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

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Speaker 1: You Did. My name is Milly to Jericho.

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Speaker 2: I'm Daniel Henderson and uh we are here.

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Speaker 1: Back with you for film podcasting and whatnot. What's going on, Danielle?

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Speaker 1: How you ben good?

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Speaker 2: I've got my buttered roll in my Dunkin Donuts ized coffee.

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Speaker 2: It's a very special recording day, but it's also just

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Speaker 2: a day, and I'll just do this a couple times

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Speaker 2: a week to make myself happy.

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Speaker 1: I will actually be there pretty soon.

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Speaker 2: Wow.

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Speaker 1: All the sound of somebody screaming with a buttered roll

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Speaker 1: in their mouth.

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Speaker 2: I'm so funny excited. That's gonna be me.

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Speaker 1: It's gonna be me in a few days. Let's get here.

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Speaker 2: Are gonna I'm not even kidding. With the full on

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Speaker 2: addictive personality that you have, you were gonna be throwing

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Speaker 2: these into your bag on the way home. I have

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Speaker 2: an addictive person You are a lightly yes. When you

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Speaker 2: love something, you're just like, this is what I'm doing

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Speaker 2: for the next seven months. That's true.

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Speaker 1: Just read me. Come on. I was like attempting to

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Speaker 1: do my thing where I'm like, that's not true, that's

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Speaker 1: not me. But that's actually probably me one.

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Speaker 2: Word TikTok okay, okay, sorry, sorry, sorry that I know you, I.

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Speaker 1: Know, disgusting. I was just like I was just literally

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Speaker 1: talking to you about this and they don't know this,

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Speaker 1: the listeners don't know this, but I'm in full attict mode.

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Speaker 2: I thought you quit.

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Speaker 1: I thought I did too. Okay, So basically I did

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Speaker 1: the thing where I was like, okay, I'm deactivating my profile,

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Speaker 1: meaning no more profile, no more anything, goodbye. Then I

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Speaker 1: decided I did not want that. I was like, I

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Speaker 1: just don't want that. I don't want this to end

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Speaker 1: right now. So I reactivated the profile and then that

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Speaker 1: was kind of kicking around for like a week, and

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Speaker 1: then I was like, okay, this is disgusting. I'm disgusting.

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Speaker 1: I need to just remove the app from my phone,

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Speaker 1: like not delete the app, but you know how you

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Speaker 1: can on Apple you can just like take the app

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Speaker 1: off your home screen. Right.

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Speaker 2: Ah.

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Speaker 1: That was stupid because all I was doing was just

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Speaker 1: searching for it, like like oh I need to icon,

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Speaker 1: but just pull down the search bar and just find it.

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Speaker 2: Like I know I took it off my phone, but

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Speaker 2: did I did? I? Actually?

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Speaker 1: I know it is that I don't know why. Apple

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Speaker 1: was like, hey, let's give him that I know, let's

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Speaker 1: give him that stupid functionality that will they will never

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Speaker 1: ever not look at it, like they will continue to

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Speaker 1: just search for it. So then I was like, I'm

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Speaker 1: a horrible person. I need I need.

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Speaker 2: Uh, I need some kind of recovery.

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Speaker 1: Let me just delete the app totally from the phone

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Speaker 1: and then that'll be that. Don't deactivate the profile in

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Speaker 1: case somebody sends you something, but just take the app

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Speaker 1: off her phone and maybe just like pull it up

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Speaker 1: in a browser if if need be, then I just

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Speaker 1: start looking at it in the browser. I mean, this

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Speaker 1: is just disgusting. And now I'm back to the app.

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Speaker 1: As of right now today the app is reinstalled on

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Speaker 1: my phone. So you're right, I'm an addict. I haven't

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Speaker 1: gift a personality.

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Speaker 2: I mean, not to anything terrible.

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Speaker 1: I went I wish though, let me tell you right now,

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Speaker 1: I want to get out of it. So maybe Buttered

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Speaker 1: Rolls is the Slulu.

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Speaker 2: Well this is also the question is like do you

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Speaker 2: need to replace it with something else to be into

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Speaker 2: or can you just not be addicted to something? Do

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Speaker 2: you love having like a passion?

