just

795
00:50:19,360 --> 00:50:22,960
Speaker 1: kind of always interfering with what they're doing. And loved

796
00:50:23,000 --> 00:50:23,680
Speaker 1: that little.

797
00:50:23,480 --> 00:50:25,680
Speaker 2: Yeah, little it was this little baby, and he was

798
00:50:25,760 --> 00:50:29,799
Speaker 2: just very much like scolding his baby while he was

799
00:50:29,880 --> 00:50:33,960
Speaker 2: with his Julio for the night. And it was so

800
00:50:34,000 --> 00:50:35,799
Speaker 2: I mean to me, it was kind of cracking me up.

801
00:50:35,840 --> 00:50:40,560
Speaker 2: But there was, yeah, the there was abject terror in

802
00:50:40,600 --> 00:50:41,480
Speaker 2: the eyes of Julio.

803
00:50:41,920 --> 00:50:45,480
Speaker 1: But I think that that was interesting too because the

804
00:50:45,560 --> 00:50:48,920
Speaker 1: sex work was not presented as particularly frightening. It was

805
00:50:49,040 --> 00:50:52,000
Speaker 1: like it was very clear he could he had control

806
00:50:52,040 --> 00:50:54,440
Speaker 1: the situation. He could only go. He would only go

807
00:50:54,520 --> 00:50:58,720
Speaker 1: as far as he was comfortable, and even with this client,

808
00:50:59,160 --> 00:51:02,080
Speaker 1: the client was lying, if you want to make more money,

809
00:51:02,160 --> 00:51:05,480
Speaker 1: you have to do more stuff. But he wasn't forced

810
00:51:05,520 --> 00:51:08,680
Speaker 1: into doing it. Yeah, you know, like I think he says, like,

811
00:51:08,800 --> 00:51:14,520
Speaker 1: learn some tricks. So it was presented in a way

812
00:51:14,760 --> 00:51:17,719
Speaker 1: in the film as that part actually wasn't scary. I

813
00:51:17,719 --> 00:51:20,640
Speaker 1: mean it was more that he was just like, I'm

814
00:51:20,640 --> 00:51:25,080
Speaker 1: not gay and I'm not comfortable engaging in this type

815
00:51:25,080 --> 00:51:26,680
Speaker 1: of work, but I'm willing to do it.

816
00:51:26,800 --> 00:51:32,520
Speaker 2: Yeah. I think there's the added layer of this and

817
00:51:32,560 --> 00:51:34,719
Speaker 2: basically this entire film when you want to get down

818
00:51:34,800 --> 00:51:39,520
Speaker 2: to brass taxes that the actor who plays Julio is

819
00:51:40,680 --> 00:51:43,799
Speaker 2: Raphael Rocco Junior, who actually goes. I looked it up

820
00:51:43,840 --> 00:51:48,760
Speaker 2: and he is still alive. He has no hair at All's.

821
00:51:48,560 --> 00:51:51,000
Speaker 1: Well, it was funny reading about him because he's like

822
00:51:51,040 --> 00:51:53,200
Speaker 1: such a cutie in this movie. And then but if

823
00:51:53,239 --> 00:51:57,520
Speaker 1: you read about him, it's like very shortly after this movie,

824
00:51:57,600 --> 00:52:01,200
Speaker 1: it's like known for his cube ball the head and

825
00:52:01,239 --> 00:52:03,960
Speaker 1: he became more of a villain actor. Yeah, because he

826
00:52:04,080 --> 00:52:06,319
Speaker 1: was like bald, But I'm like, that's so funny because

827
00:52:06,320 --> 00:52:10,000
Speaker 1: he's just like the most sensitive. I mean, he looks

828
00:52:10,040 --> 00:52:12,080
Speaker 1: like he should be the lead singer of an indie band.

829
00:52:12,160 --> 00:52:14,560
Speaker 2: Oh my god, I couldn't get over it. And he's like, yeah,

830
00:52:14,600 --> 00:52:17,440
Speaker 2: now he looks like yul Brunner, but like in this movie,

831
00:52:18,360 --> 00:52:22,319
Speaker 2: he has the sweetest face with the like it really

832
00:52:22,360 --> 00:52:26,319
Speaker 2: does the most perfectly like poudy little lips, and you

833
00:52:26,520 --> 00:52:31,040
Speaker 2: just want to hold him in your arms. And I'm

834
00:52:31,160 --> 00:52:35,440
Speaker 2: just like, this poor guy cannot catch a fucking break.

835
00:52:35,719 --> 00:52:39,040
Speaker 1: Like I'm like, oh my, I mean, things go so

836
00:52:39,280 --> 00:52:42,960
Speaker 1: badly in this movie that you're like, it's we're almost

837
00:52:43,080 --> 00:52:47,120
Speaker 1: veering into the comical. Like there is a part where

838
00:52:47,440 --> 00:52:51,400
Speaker 1: he's gonna go give money to the sister of a

839
00:52:51,600 --> 00:52:55,640
Speaker 1: friend who got killed and she lives in the slums.

840
00:52:55,640 --> 00:52:57,480
Speaker 1: And then we'd been to this place many times and

841
00:52:57,480 --> 00:53:00,680
Speaker 1: they go to give her money and it's an pit

842
00:53:01,120 --> 00:53:04,080
Speaker 1: and everything is burned down. I was just like, these

843
00:53:04,120 --> 00:53:09,080
Speaker 1: people in this film, it's like insane how bad their

844
00:53:09,160 --> 00:53:09,719
Speaker 1: luck is.

845
00:53:09,800 --> 00:53:13,480
Speaker 2: Yes, And I think that's the melodrama part, is the

846
00:53:13,600 --> 00:53:18,319
Speaker 2: idea that it's so bad that it's almost comical, right,

847
00:53:18,320 --> 00:53:18,839
Speaker 2: because you're.

848
00:53:18,800 --> 00:53:22,960
Speaker 1: Just like, it's it's close to ve because it's like, oh,

849
00:53:23,000 --> 00:53:26,960
Speaker 1: they cannot catch a fucking break the entire movie.

850
00:53:27,239 --> 00:53:29,440
Speaker 2: Yeah, And I think that, like it just is so

851
00:53:29,680 --> 00:53:32,600
Speaker 2: compounded by just his sweet little face and you're just

852
00:53:32,640 --> 00:53:38,920
Speaker 2: like no please, and Legayah who held the coronel place,

853
00:53:39,480 --> 00:53:43,680
Speaker 2: Legia who is his girlfriend, she's also just so beautiful,

854
00:53:43,760 --> 00:53:47,399
Speaker 2: beautiful and like innocent, And it's that whole feeling of

855
00:53:47,800 --> 00:53:50,520
Speaker 2: you really get the sense of like, these people who

856
00:53:50,520 --> 00:53:55,319
Speaker 2: were living in their little hometown should have stayed there.

857
00:53:55,320 --> 00:54:00,399
Speaker 2: They should have stayed there and like stayed beautiful by

858
00:54:00,480 --> 00:54:03,439
Speaker 2: the ocean and the sunset forever. Right.

859
00:54:03,840 --> 00:54:06,480
Speaker 1: Well, so much of this movie is about capitalism, right.

860
00:54:06,600 --> 00:54:12,319
Speaker 1: I think part of the horror of capitalism is you're

861
00:54:12,400 --> 00:54:15,759
Speaker 1: kind of always pushed that, oh there's always a higher

862
00:54:15,840 --> 00:54:17,759
Speaker 1: level you need to go to. Oh there's always a

863
00:54:17,760 --> 00:54:20,040
Speaker 1: better place you can go to. Oh you can always

864
00:54:20,040 --> 00:54:24,719
Speaker 1: be making more money somewhere. And she leaves this like

865
00:54:25,080 --> 00:54:30,239
Speaker 1: Paradise Island, because oh, you can make more money in Manila.

866
00:54:30,320 --> 00:54:32,760
Speaker 2: You can go to school. We'll take you to school

867
00:54:32,960 --> 00:54:36,640
Speaker 2: if you are, you know, for us, And you know,

868
00:54:36,680 --> 00:54:39,640
Speaker 2: of course it's all a lie because basically she ends

869
00:54:39,719 --> 00:54:43,560
Speaker 2: up you know, being human trafficked by this.

870
00:54:43,719 --> 00:54:44,920
Speaker 1: Yeah, she's sex traffic.

871
00:54:45,080 --> 00:54:49,920
Speaker 2: Yeah, by this ati, this evil atti that she trusts

872
00:54:50,000 --> 00:54:54,280
Speaker 2: or her family trusts. But yeah, that is I think

873
00:54:54,480 --> 00:54:58,960
Speaker 2: the message of a lot of Lena Brooka's films is

874
00:54:59,000 --> 00:55:03,799
Speaker 2: the idea that poor people are always going to be

875
00:55:04,640 --> 00:55:09,319
Speaker 2: destroyed by capitalism because they are the desperate and the

876
00:55:09,400 --> 00:55:13,560
Speaker 2: hungry and they they need they need it, like they

877
00:55:13,600 --> 00:55:17,680
Speaker 2: need money to survive. And there and his characters seem

878
00:55:17,760 --> 00:55:22,560
Speaker 2: to always be you know, maybe not motivated, but they're

879
00:55:22,920 --> 00:55:29,240
Speaker 2: drawn into or seduced by capitalism essentially, and it always

880
00:55:29,320 --> 00:55:34,719
Speaker 2: has terrible results unfortunately. But honestly, yeah, I mean, I

881
00:55:34,800 --> 00:55:38,920
Speaker 2: hate to make you watch such a bleak film, but

882
00:55:39,040 --> 00:55:39,440
Speaker 2: it was.

883
00:55:39,680 --> 00:55:42,360
Speaker 1: Oh no, I was. It was a joy. And Tricia

884
00:55:42,440 --> 00:55:44,520
Speaker 1: watched it too, and I think she was very affective

885
00:55:44,560 --> 00:55:48,680
Speaker 1: because her parents are from Manila. Yeah, and it was.

886
00:55:48,800 --> 00:55:52,520
Speaker 1: It's a very moving film. It was definitely worth watching.

887
00:55:53,160 --> 00:55:55,600
Speaker 2: Yeah, I get so. I mean, I think part of

888
00:55:55,680 --> 00:55:58,800
Speaker 2: maybe why I love Leno Brooka so much is because

889
00:56:00,880 --> 00:56:03,520
Speaker 2: the movies that I've seen of his that taking place

890
00:56:03,520 --> 00:56:06,000
Speaker 2: in these times, Like you know, the majority of the

891
00:56:06,000 --> 00:56:09,160
Speaker 2: films that I've seen of his are from the seventies

892
00:56:09,200 --> 00:56:12,840
Speaker 2: and early eighties, right, And this is like peak my

893
00:56:12,960 --> 00:56:16,600
Speaker 2: mom because I was born in seventy nine, right, and

894
00:56:16,840 --> 00:56:20,480
Speaker 2: they I think because my mom and dad, I think

895
00:56:20,480 --> 00:56:25,440
Speaker 2: they got married in seventy two in the Philippines, lived

896
00:56:25,440 --> 00:56:28,080
Speaker 2: there for a while, and then they moved to America,

897
00:56:28,200 --> 00:56:30,440
Speaker 2: which is when they had me in San Diego. Like,

898
00:56:30,560 --> 00:56:33,920
Speaker 2: my dad was in the military, obviously, if you couldn't tell,

899
00:56:34,920 --> 00:56:41,200
Speaker 2: that's why I'm half white and half Filipino, right, much

900
00:56:41,360 --> 00:56:45,439
Speaker 2: like my daughter patients, Well, if you were in the military,

901
00:56:45,200 --> 00:56:48,719
Speaker 2: that would make complete sense. I think you're an aberration

902
00:56:48,880 --> 00:56:54,719
Speaker 2: in that way. But there's a joke by the way

903
00:56:54,760 --> 00:56:58,759
Speaker 2: that a lot of like half Asian kids are the

904
00:56:58,800 --> 00:57:04,000
Speaker 2: product of military marriages. But and not just Filipino, but

905
00:57:04,080 --> 00:57:11,000
Speaker 2: like Korean and Japanese, so anyway and others. But yeah, my,

906
00:57:11,360 --> 00:57:16,760
Speaker 2: so when I see like Legaya, or when I saw

907
00:57:17,000 --> 00:57:19,720
Speaker 2: Bona and Bona or like any of the women like

908
00:57:20,560 --> 00:57:23,520
Speaker 2: like this is like my mom. My mom was this

909
00:57:23,640 --> 00:57:26,720
Speaker 2: age and in this like if you look at old

910
00:57:26,720 --> 00:57:29,720
Speaker 2: pictures of her, it looks like there she's in Aleno

911
00:57:29,760 --> 00:57:35,280
Speaker 2: Brooker movie, like the clothes, the backgrounds, everything. I get

912
00:57:35,440 --> 00:57:39,280
Speaker 2: so affected by watching his films because it feels like

913
00:57:39,720 --> 00:57:43,960
Speaker 2: here's my mom and her sisters walking around Manila, like

914
00:57:44,840 --> 00:57:49,160
Speaker 2: you know, hanging out and here are the guys, my

915
00:57:49,400 --> 00:57:52,440
Speaker 2: uncle's here's like you know, people in their orbits. So

916
00:57:52,480 --> 00:57:54,920
Speaker 2: I don't know, it just visually really connects with me.

917
00:57:55,040 --> 00:57:57,080
Speaker 2: I don't know if Trisha felt that, but that's certainly

918
00:57:57,160 --> 00:57:58,160
Speaker 2: like it was.

919
00:57:58,160 --> 00:57:59,760
Speaker 1: My Yeah, I think there was certainly. I don't want

920
00:57:59,760 --> 00:58:02,040
Speaker 1: to speak too much for her, but I think there

921
00:58:02,160 --> 00:58:05,360
Speaker 1: was definitely some of that going on, you know, and

922
00:58:05,400 --> 00:58:09,040
Speaker 1: she's you know, you and her are American born Filipinos,

923
00:58:09,120 --> 00:58:11,080
Speaker 1: and there is sort of, you know, a desire to

924
00:58:11,160 --> 00:58:15,120
Speaker 1: connect to her heritage, and so just seeing that I

925
00:58:15,200 --> 00:58:16,040
Speaker 1: think was affecting.

926
00:58:16,920 --> 00:58:20,320
Speaker 2: Let me ask you this. Yes, there's this whole section

927
00:58:21,680 --> 00:58:25,640
Speaker 2: of the film where he is working on the construction site, yes,

928
00:58:25,720 --> 00:58:33,320
Speaker 2: which is shockingly not up to snuff from a worker's perspective, right,

929
00:58:33,360 --> 00:58:34,480
Speaker 2: it was pretty.

930
00:58:34,160 --> 00:58:36,480
Speaker 1: Couch old, Tricia. While we were watching it. I wouldn't

931
00:58:36,480 --> 00:58:39,240
Speaker 1: step foot in that building that they're building.

932
00:58:39,280 --> 00:58:43,840
Speaker 2: There are no hard hats. People are working in slacks.

933
00:58:44,800 --> 00:58:48,439
Speaker 2: So there's like this whole sequence where basically the other

934
00:58:48,520 --> 00:58:53,480
Speaker 2: construction workers are telling Julio like here's the vibe. Okay,

935
00:58:53,640 --> 00:58:57,920
Speaker 2: you are going to get paid nothing, and then sometimes

936
00:58:58,000 --> 00:59:01,360
Speaker 2: when you come to get your nothing paid, they are

937
00:59:01,400 --> 00:59:03,600
Speaker 2: going to tell you that they don't have any money

938
00:59:03,600 --> 00:59:07,160
Speaker 2: to pay you. But then you're gonna have to borrow

939
00:59:07,600 --> 00:59:11,360
Speaker 2: money from them at a price with like you know,

940
00:59:11,440 --> 00:59:16,840
Speaker 2: a little bit of I guess some loan tax taken

941
00:59:16,880 --> 00:59:21,800
Speaker 2: out by them. And yet you it's your wages, it's

942
00:59:21,840 --> 00:59:26,640
Speaker 2: money you earned that you are now borrowing at a

943
00:59:26,720 --> 00:59:32,520
Speaker 2: fee from your employer. How quickly would you quit that job?

944
00:59:32,640 --> 00:59:34,480
Speaker 2: Like I'm I'm just asking.

945
00:59:34,920 --> 00:59:37,920
Speaker 1: That's the thing. Yeah, they called it a Taiwan. They

946
00:59:37,920 --> 00:59:40,080
Speaker 1: were like, it's a Taiwan. It's like, oh, we have

947
00:59:40,120 --> 00:59:42,520
Speaker 1: no money, but you can borrow money from the company

948
00:59:42,600 --> 00:59:45,440
Speaker 1: to get your money now, but it'll be you know,

949
00:59:45,520 --> 00:59:48,200
Speaker 1: we take a cut of that. I guess could you

950
00:59:48,280 --> 00:59:51,040
Speaker 1: be like, I'll wait till you get the money. I

951
00:59:51,040 --> 00:59:53,880
Speaker 1: don't think they that you could do that with the

952
00:59:53,880 --> 00:59:55,160
Speaker 1: the company. It seems like that's not actual.

953
00:59:55,160 --> 00:59:58,200
Speaker 2: You're not just gonna wait for it and then divest

954
00:59:58,240 --> 01:00:00,600
Speaker 2: your funds. You're just gonna be like, I mean, you.

955
01:00:00,560 --> 01:00:03,200
Speaker 1: Do need to eat, you need to eat. I But

956
01:00:03,280 --> 01:00:05,080
Speaker 1: the thing is, it's like what other job would he have?

957
01:00:05,360 --> 01:00:07,720
Speaker 1: You know? That's the thing. There's no other like.

958
01:00:08,680 --> 01:00:12,840
Speaker 2: I cannot believe how shitty CAPITALI is. He just was

959
01:00:12,920 --> 01:00:16,520
Speaker 2: like the whole reiteration of wow, capitalism means evil. I

960
01:00:16,600 --> 01:00:19,800
Speaker 2: think there's probably modern versions of that as we speak.

961
01:00:19,800 --> 01:00:20,600
Speaker 2: Am I right about that?

962
01:00:21,360 --> 01:00:23,840
Speaker 1: I'm sure there is. I mean it seems so. That's

963
01:00:23,920 --> 01:00:27,200
Speaker 1: the thing. It's like these men in this movie have

964
01:00:27,520 --> 01:00:32,240
Speaker 1: no power in this society whatsoever, and they just have

965
01:00:32,320 --> 01:00:35,160
Speaker 1: to eat shit like and just take it because it's

966
01:00:35,160 --> 01:00:39,000
Speaker 1: like all the and say like thank you for giving

967
01:00:39,080 --> 01:00:42,160
Speaker 1: me shit to eat, you know, and it's just so

968
01:00:43,160 --> 01:00:46,080
Speaker 1: depressing and I think I am going to spoil this movie.

969
01:00:46,160 --> 01:00:49,720
Speaker 1: I guess do it. So I think that's sort of

970
01:00:49,760 --> 01:00:55,160
Speaker 1: what makes the end interesting because you know, in movies

971
01:00:55,240 --> 01:00:57,600
Speaker 1: like this, it's very easy to be like, oh I

972
01:00:57,600 --> 01:01:00,400
Speaker 1: would have done this, or he had this other option

973
01:01:00,520 --> 01:01:03,960
Speaker 1: to do, you know, to survive. But in this movie,

974
01:01:04,000 --> 01:01:06,640
Speaker 1: I feel like he literally tries everything. He even tries

975
01:01:06,720 --> 01:01:10,840
Speaker 1: sex work to survive. You know, he does it all.