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Speaker 1: I think for me is that I just have to

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Speaker 1: get it out of my system, right, Like I just

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Speaker 1: need to get it out of my system. And it

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Speaker 1: happens like once once. I just like I get sick

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Speaker 1: of things. That's that's my thing. Like I just get

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Speaker 1: sick of like whatever it is. I hit something real

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Speaker 1: hard and then I'm just like, Okay, I'm done. So yeah,

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Speaker 1: I'm eventually going to not like this anymore. And there's

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Speaker 1: already signs. There's already signs of it. But because like

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Speaker 1: what I was thinking the other day, because remember when

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Speaker 1: we had that discussion on the pod about how I

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Speaker 1: am swinging in this other direction. So I've been you know,

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Speaker 1: basically like just eating dessert for the past like six months,

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Speaker 1: seven months, right right like between like Love Island and

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Speaker 1: you know, pop music and you know, like Taylor Swift

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Speaker 1: once in a while, and you know Katie the Katy

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Speaker 1: Perry stuffed the vander Palm, the TikTok. Right, I was like, oh,

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Speaker 1: now I'm back on my like stupid intellectual bullshit, and

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Speaker 1: so I have recently and I kind of actually the

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Speaker 1: weirdest part is I actually have to thank TikTok for this.

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Speaker 1: I don't know why. This is just very ironic, but

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Speaker 1: I started kind of getting back into like reading poetry.

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Speaker 1: Have you ever just like straight up read poetry in

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Speaker 1: her life? I'm sure?

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Speaker 2: Oh yeah, completely, I still do. Yeah. I just bought

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Speaker 2: a book by someone I found on Instagram. His name

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Speaker 2: is Joshua Turk t u r e k Okay, and

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Speaker 2: he has these really great and hilarious poems and he's

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Speaker 2: like kind of self published. But the book is fantastic,

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Speaker 2: and he also has a really great books podcast called

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Speaker 2: Turk Books. But yeah, I read poetry all the time.

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Speaker 1: Well, I'm going to get at your level then, because

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Speaker 1: that's I mean, honestly, I have not I have not

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Speaker 1: read or written poetry since probably high school. Yeah right,

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Speaker 1: because we were a bunch of like fucking city lights loving.

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Speaker 2: Dorst little dilett dorks, little dorks.

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Speaker 1: Little you know, sitting around with our feather pens in

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Speaker 1: the coffee shop, blasting Charles Megas out of windows with

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Speaker 1: our black berets. That's what we've established this many times.

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Speaker 1: But yeah, I guess I haven't. I haven't really been.

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Speaker 1: I haven't really read or written because I actually used

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Speaker 1: to write poetry, you know, like when I was in

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Speaker 1: high school. Who didn't in the nineties. But I don't know.

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Speaker 1: I just yeah, And that's weird because I was like

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Speaker 1: thinking the other day, I'm like, this has to be

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Speaker 1: an age thing, right, because I don't know, you get

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Speaker 1: I don't know, age happens and suddenly like you just

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Speaker 1: become more nostalgic and sentimental and in your feelings about

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Speaker 1: a lot of things, and yeah, I think. Yeah. The

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Speaker 1: the weirdest part is that when I was on TikTok there,

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Speaker 1: I guess maybe because the algorithm was sort of responding

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Speaker 1: to things that I was looking at, it was pulling

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Speaker 1: up like all of these like TikTok accounts that actually

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Speaker 1: publish little lines of poetry, and there's like there'll be

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Speaker 1: like accounts where it'll be like, you know, poems that

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Speaker 1: Broke my Heart Part thirty nine or whatever, but it'll

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Speaker 1: just be like a two line or three line section

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Speaker 1: of someone's poem. And I was like, fuck, that is

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Speaker 1: so good, Like I just and so I just got

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Speaker 1: obsessed with like those poetry accounts on TikTok, and then

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Speaker 1: I was like, the fuck am I doing. I used

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Speaker 1: to be an old school poet write and bitch, like, yeah,

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Speaker 1: I got all this stuff in the house. The stuff's in.

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Speaker 2: The house, the poetry is inside the building. Yeah.

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Speaker 1: I was like, I'm gonna go back to my shelves

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Speaker 1: and like get all my shit out, like what am.

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Speaker 2: I doing exactly? And that's what I do too. I'm

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Speaker 2: very similar trajectory. And then I started following an account

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Speaker 2: on Instagram called Poetry is Not a Luxury and they

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Speaker 2: post all these poems every day, and it just reminded

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Speaker 2: me that like, oh, yeah, I have a lot of

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Speaker 2: poetry here. I should be reading it. And so it's

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Speaker 2: part of like when I meditate, or if I just

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Speaker 2: need to calm down, or if I just if I

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Speaker 2: want to read for a little while. I don't want

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Speaker 2: to commit to like oh I'm digging into a novel,

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Speaker 2: I just have twenty minutes. I just want to sit

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Speaker 2: down and read. I'll read some poetry or short stories.