976
01:01:10,880 --> 01:01:14,920
Speaker 1: And I'm not saying sex work isn't legitimate work. I'm

977
01:01:14,960 --> 01:01:18,120
Speaker 1: just he did not want to do that type of work. Yeah,

978
01:01:18,200 --> 01:01:24,680
Speaker 1: you know, he tried every possible avenue and he gets

979
01:01:24,760 --> 01:01:28,120
Speaker 1: to a place at the end where he finds what's

980
01:01:28,120 --> 01:01:32,800
Speaker 1: her name, Legaia, He finds her, they come up with

981
01:01:32,840 --> 01:01:35,840
Speaker 1: a plan. She has been basically kidnapped by this guy

982
01:01:35,840 --> 01:01:38,880
Speaker 1: and she has a son with this guy, and they

983
01:01:38,880 --> 01:01:42,080
Speaker 1: come up with a plan, and you think he's going

984
01:01:42,160 --> 01:01:45,320
Speaker 1: to succeed, but then he kind of makes I feel like,

985
01:01:45,360 --> 01:01:48,320
Speaker 1: he makes one mistake. He like doesn't help her escape.

986
01:01:48,360 --> 01:01:51,240
Speaker 1: He's like, I'll meet you somewhere, and she ends up

987
01:01:51,240 --> 01:01:55,960
Speaker 1: getting killed by her husband. And I think it's just

988
01:01:56,120 --> 01:01:58,320
Speaker 1: interesting because it's like, even if you try to do

989
01:01:58,560 --> 01:02:02,600
Speaker 1: everything in this society, in this film, it's like, if

990
01:02:02,640 --> 01:02:07,440
Speaker 1: you try to do everything possible to get to like

991
01:02:07,680 --> 01:02:10,880
Speaker 1: to have a good life, he worked every horrible job

992
01:02:10,960 --> 01:02:13,720
Speaker 1: he could, he gets to a place where he can

993
01:02:13,760 --> 01:02:17,600
Speaker 1: get his girlfriend back, and yet he kind of makes

994
01:02:17,640 --> 01:02:21,600
Speaker 1: one tiny misjudgment and it all falls to shit. Yeah,

995
01:02:22,120 --> 01:02:27,040
Speaker 1: just the the the margins for error are are razor thin.

996
01:02:27,520 --> 01:02:31,280
Speaker 1: H And I don't know it made it made it

997
01:02:31,320 --> 01:02:33,400
Speaker 1: more affecting because like at the Antricia and I were

998
01:02:33,440 --> 01:02:36,560
Speaker 1: both like, why didn't he like go in and to

999
01:02:36,640 --> 01:02:39,840
Speaker 1: the house and just pull her out, you know, but

1000
01:02:40,040 --> 01:02:44,760
Speaker 1: he didn't and she died. You know. I don't know

1001
01:02:45,000 --> 01:02:49,040
Speaker 1: it made it more affecting that like little misjudgment. You know,

1002
01:02:49,160 --> 01:02:51,760
Speaker 1: you're not allowed to have a misjudgment when you are

1003
01:02:51,760 --> 01:02:54,360
Speaker 1: in this sort of horrible capitalist society.

1004
01:02:54,440 --> 01:02:57,160
Speaker 2: Yeah. Well, you know what's interesting about the ending too,

1005
01:02:57,280 --> 01:02:59,800
Speaker 2: Now that you've spoiled it, we're going to go for broke,

1006
01:03:00,000 --> 01:03:06,000
Speaker 2: I suppose. So the director Sean Baker, whom everyone probably

1007
01:03:06,000 --> 01:03:09,800
Speaker 2: knows by this point, he made a little movie called

1008
01:03:11,040 --> 01:03:15,360
Speaker 2: Anura a Duh and made you know, many other great films.

1009
01:03:15,680 --> 01:03:18,520
Speaker 2: Sean Baker has always been a champion of Asian films.

1010
01:03:18,560 --> 01:03:21,080
Speaker 2: By the way, I have to shout him out. He

1011
01:03:22,160 --> 01:03:24,160
Speaker 2: I follow him on Instagram and he was.

1012
01:03:24,160 --> 01:03:25,880
Speaker 1: The one follow too.

1013
01:03:26,000 --> 01:03:28,320
Speaker 2: Yeah, he's really good. He was the one that even

1014
01:03:28,360 --> 01:03:30,960
Speaker 2: told me about not me, but you know, he's the

1015
01:03:31,680 --> 01:03:32,600
Speaker 2: actually made back up.

1016
01:03:32,720 --> 01:03:35,640
Speaker 1: In an intimate conversation you had with him, he revealed

1017
01:03:35,640 --> 01:03:36,640
Speaker 1: to you this information.

1018
01:03:36,760 --> 01:03:41,040
Speaker 2: No, I was gonna say. He posted about Bona when

1019
01:03:41,080 --> 01:03:43,800
Speaker 2: he was at cann in twenty twenty four because basically

1020
01:03:43,880 --> 01:03:46,120
Speaker 2: he was like, oh, that's this brand new restoration and

1021
01:03:46,600 --> 01:03:50,120
Speaker 2: uh and I'm seeing it for the first time and

1022
01:03:50,120 --> 01:03:54,320
Speaker 2: I'm so excited. But he's always had pushed canny releasing

1023
01:03:54,360 --> 01:03:57,520
Speaker 2: because he's a big physical media guy. But he was

1024
01:03:57,560 --> 01:03:59,640
Speaker 2: the one that even told me about Bono to begin with.

1025
01:03:59,640 --> 01:04:02,000
Speaker 2: But he I know, he's a fan of both Mike

1026
01:04:02,720 --> 01:04:06,120
Speaker 2: de Leon and Lino Broker. But he said something I

1027
01:04:06,160 --> 01:04:09,560
Speaker 2: think in his letterbox review of Manila in the clause

1028
01:04:09,600 --> 01:04:12,200
Speaker 2: of Light, where he was like, did you feel that

1029
01:04:12,320 --> 01:04:16,600
Speaker 2: the ending was sort of similar to Taxi Driver? I

1030
01:04:16,720 --> 01:04:20,120
Speaker 2: read the same thing, yeah, and I just was, Wow,

1031
01:04:20,160 --> 01:04:23,040
Speaker 2: that's interesting because they were released in the same year.

1032
01:04:23,120 --> 01:04:27,280
Speaker 2: I think, right, seventy six or maybe. Yeah, Manila, the

1033
01:04:27,320 --> 01:04:30,160
Speaker 2: clause of Light was probably seventy five, maybe, but that

1034
01:04:30,200 --> 01:04:32,920
Speaker 2: Taxi Driver was seventy six. But he was like wondering

1035
01:04:33,000 --> 01:04:39,760
Speaker 2: if maybe the ending of Taxi Driver was influenced by

1036
01:04:39,920 --> 01:04:44,080
Speaker 2: Manila in the clause of Light. But then but that's yes, good, good,

1037
01:04:44,120 --> 01:04:44,760
Speaker 2: go ahead, go ahead.

1038
01:04:45,000 --> 01:04:45,120
Speaker 3: No.

1039
01:04:45,160 --> 01:04:47,080
Speaker 1: I was just gonna say, but that's interesting because but

1040
01:04:47,160 --> 01:04:51,200
Speaker 1: Travis Bickel does what I'm saying, our main guy in

1041
01:04:51,240 --> 01:04:53,600
Speaker 1: that Julio should have done in this movie. Like Travis

1042
01:04:53,600 --> 01:04:56,120
Speaker 1: Bickel goes in Guns of Blazing, and I think if

1043
01:04:56,240 --> 01:04:58,720
Speaker 1: Julio had done that in this movie, they would have

1044
01:04:58,760 --> 01:05:03,760
Speaker 1: gotten out. Yeah, Scott Free, I don't know, but yes, continue.

1045
01:05:03,560 --> 01:05:07,480
Speaker 2: Yeah, but no, what I think is actually funny about

1046
01:05:07,560 --> 01:05:14,800
Speaker 2: him saying that is Scorsese was effectively the guy that

1047
01:05:15,000 --> 01:05:20,520
Speaker 2: helped put Manila in the Clause of Light back into

1048
01:05:21,920 --> 01:05:26,320
Speaker 2: the film world because of, you know, the Film Foundation,

1049
01:05:26,440 --> 01:05:33,000
Speaker 2: which is his nonprofit, and he basically helped fund the

1050
01:05:33,040 --> 01:05:36,240
Speaker 2: restoration of Manila in the Clause of Light and then

1051
01:05:37,320 --> 01:05:41,720
Speaker 2: released it on the Criterion collections. His imprint, he's kind

1052
01:05:41,720 --> 01:05:43,320
Speaker 2: of kind of like a little mini imprint on the

1053
01:05:43,360 --> 01:05:46,080
Speaker 2: Criterion collection called the World Cinema Foundation, and it was

1054
01:05:46,120 --> 01:05:51,680
Speaker 2: basically you know, his you know, restorations that he's helped

1055
01:05:51,680 --> 01:05:55,240
Speaker 2: fund that are you know, kind of these gems, these

1056
01:05:55,480 --> 01:05:59,560
Speaker 2: hidden gems of world cinema. They also did this incredible

1057
01:05:59,680 --> 01:06:02,720
Speaker 2: self Korean movie called The Housemaid from nineteen sixty which

1058
01:06:03,760 --> 01:06:07,640
Speaker 2: you want to talk about an ending, amazing ending there, Okay, but.

1059
01:06:09,120 --> 01:06:12,040
Speaker 1: Yeah, because this movie, I think they have a little

1060
01:06:12,120 --> 01:06:15,000
Speaker 1: disclaimer at the beginning of the movie and about how

1061
01:06:15,000 --> 01:06:17,400
Speaker 1: it was restored, and it sounds like the original print

1062
01:06:17,440 --> 01:06:21,040
Speaker 1: was in pretty rough shape of the film and they

1063
01:06:21,040 --> 01:06:22,840
Speaker 1: had to do all this work to like re scan it,

1064
01:06:22,880 --> 01:06:26,600
Speaker 1: and Mike de Leone like sat in on the coloring

1065
01:06:26,640 --> 01:06:29,400
Speaker 1: sessions and it looked great. But it's just like, it's

1066
01:06:29,400 --> 01:06:31,560
Speaker 1: just interesting how you can just like lose this movie

1067
01:06:31,640 --> 01:06:36,600
Speaker 1: could have been lost by disintegration, you know, Yeah, I.

1068
01:06:36,560 --> 01:06:40,080
Speaker 2: Mean it's that's why I'm always a big fan of

1069
01:06:40,720 --> 01:06:44,240
Speaker 2: these archivists and these people that do restoration work, because

1070
01:06:44,240 --> 01:06:48,160
Speaker 2: otherwise you would not see any of this stuff, Like

1071
01:06:48,240 --> 01:06:54,680
Speaker 2: you really would not see pretty much any foreign title

1072
01:06:54,840 --> 01:06:56,880
Speaker 2: if you were an American, you would not see any

1073
01:06:56,920 --> 01:06:59,040
Speaker 2: of the stuff. It wasn't for that kind of stuff,

1074
01:06:59,080 --> 01:07:03,440
Speaker 2: Like you would not be able to access this entire

1075
01:07:03,640 --> 01:07:08,360
Speaker 2: swath of filmmaking if it weren't for people who were

1076
01:07:09,080 --> 01:07:14,200
Speaker 2: doing restoration work, archivists, film historians, people who are in

1077
01:07:14,240 --> 01:07:17,280
Speaker 2: positions where they can fund things like that, like maybe

1078
01:07:17,280 --> 01:07:23,080
Speaker 2: Sean Baker or Scorsese or whomever, which I think is lovely.

1079
01:07:24,040 --> 01:07:27,000
Speaker 1: Yeah, anything else on Manila in the Clause of Light

1080
01:07:27,240 --> 01:07:30,720
Speaker 1: or are pal Lino Braca.

1081
01:07:30,560 --> 01:07:35,080
Speaker 2: I don't know. I would, He's a fascinating director. I

1082
01:07:35,120 --> 01:07:39,840
Speaker 2: would seek out. I know that MoMA in New York

1083
01:07:40,040 --> 01:07:48,080
Speaker 2: has a couple of his films that are not kind

1084
01:07:48,080 --> 01:07:51,680
Speaker 2: of commercially out there right now, because there's maybe I

1085
01:07:51,680 --> 01:07:55,120
Speaker 2: would say, probably, well there's a bit. There's at least

1086
01:07:55,120 --> 01:07:59,000
Speaker 2: three of the films that are available on Blu Ray right,

1087
01:08:00,400 --> 01:08:02,560
Speaker 2: including Manila in the Clause of Light, but Bonda and

1088
01:08:02,640 --> 01:08:07,600
Speaker 2: Nciog and I feel like there are other films of

1089
01:08:07,640 --> 01:08:11,760
Speaker 2: his that have had some level of restoration work, and

1090
01:08:11,800 --> 01:08:15,480
Speaker 2: I think Mama owns a couple, and I feel like

1091
01:08:17,439 --> 01:08:19,800
Speaker 2: maybe more of his films are coming down the pike

1092
01:08:19,920 --> 01:08:23,880
Speaker 2: as they're going to be made available to, you know,

1093
01:08:23,960 --> 01:08:27,479
Speaker 2: the States, because he made a lot of movies. And

1094
01:08:28,000 --> 01:08:30,720
Speaker 2: there was a couple actually on Amazon Prime. If you

1095
01:08:30,760 --> 01:08:34,000
Speaker 2: really go digging on Amazon Prime, you will find a

1096
01:08:34,040 --> 01:08:39,480
Speaker 2: couple to rent. But I don't think they have English subtitles,

1097
01:08:39,560 --> 01:08:41,920
Speaker 2: or at least they're not like really inherent to the

1098
01:08:42,920 --> 01:08:46,120
Speaker 2: to the video, so it maybe they had to turn

1099
01:08:46,160 --> 01:08:52,320
Speaker 2: on your auto subtitles and pray. But it's yeah, I

1100
01:08:52,360 --> 01:08:56,320
Speaker 2: feel like we need more, We need more. I need more,

1101
01:08:56,360 --> 01:08:57,200
Speaker 2: but we need more.

1102
01:08:57,360 --> 01:09:00,519
Speaker 1: All right, Well, Millie, thank you for introducing this movie

1103
01:09:00,560 --> 01:09:04,599
Speaker 1: to me and this filmmaker. I loved learning about Filipino cinema,

1104
01:09:04,640 --> 01:09:07,120
Speaker 1: and I hope to watch more movies from the Philippines.

1105
01:09:07,560 --> 01:09:09,760
Speaker 1: It's a country I hold near and deer and I've

1106
01:09:09,800 --> 01:09:13,000
Speaker 1: never even been there, so I would love to explore

1107
01:09:13,040 --> 01:09:14,679
Speaker 1: their cinema more.

1108
01:09:14,960 --> 01:09:17,719
Speaker 2: Me too, I think we've got nowhere to go but up.

1109
01:09:18,479 --> 01:09:23,280
Speaker 1: So we are on the fucking floor. I can tell

1110
01:09:23,280 --> 01:09:36,320
Speaker 1: you that much. All right, moving on, we are going

1111
01:09:36,400 --> 01:09:40,679
Speaker 1: to read some We got a gripe and a gret.

1112
01:09:40,720 --> 01:09:42,160
Speaker 1: We've got a gripe and a gret.

1113
01:09:42,200 --> 01:09:45,120
Speaker 2: How about Casey, Since you're a musician, why don't you

1114
01:09:45,200 --> 01:09:47,719
Speaker 2: create a song called Gripes and grets.

1115
01:09:47,920 --> 01:09:49,120
Speaker 1: Gripes and grets.

1116
01:09:49,560 --> 01:09:50,040
Speaker 3: Gripes.

1117
01:09:50,760 --> 01:09:56,040
Speaker 2: Yeah, pull out that guitar. Come on tuned, he actually

1118
01:09:56,080 --> 01:09:57,440
Speaker 2: has a guitar. Everybody.

1119
01:10:01,200 --> 01:10:05,120
Speaker 1: Let's see what what genre music should this be.

1120
01:10:05,160 --> 01:10:07,920
Speaker 2: I'm gonna let deal dealer's choice. You figure it out.

1121
01:10:08,560 --> 01:10:11,759
Speaker 1: Let's see gripes and grats. It feels like a country song.

1122
01:10:16,120 --> 01:10:22,360
Speaker 5: Gribes, grits, scribes and grits, take me down, Take me down,

1123
01:10:23,360 --> 01:10:30,000
Speaker 5: grit grabs and grits, scribes.

1124
01:10:29,439 --> 01:10:46,080
Speaker 2: And grid take something like that. I can't believe he

1125
01:10:46,280 --> 01:10:53,920
Speaker 2: just if you don't make that the standard opening to.

1126
01:10:53,960 --> 01:10:58,320
Speaker 1: This section, Okay, and I'll perform it live maybe every

1127
01:10:58,600 --> 01:11:05,040
Speaker 1: single time. Uh, all right, so we're doing uh, we're

1128
01:11:05,120 --> 01:11:08,720
Speaker 1: doing gripe first, Okay, him million, Casey. My name is

1129
01:11:08,800 --> 01:11:11,080
Speaker 1: Ronnie and I run and operate a four screen independent

1130
01:11:11,160 --> 01:11:14,719
Speaker 1: movie theater in northeast region of Pennsylvania called the Dietrich Theater.

1131
01:11:15,320 --> 01:11:19,200
Speaker 1: Cool sounds like a dream. We do first round programming,

1132
01:11:19,200 --> 01:11:22,120
Speaker 1: film festival programming, and classics throughout the year. But enough

1133
01:11:22,120 --> 01:11:25,160
Speaker 1: about me. I was just listening to your Showgirls episode

1134
01:11:25,160 --> 01:11:27,479
Speaker 1: in your chat with Alicia Malone about the empty coffee cups,

1135
01:11:27,479 --> 01:11:29,880
Speaker 1: and that got me thinking about something very similar. My

1136
01:11:30,040 --> 01:11:33,479
Speaker 1: film Gripe is with the children in films who come

1137
01:11:33,600 --> 01:11:36,200
Speaker 1: down before heading off to school, where their mother has

1138
01:11:36,320 --> 01:11:40,839
Speaker 1: created a five course breakfast fit for a king, prepared

1139
01:11:40,920 --> 01:11:42,559
Speaker 1: on the table for them, and they grab a slice

1140
01:11:42,600 --> 01:11:44,920
Speaker 1: of toast and run out the door, or a piece

1141
01:11:44,960 --> 01:11:47,519
Speaker 1: of bacon. I feel like this is me editorializing here,

1142
01:11:47,600 --> 01:11:49,559
Speaker 1: but I feel like a piece of bacon happens often.

1143
01:11:49,960 --> 01:11:53,280
Speaker 1: It happens constantly. I see pancakes, I see fruit, I

1144
01:11:53,360 --> 01:11:56,479
Speaker 1: see French toast, I see eggs. It's unbelievable. Why do

1145
01:11:56,640 --> 01:12:01,080
Speaker 1: movie creatives insist on having this elaborate disp of breakfast

1146
01:12:01,560 --> 01:12:03,400
Speaker 1: just for every child to run out the door with

1147
01:12:03,479 --> 01:12:06,599
Speaker 1: a piece of toast. I half expect every single mom

1148
01:12:06,720 --> 01:12:09,640
Speaker 1: to flip a table after it happens. Anyway, that's my

1149
01:12:09,800 --> 01:12:13,840
Speaker 1: film Gripe. Do you concur Ronnie, this is great because

1150
01:12:13,880 --> 01:12:15,760
Speaker 1: this is good too, because this is a gripe. This

1151
01:12:15,880 --> 01:12:18,439
Speaker 1: is kind of a different subset of the film gripe.

1152
01:12:18,640 --> 01:12:21,280
Speaker 1: It's like gripes things that happen in the movie where

1153
01:12:21,320 --> 01:12:25,200
Speaker 1: we talk about people bothering us at the movie. You know,

1154
01:12:25,439 --> 01:12:29,559
Speaker 1: so I think this is great. What do you think

1155
01:12:29,600 --> 01:12:34,799
Speaker 1: about this? I agree too, Like, uh, this isn't a child,

1156
01:12:35,040 --> 01:12:37,320
Speaker 1: maybe a man child. But in Peewee's Big Adventure, he

1157
01:12:37,400 --> 01:12:40,519
Speaker 1: eats like two pieces of the mister t cereal and

1158
01:12:40,600 --> 01:12:44,280
Speaker 1: he's got this giant breakfast laid out before him and

1159
01:12:44,400 --> 01:12:46,360
Speaker 1: he runs out the door before eating any of it.