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Speaker 2: I love it.

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Speaker 1: You know what is like right now just cutting me

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Speaker 1: is Arabic poetry?

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Speaker 2: Mmmmm, any particular era or poet.

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Speaker 1: It's hard to say because all it all I see

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Speaker 1: is that it like lines online and I want to

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Speaker 1: dive into it big time and find out like who's who,

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Speaker 1: what's what, But every time it is presented to me.

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Speaker 1: It is it cuts to the fucking core. I'm like, Yo,

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Speaker 1: this is the most intensely profound shit I think I've

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Speaker 1: read in a very long time.

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Speaker 2: Really, I would send me some stuff, yeah, I will,

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Speaker 2: And I've not.

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Speaker 1: And I've heard this before, like I've heard like people

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Speaker 1: say like, oh, like you got to get into some

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Speaker 1: error poets. They're amazing.

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Speaker 2: Uh.

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Speaker 1: And I was like, oh, yeah, maybe I will, but

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Speaker 1: not really thinking about it. And then and then all

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Speaker 1: of a sudden, like I'm online and I'm like, man,

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Speaker 1: like I was just like laid out by it. I

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Speaker 1: don't know the feeling of it. Yeah, I just it's

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Speaker 1: very like, I don't know. I think maybe I don't

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Speaker 1: know if it's a translation thing or what. But it's

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Speaker 1: like very simple but like really really effective. Like it

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Speaker 1: just says a lot in so little words, you know,

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Speaker 1: I don't know. That's what I like about poetry, I

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Speaker 1: think at the end of the day is, yeah, the

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Speaker 1: ability to communicate like a huge feeling in a very

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Speaker 1: like small contained set of words.

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Speaker 2: And it's it's difficult to do. I will say that,

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Speaker 2: even as someone who writes every day of my life,

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Speaker 2: I'm not good at poetry, and I think that's why

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Speaker 2: I like it, because it's so interesting to me how

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Speaker 2: people get to get to be so concise and emotive,

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Speaker 2: and like you said, maybe one or two lines or

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Speaker 2: it builds to this beauty that just knocks me out

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Speaker 2: in like one word. Sometimes it's really it's really beautiful.

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Speaker 2: It's stunning. Poetry is wonderful. And I am bad at writing,

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Speaker 2: and I always have been. I have gone through some

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Speaker 2: of my old journals recently and there are some poems

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Speaker 2: in there, and I thought I was doing something and

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Speaker 2: it's basically like I was writing a bus schedule, Like

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Speaker 2: what what was I thinking? And I think that that's

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Speaker 2: what comes from me trying to mimic other poets and

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Speaker 2: you know, other you know, like Laurence Rolinghetti and like

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Speaker 2: people I used to read when I was a kid,

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Speaker 2: and I'm like, I'm not that person, Like this just

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Speaker 2: reads like I'm writing a menu.

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Speaker 1: Yeah, well, I think I understand what you mean because

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Speaker 1: I think like part of but part of like right

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Speaker 1: now that feels like very important to me is this

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Speaker 1: feeling of like needing to express myself creatively. And I

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Speaker 1: mean it's not like we're not we're doing a podcast.

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Speaker 1: I have moments of creativity like every day of my

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Speaker 1: life through my jobs, thankfully, right, but I feel like

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Speaker 1: I need like some stronger juice, like I'm and I've

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Speaker 1: been feeling this for months. I think we know, I

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Speaker 1: think if you listen to that again, the trajectory of

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Speaker 1: the podcast we've been doing for the past year, I

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Speaker 1: think you and I are both like in a moment

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Speaker 1: in our own ways.

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Speaker 2: But I.

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Speaker 1: I just have I feel like I have all this

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Speaker 1: like energy and passion right now to create stuff. And

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Speaker 1: so I've been trying, you know, different things, right because

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Speaker 1: I started painting earlier this year, you know, when I

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Speaker 1: was when I was unemployed, and I loved it, loved

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Speaker 1: it so much. But then I don't know, I feel

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Speaker 1: like I want to get back to writing. And so

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Speaker 1: I told myself, like, I'm going to get into a

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Speaker 1: practice of writing, and I have the sub stack for that.