1160
01:12:46,680 --> 01:12:50,519
Speaker 2: I mean, Ronnie, you're asking if we concur Hell, yeah,

1161
01:12:50,600 --> 01:12:55,160
Speaker 2: we do. Here's the thing. I love breakfast so much.

1162
01:12:55,439 --> 01:12:55,800
Speaker 1: Me too.

1163
01:12:56,280 --> 01:13:01,920
Speaker 2: When you see a movie breakfast that bumptious and enticing,

1164
01:13:02,400 --> 01:13:05,880
Speaker 2: especially with the stack of toast. Oh my god, I

1165
01:13:06,000 --> 01:13:07,160
Speaker 2: love a stack of toast.

1166
01:13:07,280 --> 01:13:09,280
Speaker 1: Stack of toast, Like I'm.

1167
01:13:09,160 --> 01:13:11,920
Speaker 2: Not talking about two shits, I'm talking about four, six,

1168
01:13:12,160 --> 01:13:16,559
Speaker 2: eight stacks of perfectly buttered toast on top of.

1169
01:13:16,640 --> 01:13:17,599
Speaker 1: The triangle style.

1170
01:13:17,720 --> 01:13:22,360
Speaker 2: Oh, oh my god. And the fact that that kid,

1171
01:13:22,560 --> 01:13:26,280
Speaker 2: usually a high schooler, is such a dumb ass, and

1172
01:13:26,320 --> 01:13:29,240
Speaker 2: it's like, no, just juice, just juice.

1173
01:13:29,600 --> 01:13:34,880
Speaker 1: Gotta rip mom, bye busses here. I'm oh, mom, I'm just.

1174
01:13:34,960 --> 01:13:39,040
Speaker 2: Gonna grab one triangle, one triangle.

1175
01:13:40,360 --> 01:13:42,680
Speaker 1: I feel like this frequently happens to that kid runs out,

1176
01:13:42,840 --> 01:13:46,479
Speaker 1: grabs one triangle, husband comes down, Oh honey, I made

1177
01:13:46,520 --> 01:13:49,320
Speaker 1: breakfast you. I only have time for coffee. Bye hone

1178
01:13:49,439 --> 01:13:50,439
Speaker 1: And they're out the door too.

1179
01:13:50,720 --> 01:13:54,599
Speaker 2: You know, this is why many women of a certain

1180
01:13:54,640 --> 01:13:59,720
Speaker 2: age get divorced and live alone and go out on

1181
01:14:00,000 --> 01:14:03,720
Speaker 2: bruises with their girlfriends drinking Margarita's because they can't take

1182
01:14:03,920 --> 01:14:08,719
Speaker 2: the indignity of the family just shitting on the fucking

1183
01:14:08,840 --> 01:14:14,600
Speaker 2: breakfast that she made. And I personally have been a

1184
01:14:14,720 --> 01:14:17,559
Speaker 2: teenage kid who has been in that scenario. I don't

1185
01:14:17,600 --> 01:14:19,679
Speaker 2: know about you where I'm like, listen, I love breakfast

1186
01:14:19,720 --> 01:14:21,600
Speaker 2: so much. I'm skipping school to eat this shit. Like

1187
01:14:21,680 --> 01:14:26,600
Speaker 2: I'm not running anywhere. You may scrambled eggs, like a

1188
01:14:26,720 --> 01:14:29,800
Speaker 2: giant plate of scrambled eggs. Did you put cheese on

1189
01:14:29,880 --> 01:14:31,960
Speaker 2: those eggs? I'm staying well.

1190
01:14:32,080 --> 01:14:37,160
Speaker 1: Also, I feel like my that always felt like such

1191
01:14:37,200 --> 01:14:39,200
Speaker 1: a movie thing because I was as a kid was

1192
01:14:39,200 --> 01:14:42,320
Speaker 1: always like my mom would never make me breakfast or

1193
01:14:42,439 --> 01:14:46,120
Speaker 1: like prepare a large breakfast on a school day, you know,

1194
01:14:46,439 --> 01:14:51,760
Speaker 1: like we're eating lucky charms or something. But yeah, I

1195
01:14:51,920 --> 01:14:58,439
Speaker 1: totally agree with it's it's it's bad form. I don't

1196
01:14:58,520 --> 01:15:01,880
Speaker 1: like that in movies and general where people don't eat

1197
01:15:02,000 --> 01:15:04,400
Speaker 1: or drink all their food. They are they like, you know,

1198
01:15:04,479 --> 01:15:07,080
Speaker 1: you go to a bar, order a beer, take a sip,

1199
01:15:07,160 --> 01:15:10,280
Speaker 1: and leave like all the beer. You know, that's annoying too.

1200
01:15:10,400 --> 01:15:14,000
Speaker 2: No, you need to be like Elizabeth Taylor in Who's

1201
01:15:14,000 --> 01:15:17,400
Speaker 2: Afraid of Virginia Wolf and just like hoofing down that

1202
01:15:17,600 --> 01:15:20,680
Speaker 2: chicken leg like you need to be taking bites and

1203
01:15:21,000 --> 01:15:23,120
Speaker 2: getting it all over your face. That's what That's what

1204
01:15:23,240 --> 01:15:24,599
Speaker 2: real movie eating is about.

1205
01:15:25,920 --> 01:15:26,520
Speaker 1: Absolutely.

1206
01:15:26,920 --> 01:15:29,679
Speaker 2: Can I say thank first of all, thank you Ronnie

1207
01:15:31,080 --> 01:15:35,960
Speaker 2: that amazing film Grape. I'm gonna throw this out there.

1208
01:15:36,160 --> 01:15:40,600
Speaker 2: This is totally in aside. We can totally sure delete this.

1209
01:15:41,560 --> 01:15:44,920
Speaker 2: I've recently come to an epiphany, which is that people

1210
01:15:45,479 --> 01:15:52,840
Speaker 2: whose names end in the hardy sound are cute like you,

1211
01:15:53,760 --> 01:15:58,920
Speaker 2: like me, like Ronnie, are cuter and maybe a little

1212
01:15:58,960 --> 01:15:59,960
Speaker 2: bit more mischievous.

1213
01:16:01,240 --> 01:16:04,280
Speaker 1: You think I'm going to disagree with a fact of nature.

1214
01:16:05,720 --> 01:16:09,040
Speaker 1: I agree, howleheartedly. I love having a cute name. I

1215
01:16:09,160 --> 01:16:13,040
Speaker 1: feel like, honestly, when I if like I see a

1216
01:16:13,120 --> 01:16:15,120
Speaker 1: name on paper and you're like, you're about to meet

1217
01:16:16,800 --> 01:16:20,559
Speaker 1: so and so, and they have an hardy sound at

1218
01:16:20,560 --> 01:16:22,479
Speaker 1: the end of their name, I'm like, I already kind

1219
01:16:22,520 --> 01:16:24,800
Speaker 1: of like them a little bit ahead of time. Like

1220
01:16:24,920 --> 01:16:29,000
Speaker 1: it's like I feel like I like them already.

1221
01:16:29,360 --> 01:16:33,280
Speaker 2: Think about the bull, Like you won't think about this,

1222
01:16:33,400 --> 01:16:36,200
Speaker 2: but I will. The boys in your school that were

1223
01:16:36,240 --> 01:16:48,280
Speaker 2: always like so cute but like so bad. They're always Tommy, Ricky, Ronnie, Bobby, Stevie, Casey.

1224
01:16:48,280 --> 01:16:51,080
Speaker 1: Perhaps Casey question Mark. I agree.

1225
01:16:51,280 --> 01:16:55,080
Speaker 2: I'm telling you you would never go like eight pages

1226
01:16:55,160 --> 01:17:01,040
Speaker 2: in your diary about Ronald or Thomas.

1227
01:17:00,880 --> 01:17:05,000
Speaker 1: You think, or you think Spencer is making the diary.

1228
01:17:05,680 --> 01:17:06,640
Speaker 1: I don't think so.

1229
01:17:09,120 --> 01:17:11,400
Speaker 2: I don't know anything about Ronnie. I don't even know

1230
01:17:11,439 --> 01:17:13,200
Speaker 2: if his full name is Ronald, but I do know

1231
01:17:13,560 --> 01:17:16,080
Speaker 2: that Ronnie had a motorcycle when we were in high

1232
01:17:16,080 --> 01:17:18,759
Speaker 2: school and was a total badass and drove it around

1233
01:17:18,840 --> 01:17:20,560
Speaker 2: and all the girls wanted to, you know, hop on

1234
01:17:20,640 --> 01:17:22,439
Speaker 2: the back and go up to the taco bell.

1235
01:17:23,360 --> 01:17:26,240
Speaker 1: That's the kind of name you have, I think, And

1236
01:17:26,439 --> 01:17:29,960
Speaker 1: I like adult men who have the E at the end,

1237
01:17:30,080 --> 01:17:34,320
Speaker 1: because I feel like it is a little bit more feminine.

1238
01:17:34,360 --> 01:17:37,439
Speaker 1: I would say, having the hardy at the end, and

1239
01:17:38,479 --> 01:17:41,360
Speaker 1: I think if you're a grown man and you have

1240
01:17:41,439 --> 01:17:43,840
Speaker 1: that at your it's kind of a softening. I like

1241
01:17:43,960 --> 01:17:45,040
Speaker 1: you more, you know.

1242
01:17:45,680 --> 01:17:47,920
Speaker 2: Yeah. I remember one of my friends who has a

1243
01:17:49,040 --> 01:17:53,599
Speaker 2: hardy uses a hardy nickname for his full name, much

1244
01:17:53,760 --> 01:17:57,000
Speaker 2: like me. I remember he was like, we should go

1245
01:17:57,200 --> 01:18:01,400
Speaker 2: back to our full names when we become adults because

1246
01:18:01,479 --> 01:18:02,920
Speaker 2: nobody will take us seriously.

1247
01:18:03,840 --> 01:18:06,320
Speaker 1: That's the thing. Everyone's worried they're not going to be

1248
01:18:06,400 --> 01:18:07,080
Speaker 1: taken seriously.