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Speaker 1: But I also love like getting up in certain times

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Speaker 1: and just writing in a journal, like an actual journal,

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Speaker 1: you know. Yeah, so I've been trying to do that

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Speaker 1: a little bit more. And I think that like when

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Speaker 1: I was younger and I was writing, right, I mean

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Speaker 1: obviously not publishing. This is all just like shit that

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Speaker 1: I was doing at home, right. I was concerned about

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Speaker 1: the picture of it, Like I was like, oh, I

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Speaker 1: need to sit down and write a poem from start

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Speaker 1: to finish, right, and it has to have a flow,

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Speaker 1: And it's almost like I just wanted to take the

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Speaker 1: picture of it. Now when I come across it, I'm

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Speaker 1: just writing lines down and then I just like leave

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Speaker 1: it and come back to it, or like I just

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Speaker 1: kind of do it piecemeal.

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Speaker 2: And I feel like it's Yes.

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Speaker 1: I think for poetry particularly, it's easier to do it

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Speaker 1: that way for me because I'm just like, I don't

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Speaker 1: have the whole poem in front of me ere in

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Speaker 1: my brain. I just have a few lines that I've

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Speaker 1: been like mulling over, and so I just write them

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Speaker 1: down and then if I feel like expanding upon that

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Speaker 1: at some point, yes, If not, I just come back

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Speaker 1: to it later, think about it some other time.

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Speaker 2: Yeah. So for sure, I think that's a smart way

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Speaker 2: to do it is a way that I've had to

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Speaker 2: learn to write. I don't know where we got the message,

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Speaker 2: but it has to have been something that was generational,

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Speaker 2: because I feel I have felt for most of my

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Speaker 2: writing life, I felt like it had to come out

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Speaker 2: of my brain perfect, like I didn't. We were not

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Speaker 2: taught how to edit or how to just kind of

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Speaker 2: write in short bursts. It was sit down and write this,

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Speaker 2: and then it all had to feel perfect. So it

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Speaker 2: took me time to learn how to actually not just edit,

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Speaker 2: but to just write things down that don't have a

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Speaker 2: place to be yet. I don't know if this is

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Speaker 2: dialogue that I'm going to use in a script. I

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Speaker 2: don't know if this is a short story. I don't

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Speaker 2: know if this is a novel. Like, I just didn't

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Speaker 2: learn how to do that for a very long time.

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Speaker 2: So now that's kind of my practice as well as

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Speaker 2: I'm just kind of you know, there are things, there

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Speaker 2: are projects that I work on that I sit down

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Speaker 2: and I'm like, well, this is what this is. I'm

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Speaker 2: going to write this thing.

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Speaker 1: Yeah.

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Speaker 2: But when I'm writing for myself and on my own,

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Speaker 2: I just write, yeah. I just you know, I think

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Speaker 2: it's it's a really good I keep saying meditation, but

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Speaker 2: it's a good meditative practice because I think it gets

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Speaker 2: you out of your head and allows it takes all

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Speaker 2: the pressure off. So I love that you're just messing

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Speaker 2: around with just writing stuff down without putting any pressure

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Speaker 2: on yourself, because it's very easy to do. It's very

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Speaker 2: easy to put pressure on your yourself to think, I'm

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Speaker 2: writing a poem, I should have it done right now.

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Speaker 2: And I think, I think you would like Rupi Kauer

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Speaker 2: Rupby Korr. It's are u p I ka you are.

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Speaker 2: She's a young poet who really got very popular a

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Speaker 2: few years ago when she's written a few books, and

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Speaker 2: I've hadn't seen her name, I hadn't read any of

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Speaker 2: her poetry. But then I listened to her on an

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Speaker 2: episode of the Talk Easy podcast with Sam Fragoso, and

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Speaker 2: he's just my favorite interviewer, and she was just so

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Speaker 2: great on that podcast, and I thought, I want to

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Speaker 2: read everything she has to say. But she and I

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Speaker 2: say that because it reminds me of like, when you're

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Speaker 2: listening to a poet talk about writing poetry, they're doing

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Speaker 2: it the way that you're doing it.

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Speaker 1: Yeah. Yeah, it's it's strange to I think, now, be

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Speaker 1: my age and having actually published a book, to think

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Speaker 1: about writing in a different way, because when I was

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Speaker 1: when I was a kid, when I was a teenager,

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Speaker 1: I was just like I just need to express myself

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Speaker 1: and I'm just angry and Nirvana and Maggie s Step

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Speaker 1: and the nineties and coffeehouses. Like, it wasn't like I

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Speaker 1: wasn't really thinking about it deeper than that.