1249
01:18:08,000 --> 01:18:10,840
Speaker 2: I was like, do people not take us seriously? Look

1250
01:18:10,880 --> 01:18:13,720
Speaker 2: at us? Look at you and I. We're at the

1251
01:18:13,800 --> 01:18:14,479
Speaker 2: top of our phone.

1252
01:18:14,520 --> 01:18:22,360
Speaker 1: We host a podcast, anyway, the most respected profession I agree. Okay,

1253
01:18:22,479 --> 01:18:27,879
Speaker 1: let's move on to the gret here film regret, longtime listener,

1254
01:18:28,479 --> 01:18:33,240
Speaker 1: third or fourth time emailer. I am going to preface

1255
01:18:33,280 --> 01:18:36,000
Speaker 1: this with I am not a film scholar. That's okay,

1256
01:18:36,120 --> 01:18:38,400
Speaker 1: I'm not either MILLI is a film scholar, nor was

1257
01:18:38,439 --> 01:18:40,880
Speaker 1: I a film major. I unfortunately was a film major.

1258
01:18:41,560 --> 01:18:45,880
Speaker 1: I'm editorializing here. I am just a gen exer that

1259
01:18:46,000 --> 01:18:49,439
Speaker 1: loves movies. My film regret was watching Ty West's Trilogy

1260
01:18:49,760 --> 01:18:54,520
Speaker 1: or threesome if you will, of X, Pearl, and Maxine.

1261
01:18:55,240 --> 01:18:57,519
Speaker 1: I heard all the hubbub, so I was actually really

1262
01:18:57,600 --> 01:19:00,000
Speaker 1: looking forward to them. I watch them all this time

1263
01:19:00,080 --> 01:19:03,160
Speaker 1: week on Monday, Tuesday, and Wednesday, so that the story

1264
01:19:03,200 --> 01:19:05,160
Speaker 1: would be fresh in my mind, and I was bummed

1265
01:19:05,200 --> 01:19:07,400
Speaker 1: and boared. I feel like he is trying to evoke

1266
01:19:07,439 --> 01:19:10,519
Speaker 1: the same relationship dynamic of Tarantino and Uma Thurman. I

1267
01:19:10,600 --> 01:19:13,519
Speaker 1: feel like the movies were pretentious, slow, and predictable, and

1268
01:19:13,600 --> 01:19:15,760
Speaker 1: I'm not even a huge Tarantino fan. What were your

1269
01:19:15,760 --> 01:19:19,719
Speaker 1: thoughts on this threesome of films? Thanks for the laughs, Teresa.

1270
01:19:21,120 --> 01:19:25,520
Speaker 1: I think ty West is a particular flavor of filmmaker,

1271
01:19:26,720 --> 01:19:30,120
Speaker 1: and I can see why you wouldn't be into these

1272
01:19:30,240 --> 01:19:34,439
Speaker 1: types of movies. But I loved all three of these movies.

1273
01:19:34,640 --> 01:19:38,040
Speaker 1: I thought they were great, did you now, yes? And

1274
01:19:39,439 --> 01:19:41,280
Speaker 1: I thought one was better than the other. I thought

1275
01:19:41,920 --> 01:19:44,280
Speaker 1: X was my least favorite, and then I like but

1276
01:19:44,360 --> 01:19:46,080
Speaker 1: I liked it, and then I liked Pearl more than that,

1277
01:19:46,160 --> 01:19:48,920
Speaker 1: and I think I liked Maxine the most. I don't know.

1278
01:19:49,120 --> 01:19:54,759
Speaker 1: I liked this kind of nostalgia nostalgic feel of these movies,

1279
01:19:55,240 --> 01:19:58,160
Speaker 1: and I like the pace, and I do like Mi

1280
01:19:58,280 --> 01:20:01,640
Speaker 1: a Goth, I'm a fan, so yeah, I but like

1281
01:20:01,760 --> 01:20:04,519
Speaker 1: these are slow. I think ty West movies are slow.

1282
01:20:04,840 --> 01:20:09,360
Speaker 1: And I think some horror fans don't like him because

1283
01:20:09,400 --> 01:20:14,880
Speaker 1: his movies can also not be that scary scary, you know,

1284
01:20:15,160 --> 01:20:17,920
Speaker 1: but I don't know. That's my opinion.

1285
01:20:19,280 --> 01:20:24,559
Speaker 2: Well, you have your opinion and everything. No, I'm kidding, Teresa,

1286
01:20:24,920 --> 01:20:28,080
Speaker 2: you know I get it. I totally get it. I

1287
01:20:28,160 --> 01:20:32,519
Speaker 2: think I'm with you. I First of all, every fucker

1288
01:20:32,720 --> 01:20:37,719
Speaker 2: in my friend group was juice on these on these movies,

1289
01:20:37,800 --> 01:20:42,679
Speaker 2: this trilogy, they were juice. They wanted it. Like every

1290
01:20:42,960 --> 01:20:48,000
Speaker 2: movie that came out beyond X was like a Thursday

1291
01:20:48,240 --> 01:20:51,240
Speaker 2: at midnight must see, like they were going to the

1292
01:20:51,360 --> 01:20:57,840
Speaker 2: Thursday midnight uh screening. That's how Juice and Jazz they were.

1293
01:20:58,360 --> 01:21:00,720
Speaker 2: I won't say that I had the fervor that they did,

1294
01:21:00,840 --> 01:21:04,400
Speaker 2: but I think to your point, like I liked the weird.

1295
01:21:04,560 --> 01:21:05,880
Speaker 2: The weirdest part for me is that I think I

1296
01:21:06,040 --> 01:21:07,080
Speaker 2: like Pearl the best.

1297
01:21:08,200 --> 01:21:11,240
Speaker 1: I might have liked Pearl the best, yeah too, so Pearl.

1298
01:21:11,080 --> 01:21:13,160
Speaker 2: Was probably my favorite and then X, well, no, it

1299
01:21:13,200 --> 01:21:15,439
Speaker 2: would be like Pearl, Maxine and then X. I think

1300
01:21:15,479 --> 01:21:16,160
Speaker 2: that's my order.

1301
01:21:16,400 --> 01:21:17,080
Speaker 1: Sure me too.

1302
01:21:18,160 --> 01:21:20,680
Speaker 2: Maxine had a lot of batties. Did you know that?

1303
01:21:20,880 --> 01:21:22,559
Speaker 2: Like not just me a god?

1304
01:21:22,840 --> 01:21:25,080
Speaker 1: You think you think I'm not gonna like a movie

1305
01:21:25,160 --> 01:21:30,840
Speaker 1: with Elizabeth the Bicky, right, or Lily Collins or Lily Collins.

1306
01:21:30,400 --> 01:21:35,000
Speaker 2: I mean even or fucking Hall in her Linda Dano

1307
01:21:35,320 --> 01:21:40,920
Speaker 2: from Attitudes on Lifetime haircut in that movie. Yeah, there's

1308
01:21:40,920 --> 01:21:44,040
Speaker 2: a lot of haughty baddies. Michelle Monahan's don't forget Her.

1309
01:21:45,080 --> 01:21:49,080
Speaker 1: Oh I did. I did forget Michelle Monahan. I love

1310
01:21:49,560 --> 01:21:54,360
Speaker 1: the Maxine is such a riff on body doublet which

1311
01:21:54,439 --> 01:21:58,040
Speaker 1: is like one of my fucking favorite movies. And so

1312
01:21:58,240 --> 01:22:01,599
Speaker 1: I was pretty I was I was an easy mark

1313
01:22:02,280 --> 01:22:03,040
Speaker 1: for Maxine.

1314
01:22:03,360 --> 01:22:05,920
Speaker 2: Yeah. I think ultimately that is kind of how I

1315
01:22:06,080 --> 01:22:08,960
Speaker 2: see these films is that they seem to be kind of,

1316
01:22:09,720 --> 01:22:12,439
Speaker 2: you know, in the same way Teresa that you mentioned

1317
01:22:12,479 --> 01:22:16,560
Speaker 2: the Tarantino thing. They are almost kind of like homages

1318
01:22:16,840 --> 01:22:20,280
Speaker 2: to film genres or like other films, right, because.

1319
01:22:20,080 --> 01:22:23,320
Speaker 1: They're kind of in conversation with other movies, right.

1320
01:22:23,360 --> 01:22:28,200
Speaker 2: Because to me, Maxine is absolutely de Palma like eighties,

1321
01:22:28,560 --> 01:22:31,720
Speaker 2: like you know, I would throw like Abel for her

1322
01:22:31,880 --> 01:22:38,679
Speaker 2: and their and then Pearl to me felt very almost

1323
01:22:38,800 --> 01:22:42,120
Speaker 2: kind of like I mean it was kind of like

1324
01:22:42,200 --> 01:22:46,280
Speaker 2: a Herschel Gordon Lewisy type of movie, like a country bumpkin,

1325
01:22:47,320 --> 01:22:51,000
Speaker 2: like a like kind of like a motel.

1326
01:22:51,240 --> 01:22:55,120
Speaker 1: Hell yeah, it kind of reminded me of like Children

1327
01:22:55,200 --> 01:22:59,559
Speaker 1: of the Korn even, like, yes, rural setting.

1328
01:22:59,760 --> 01:23:02,560
Speaker 2: Yeah, and then of course, you know, I think X

1329
01:23:02,760 --> 01:23:08,840
Speaker 2: felt sort of very you know, kind of slasher, you know.

1330
01:23:09,160 --> 01:23:12,120
Speaker 1: Classic chis Chainsaw, massacres.

1331
01:23:11,960 --> 01:23:15,439
Speaker 2: Classic kind of seventies gridehouse. So it's like, that's what

1332
01:23:15,560 --> 01:23:18,120
Speaker 2: I think is kind of fun about the movies is

1333
01:23:18,160 --> 01:23:21,920
Speaker 2: that they're kind of throwbacks to other things. But yeah,

1334
01:23:23,400 --> 01:23:25,360
Speaker 2: but I can also see her side of it. Yeah.

1335
01:23:25,439 --> 01:23:28,880
Speaker 1: I watched The Innkeepers and I like enjoyed it, but

1336
01:23:28,960 --> 01:23:32,360
Speaker 1: I was that's another Thai West film from twenty eleven.

1337
01:23:32,439 --> 01:23:34,439
Speaker 1: But I was like, this is too slow. You lost

1338
01:23:34,520 --> 01:23:37,160
Speaker 1: me a little bit. So I understand. But I also

1339
01:23:37,320 --> 01:23:41,160
Speaker 1: feel like I want to empower you. Teresa. Never like

1340
01:23:41,280 --> 01:23:43,680
Speaker 1: a movie because a bunch of other people like it.

1341
01:23:44,000 --> 01:23:47,400
Speaker 1: You know, if it's not for you, that's great, move

1342
01:23:47,479 --> 01:23:50,200
Speaker 1: on and leave it dead in the side of the road.

1343
01:23:50,360 --> 01:23:50,519
Speaker 1: You know.

1344
01:23:50,640 --> 01:23:54,400
Speaker 2: In fact, we might even promote the idea that you

1345
01:23:54,479 --> 01:23:59,920
Speaker 2: could be a shithead and hate a movie because everybody

1346
01:24:00,160 --> 01:24:00,840
Speaker 2: likes it so much.

1347
01:24:01,640 --> 01:24:02,560
Speaker 1: Yeah, oh, there we go.

1348
01:24:02,760 --> 01:24:04,920
Speaker 2: That's a classic shithead move, wouldn't you say?

1349
01:24:05,680 --> 01:24:08,640
Speaker 1: Oh yeah. I think when things kind of topple over,

1350
01:24:08,680 --> 01:24:11,240
Speaker 1: they get a little too popular, they go to the

1351
01:24:11,320 --> 01:24:15,639
Speaker 1: other side of the parabola, and you start to dislike

1352
01:24:15,720 --> 01:24:19,200
Speaker 1: them because other people like them too much. I mean,

1353
01:24:19,320 --> 01:24:21,800
Speaker 1: I spent so much time in film school being like,

1354
01:24:23,080 --> 01:24:26,799
Speaker 1: oh yeah, I love that movie, maybe one of my favorites. Meanwhile,

1355
01:24:26,840 --> 01:24:30,479
Speaker 1: I'm like, I hated every second of watching that movie.

1356
01:24:30,800 --> 01:24:33,840
Speaker 1: You know that that happened. I feel like that happened

1357
01:24:33,840 --> 01:24:36,280
Speaker 1: a lot with Godard films. Like I was like, oh

1358
01:24:36,400 --> 01:24:39,920
Speaker 1: my god, I moving and I was like, I thought

1359
01:24:39,960 --> 01:24:42,479
Speaker 1: that sucked in my mind, in my head, but I

1360
01:24:42,520 --> 01:24:44,160
Speaker 1: didn't voice that until later.

1361
01:24:44,400 --> 01:24:47,519
Speaker 2: That's a huge gret for you, A huge, great.

1362
01:24:47,479 --> 01:24:53,880
Speaker 1: Huge, huge gret, huge gret. Yeah, exactly. When I saw X.

1363
01:24:54,960 --> 01:24:58,559
Speaker 1: I saw it at the Highland Park Theater, which has

1364
01:24:58,640 --> 01:25:04,599
Speaker 1: now shuddered Island Park, Los Angeles. We walk in. If

1365
01:25:04,640 --> 01:25:06,960
Speaker 1: you know the movie X, there's a lot of nudity,

1366
01:25:07,680 --> 01:25:12,439
Speaker 1: a ton of nudity, and it's insanely violent. Well, we

1367
01:25:13,040 --> 01:25:17,160
Speaker 1: walk in, sit down, and a family of like seven

1368
01:25:17,280 --> 01:25:20,720
Speaker 1: walked in with like the ages of like I would say,

1369
01:25:20,920 --> 01:25:23,200
Speaker 1: there was like a five year old, a seven year old,

1370
01:25:23,439 --> 01:25:25,760
Speaker 1: a ten year old, and a twelve year old and

1371
01:25:26,920 --> 01:25:29,160
Speaker 1: they watched the whole movie. I could not believe a

1372
01:25:30,280 --> 01:25:34,519
Speaker 1: little kids watch that movie with us. I hope they

1373
01:25:34,520 --> 01:25:37,639
Speaker 1: had a good time. I hope that was a important

1374
01:25:37,680 --> 01:25:38,519
Speaker 1: event in their life.

1375
01:25:39,840 --> 01:25:41,000
Speaker 2: Oh goodness, all right.

1376
01:25:42,160 --> 01:25:52,000
Speaker 4: Well, you know, kind of wrap things up here, grab

1377
01:25:52,240 --> 01:25:55,560
Speaker 4: and grids, scraps and grids.

1378
01:25:58,200 --> 01:26:10,640
Speaker 3: Ah, got something to get off my grab some grids, okay, And.

1379
01:26:10,720 --> 01:26:15,800
Speaker 2: I'm in the background twitching, gohing. You're the man for

1380
01:26:16,080 --> 01:26:21,000
Speaker 2: the grant. I can't believe what a man? What's that

1381
01:26:21,560 --> 01:26:25,320
Speaker 2: Edward something in those zero magnetic zeros?

1382
01:26:25,479 --> 01:26:31,120
Speaker 1: Oh shit, yeah, that's been going around. You're a my

1383
01:26:31,320 --> 01:26:32,920
Speaker 1: land how.

1384
01:26:37,000 --> 01:26:37,240
Speaker 2: Yeah?

1385
01:26:38,560 --> 01:26:42,160
Speaker 1: That type of music was so big in like twenty eleven.

1386
01:26:42,320 --> 01:26:46,799
Speaker 1: I saw Edward Sharp and the Magnetic Zeros in concert

1387
01:26:48,320 --> 01:26:52,240
Speaker 1: at the Sunset Junction concert, which doesn't happen anymore in

1388
01:26:52,320 --> 01:26:55,320
Speaker 1: silver Lake. I remember it was a big thing. Anyways,

1389
01:26:58,040 --> 01:27:02,240
Speaker 1: trying to move on to employee these picks. What do

1390
01:27:02,320 --> 01:27:03,040
Speaker 1: you got, Millie?

1391
01:27:03,320 --> 01:27:08,320
Speaker 2: What do I have in my little purse? So my

1392
01:27:08,360 --> 01:27:13,040
Speaker 2: employee pick for this week is so such a layup

1393
01:27:13,600 --> 01:27:17,320
Speaker 2: honestly when it comes to melodrama, because I'm that's the

1394
01:27:17,439 --> 01:27:19,800
Speaker 2: route I'm going. This week is going to point you

1395
01:27:19,880 --> 01:27:24,360
Speaker 2: to another classic melodrama. Definitely less grimy than Manila in

1396
01:27:24,400 --> 01:27:27,600
Speaker 2: the Closet Light, but I would say a standout in

1397
01:27:27,720 --> 01:27:32,679
Speaker 2: the genre, and that is the film from nineteen fifty

1398
01:27:32,720 --> 01:27:36,280
Speaker 2: five called All That Heaven Allows, directed by Douglas.

1399
01:27:35,960 --> 01:27:41,720
Speaker 1: Circ one of my favorite. I'd say that's my favorite melodrama.

1400
01:27:41,920 --> 01:27:46,479
Speaker 2: Oh it's hard to beat. You got Rock Hudson playing

1401
01:27:47,000 --> 01:27:51,920
Speaker 2: the hunkiest little gardner, hippie bohemian guy you've ever seen

1402
01:27:52,000 --> 01:27:57,080
Speaker 2: in your life, Like maybe the movie character that all

1403
01:27:57,200 --> 01:28:01,479
Speaker 2: men should be based on. I mean he is, he's

1404
01:28:01,560 --> 01:28:03,080
Speaker 2: the dream quite stunning.

1405
01:28:04,000 --> 01:28:09,920
Speaker 1: He's creative, he owns his own business. He's sensitive, he's hunky.

1406
01:28:10,080 --> 01:28:11,439
Speaker 1: Where's a flannel? Really?

1407
01:28:11,520 --> 01:28:15,080
Speaker 2: Well, he has like interesting people come into his little chalet.

1408
01:28:15,520 --> 01:28:18,640
Speaker 1: Note he's got like all these bohemians come in with

1409
01:28:18,840 --> 01:28:24,479
Speaker 1: lobster and shit. And yet.

1410
01:28:26,240 --> 01:28:32,919
Speaker 2: Ronald Reagan's wife shows up from her you know, stuffy

1411
01:28:33,080 --> 01:28:37,160
Speaker 2: New England town where everybody judges you and looks at

1412
01:28:37,200 --> 01:28:41,800
Speaker 2: you weird and is like make me a free wheeling lady.

1413
01:28:42,640 --> 01:28:45,679
Speaker 2: But her kids, I mean the melodrama is really about

1414
01:28:45,720 --> 01:28:48,560
Speaker 2: those fucking kids, which if you've seen the movie, you

1415
01:28:48,640 --> 01:28:51,320
Speaker 2: know exactly what I'm talking about. But those fucking kids

1416
01:28:52,160 --> 01:28:54,840
Speaker 2: some of the worst kids you've ever seen in a movie.

1417
01:28:55,120 --> 01:28:56,080
Speaker 2: And that's all I'll say.

1418
01:28:57,320 --> 01:28:59,840
Speaker 1: You know, those kids are victims of the capitalist system.

1419
01:29:00,040 --> 01:29:04,640
Speaker 2: Would say, oh yeah, they're completely indoctrinated into the you know,

1420
01:29:05,320 --> 01:29:06,880
Speaker 2: television set.

1421
01:29:08,800 --> 01:29:15,080
Speaker 1: That scene when they wheel out the television for her

1422
01:29:15,240 --> 01:29:18,400
Speaker 1: and the look of devastation on her face, it's one

1423
01:29:18,439 --> 01:29:21,960
Speaker 1: of cinema's greatest scenes. I mean, I feel like that

1424
01:29:22,160 --> 01:29:24,559
Speaker 1: was the that was the straw that broke the camel's

1425
01:29:24,600 --> 01:29:26,800
Speaker 1: back for her. I feel like that was a motivating

1426
01:29:27,800 --> 01:29:29,599
Speaker 1: She's like, I can't just be an old lady who

1427
01:29:29,640 --> 01:29:30,720
Speaker 1: watches TV all day.