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Speaker 2: Yeah, it wasn't like connected to you in some way

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Speaker 2: beyond that initial emotion, right.

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Speaker 1: I mean I felt like I needed to do it,

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Speaker 1: But I also it was I was kind of like

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Speaker 1: in a vacuum about it or something. But now I

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Speaker 1: think about it in terms of it being like I

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Speaker 1: mean maybe it's kind of kind of a kickstarter for

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Speaker 1: creative other creative things. I mean, it's like I've published

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Speaker 1: a book before. You know, at this point, I know

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Speaker 1: what it takes to like go through that process of

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Speaker 1: it and write, the writing process of having a deadline

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Speaker 1: and editing and everything like that. But then also like

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Speaker 1: you can take your writing and do other things with it,

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Speaker 1: Like I mean, you could write a screenplay, you could

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Speaker 1: perform it, you could write song lyrics for one of

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Speaker 1: your friends's bands. I mean, it's like everything as possible,

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Speaker 1: and it doesn't have to be this like linear arc

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Speaker 1: and you can return and come back and like borrow

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Speaker 1: and remove and from other things that you've done. So

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Speaker 1: I don't know, I just think it's really interesting. It's

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Speaker 1: like malleable I think now versus feeling very absolute when

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Speaker 1: I was younger and writing.

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Speaker 2: I love this. I think it's it's I love this.

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Speaker 2: I think it's very it's indicative of who you are

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Speaker 2: now and the time that you're willing to take to

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Speaker 2: be thoughtful about yourself. I think that's a good that's

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Speaker 2: always a good thing for anyone to tap into. Yeah,

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Speaker 2: and I love this. I just love that. I think

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Speaker 2: it's really great and it's a different kind of creativity. Yeah.

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Speaker 2: That again, Like it's it's very difficult to express things period.

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Speaker 2: Like sometimes it's a hard thing to do. Oftentimes it's

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Speaker 2: because you can't figure out how to say something exactly,

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Speaker 2: sometimes because you don't know what form is going to take,

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Speaker 2: like this, it's going to be a painting whatever. So

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Speaker 2: I like that you've kind of found your groove of

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Speaker 2: what makes you feel good right now.

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Speaker 1: Yeah, I mean I think I think I'm just in

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Speaker 1: my mode right I'm going to be my sad journal

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Speaker 1: in bitch mode.

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Speaker 2: Like I'm like, I'm back. How's everybody been? I'm back.

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Speaker 1: I'm seventeen again, Like.

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Speaker 2: I'm back, Hey, what's been going? On everybody.

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Speaker 1: It's me. I'm writing in my sad journal at a

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Speaker 1: coffee shop again. I know it's for a while.

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Speaker 2: There's something so beautiful and also so maddening to me about, Oh,

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Speaker 2: was I just at my best when I was a

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Speaker 2: teenager and I've spent all these years trying to be

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Speaker 2: something else just to return to that bitch? Was I

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Speaker 2: just fine as I was and should have just kept

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Speaker 2: going down that road? I know?

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Speaker 1: And that's like, it's kind of like how you said

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Speaker 1: a few episodes ago about how you just like have

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Speaker 1: have You've been just trying to prove that you've you

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Speaker 1: were normal over these years, but it was really that

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Speaker 1: you weren't at all. Like you have the anger inside

356
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Speaker 1: of you, it's always there, but you're just like making

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Speaker 1: a hard attempt to be like a normal functioning person.

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Speaker 1: I mean, I think it's really the essence of it.

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Speaker 2: Yeah, it's sucking cosplaying as a human being these whole

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Speaker 2: and I'm really just a snarling, angry weirdo. H And

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Speaker 2: the more the more the more I tap into that

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Speaker 2: lady who, the better I feel.

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Speaker 1: Yeah, this has to be some kind of age related thing,

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Speaker 1: because I've talked to other people about this too, and

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Speaker 1: about how when people have have reached their like forties

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Speaker 1: and older, about how, you know, I guess theoretically the

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Speaker 1: world throws you in the garbage can because nobody gives

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Speaker 1: a shit. As women, you're basically like ignored. You're like

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Speaker 1: no longer the apple of the world's eye, and so

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Speaker 1: it's time to you know, lean into whatever whatever it

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Speaker 1: is that you really want. And that's like where people

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Speaker 1: get really like fertile, creative, and you know, otherwise like

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Speaker 1: they just get they just lean towards this authenticity in

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Speaker 1: this extremely hardcore way because it's like who gives a shit,

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Speaker 1: Like no one, if no one truly gives a shit

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Speaker 1: about you anymore, and you're just out here, just be

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Speaker 1: out here, do you be whoever the fuck you actually are,

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Speaker 1: and do all the shit that you want and don't care,

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Speaker 1: you know.