1428
01:29:30,880 --> 01:29:33,920
Speaker 2: I mean, you think that a mom was offended when

1429
01:29:33,960 --> 01:29:37,000
Speaker 2: you didn't eat her eight layers of toast in the morning.

1430
01:29:37,880 --> 01:29:39,120
Speaker 1: Yeah, this mom.

1431
01:29:40,680 --> 01:29:46,879
Speaker 2: Getting red to absolute filth. Decimated ratio.

1432
01:29:47,120 --> 01:29:51,960
Speaker 1: They're basically saying, like you have ratioed. They are basically saying,

1433
01:29:52,520 --> 01:29:55,840
Speaker 1: you have no point to your existence, So why don't

1434
01:29:55,880 --> 01:29:58,360
Speaker 1: you live the rest of your life staring at this box?

1435
01:29:59,280 --> 01:30:03,000
Speaker 1: And it's horrible anyway, That is definitely my recommendation. That's

1436
01:30:03,000 --> 01:30:06,800
Speaker 1: a great movie. That's a great movie. I have kind

1437
01:30:06,840 --> 01:30:11,080
Speaker 1: of an unusual staff pick. Well, it's not unusual, but

1438
01:30:11,160 --> 01:30:14,800
Speaker 1: it's a short it's a short film and it's made

1439
01:30:14,840 --> 01:30:17,360
Speaker 1: by a friend of mine. We went to film school together.

1440
01:30:17,560 --> 01:30:22,000
Speaker 1: We were in the same thesis class. The filmmaker is

1441
01:30:22,080 --> 01:30:28,639
Speaker 1: named Andrew Stephen Lee and he is of Filipino descent. Hey,

1442
01:30:29,760 --> 01:30:33,240
Speaker 1: and he is a filmmaker and a successful filmmaker at that.

1443
01:30:34,479 --> 01:30:37,960
Speaker 1: He made a movie in twenty eighteen, in a short

1444
01:30:38,040 --> 01:30:41,559
Speaker 1: film which you can watch on Vimeo, and it's called

1445
01:30:42,080 --> 01:30:48,080
Speaker 1: Manila is Full of men named Boy. And I'll read

1446
01:30:48,160 --> 01:30:52,840
Speaker 1: you the synopsis on the website. Manila July seventh, two

1447
01:30:52,880 --> 01:30:57,320
Speaker 1: thousand and nine, as Michael Jackson's televised funeral plays throughout

1448
01:30:57,360 --> 01:31:01,200
Speaker 1: the Philippines despite terrorist attacks in the south and a

1449
01:31:01,320 --> 01:31:05,160
Speaker 1: strange son purchases a child who can drink and smoke

1450
01:31:05,280 --> 01:31:10,200
Speaker 1: to impress his father. Check it out. It's beautifully shot,

1451
01:31:10,760 --> 01:31:14,040
Speaker 1: shot in Manila. It's great. Check it out, twenty one

1452
01:31:14,080 --> 01:31:19,920
Speaker 1: minutes film. Yeah, you'd like it too, sounds awesome. Yeah,

1453
01:31:20,960 --> 01:31:24,680
Speaker 1: And there were characters named boy in Manila in the

1454
01:31:24,720 --> 01:31:27,160
Speaker 1: clause of light. There you go, sore, you go.

1455
01:31:29,120 --> 01:31:30,960
Speaker 2: Great? Employee. That was awesome.

1456
01:31:32,680 --> 01:31:38,320
Speaker 1: Right back at you, fellow co worker. Well that's our show, Milly.

1457
01:31:39,040 --> 01:31:40,679
Speaker 1: I just want to say thank you again for letting

1458
01:31:40,760 --> 01:31:44,400
Speaker 1: me speak about the tragedy at annunciation at the top

1459
01:31:44,479 --> 01:31:46,800
Speaker 1: of the episode. That was very meaningful for me and

1460
01:31:47,439 --> 01:31:49,599
Speaker 1: I'm glad I was able to express that on here,

1461
01:31:49,680 --> 01:31:53,080
Speaker 1: So thank you so much. In if you'd like film advice,

1462
01:31:53,200 --> 01:31:54,920
Speaker 1: or if you'd like to send us a film gripe

1463
01:31:54,960 --> 01:31:57,320
Speaker 1: er gret, I'm not going to get out the guitar,

1464
01:31:57,920 --> 01:32:02,280
Speaker 1: but if you want to send in email us at

1465
01:32:02,800 --> 01:32:06,439
Speaker 1: Deer Movies at exactlyrightmedia dot com. You can also send

1466
01:32:06,520 --> 01:32:09,040
Speaker 1: us a voicemail. Just record a voicemail on your phone

1467
01:32:09,600 --> 01:32:12,160
Speaker 1: and email it to Dear Movies at exactly rightdia dot com.

1468
01:32:12,200 --> 01:32:14,640
Speaker 1: Please keep it under a minute and record in a

1469
01:32:14,920 --> 01:32:16,439
Speaker 1: quiet place.

1470
01:32:16,800 --> 01:32:19,400
Speaker 2: You could also follow us on our social media accounts.

1471
01:32:19,439 --> 01:32:22,320
Speaker 2: We're at Deer Movies I Love You on Instagram and Facebook.

1472
01:32:22,840 --> 01:32:26,840
Speaker 2: Our letterbox handles are atk cli O'Brien and at md'jericho.

1473
01:32:27,160 --> 01:32:30,000
Speaker 2: And I'll implore you to listen to Deer Movies I

1474
01:32:30,080 --> 01:32:33,639
Speaker 2: Love You on the iHeartRadio app, Apple Podcasts, or wherever

1475
01:32:33,800 --> 01:32:36,679
Speaker 2: you get your podcasts. And honestly rate and review the show.

1476
01:32:37,160 --> 01:32:42,040
Speaker 2: We would love it. Rate it high five stars. Please,

1477
01:32:42,240 --> 01:32:44,840
Speaker 2: we would love it, And that's your mission.

1478
01:32:45,160 --> 01:32:49,280
Speaker 1: Amazing next week. I'm really excited about next week's episode

1479
01:32:49,280 --> 01:32:51,439
Speaker 1: because I have I've always wanted to see this movie,

1480
01:32:51,479 --> 01:32:52,160
Speaker 1: but I've never seen.

1481
01:32:52,320 --> 01:32:55,160
Speaker 2: Oh shit, You're in for a wild Ride.

1482
01:32:55,760 --> 01:32:59,320
Speaker 1: Everyone has talked about this movie ad nauseum. To me,

1483
01:33:00,600 --> 01:33:06,719
Speaker 1: it is two thousand, two thousand and four's dig exclamation point.

1484
01:33:06,840 --> 01:33:11,760
Speaker 1: It is a rock doc. It's kind of a famous one.

1485
01:33:11,800 --> 01:33:15,200
Speaker 1: I feel like people really, oh yeah love this movie,

1486
01:33:16,040 --> 01:33:20,920
Speaker 1: directed by Andy Timminer, and it's about the music of

1487
01:33:21,640 --> 01:33:26,559
Speaker 1: the Brian Jonestown Massacre and the Dandy Warhols and those

1488
01:33:26,640 --> 01:33:32,000
Speaker 1: crazy guys in those bands. And I'm excited. I'm excited

1489
01:33:32,040 --> 01:33:33,840
Speaker 1: to watch. It'll be fun to talk about kind of

1490
01:33:33,880 --> 01:33:35,920
Speaker 1: like rock docks in general too.

1491
01:33:36,479 --> 01:33:39,880
Speaker 2: Yeah, And I feel like there's been I don't know,

1492
01:33:39,920 --> 01:33:42,439
Speaker 2: I feel like I've seen I don't know if it's

1493
01:33:42,520 --> 01:33:45,439
Speaker 2: because Oasis is popular again, but like I just have

1494
01:33:45,520 --> 01:33:49,880
Speaker 2: been seeing more and more about both the Dandy Warhols

1495
01:33:50,040 --> 01:33:54,320
Speaker 2: and Brian Jonestown Oscer lately on like TikTok interesting, so

1496
01:33:54,960 --> 01:33:59,679
Speaker 2: interesting famous feuds. I think is the connection pla famous

1497
01:33:59,760 --> 01:34:05,000
Speaker 2: fear dudes. Yes, well, Millie, that's it. That's a rap.

1498
01:34:06,040 --> 01:34:08,840
Speaker 1: That's a rap. Thank you again for being a great

1499
01:34:09,720 --> 01:34:10,639
Speaker 1: fellow co worker.

1500
01:34:10,800 --> 01:34:12,960
Speaker 2: Hey, thank you for being a great fellow co worker.

1501
01:34:13,320 --> 01:34:14,880
Speaker 1: All Right, everybody have a good one.

1502
01:34:15,000 --> 01:34:15,160
Speaker 3: Hy.

1503
01:34:17,439 --> 01:34:20,560
Speaker 2: This has been an exactly right production hosted by Me

1504
01:34:21,040 --> 01:34:24,639
Speaker 2: Milli to Cherico and produced by my co host Casey O'Brien.

1505
01:34:24,880 --> 01:34:28,599
Speaker 1: This episode was mixed by Tom brifol. Our associate producer

1506
01:34:28,720 --> 01:34:32,000
Speaker 1: is Christina Chamberlain. Our guest booker is Patrick Cottner, and

1507
01:34:32,120 --> 01:34:33,920
Speaker 1: our artwork is by Vanessa Ilac.

1508
01:34:34,160 --> 01:34:37,040
Speaker 2: Our incredible theme music is by the best man in

1509
01:34:37,080 --> 01:34:38,960
Speaker 2: the entire world, The Softies.

1510
01:34:39,240 --> 01:34:43,160
Speaker 1: Thank you to our executive producers Karen Kilgareff, Georgia Hartstark,

1511
01:34:43,320 --> 01:34:46,160
Speaker 1: Daniel Kramer and Milly to Jericho, we love you.

1512
01:34:46,280 --> 01:34:49,040
Speaker 2: Goodbye, Beker