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Speaker 2: And that's that is really I think that that is.

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Speaker 2: It's important to note too that it's not that I

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Speaker 2: haven't been myself all these years. It's that thing that

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00:21:04,960 --> 00:21:09,479
Speaker 2: you just said, the who cares be yourself? I've learned

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Speaker 2: over time how to keep it to myself literally inside

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Speaker 2: my house and inside my head. And now I think

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Speaker 2: it's that the return to authenticity is that I'm not

387
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Speaker 2: hiding it from anyone anymore.

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Speaker 1: Yeah.

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Speaker 2: So I feel like I've been myself the whole time,

390
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Speaker 2: but the cosplaying part is, oh, there are besides of

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Speaker 2: myself that I shouldn't show to other people. And now

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Speaker 2: I'm like, fuck you, deal with it. I don't care.

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Speaker 1: I mean, I'm going to go ahead and say it now.

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Speaker 1: I think it relates to, you know, this sort of

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Speaker 1: like patriarchal trajectory that women are on in this world

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Speaker 1: where it's basically like, well, you start out as like

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Speaker 1: a really fun, creative, fertile, you know, young woman, and

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Speaker 1: then you get put in the marketplace to sell your

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Speaker 1: femininity and your baby making skills and your tried wife skills. Yeah,

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00:22:02,880 --> 00:22:10,320
Speaker 1: and then if you if you're successful, then you know

401
00:22:10,760 --> 00:22:13,880
Speaker 1: you've won. I suppose. But then after a while you're like, oh,

402
00:22:13,920 --> 00:22:16,960
Speaker 1: but now you're just like put out to pasture right

403
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Speaker 1: because you're old and no one gives a shit about you.

404
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Speaker 1: Should we just delete all this? I feel like this

405
00:22:21,640 --> 00:22:25,960
Speaker 1: is such a fucking this is like so I swear,

406
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Speaker 1: I'm like, wow, this is a depressing narrative being like

407
00:22:29,560 --> 00:22:34,920
Speaker 1: you're a woman who gets married and has kids and

408
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Speaker 1: loses yourself.

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Speaker 2: That is incredibly common. We're not deleting it because that's

410
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Speaker 2: ninety nine percent of our listener's experience. And I probably

411
00:22:42,600 --> 00:22:45,480
Speaker 2: need to hear that we understand that and that we

412
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Speaker 2: feel it too. And I think that it's really it

413
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Speaker 2: is a bummer, but it's not because of us. And

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Speaker 2: it's also really heartening to me that most people do

415
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Speaker 2: eventually find a way back to themselves. Yeah. Like I

416
00:22:58,040 --> 00:23:02,200
Speaker 2: had to learn really early on that what I was

417
00:23:02,280 --> 00:23:05,440
Speaker 2: doing was good in that, Like, my whole life has

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Speaker 2: been about decentering men and decolonizing myself, my own language,

419
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Speaker 2: and my own self. Yeah, so decentering men has just

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Speaker 2: been revolutionary for my own brain and feelings. And it

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Speaker 2: doesn't mean I don't interact with men. Doesn't mean I

422
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Speaker 2: don't love men. They are not the focus of what

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Speaker 2: I do. So again, to be very clear, decentering men

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Speaker 2: for me is I don't do anything in life and

425
00:23:31,960 --> 00:23:34,560
Speaker 2: wonder what is a dude going to think about this? Yeah,

426
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Speaker 2: my boss, a lover, whatever, I don't care. Like, I'm

427
00:23:37,760 --> 00:23:41,040
Speaker 2: not making anything or doing anything for them or for

428
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Speaker 2: their approval. So once I started doing that, all fucking

429
00:23:46,480 --> 00:23:49,480
Speaker 2: bets are off because we do live in a patriarchal society.

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Speaker 2: So if you if you are someone who lives in

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Speaker 2: a patriarchal society and you say, I don't care about

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Speaker 2: what men think, you're kind of on your own and

433
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Speaker 2: a lot in a lot of ways.

434
00:23:58,800 --> 00:24:00,399
Speaker 1: Yeah, I think that's kind of what I mean is

435
00:24:00,400 --> 00:24:06,480
Speaker 1: that it's more about like you, you kind of are

436
00:24:06,520 --> 00:24:13,720
Speaker 1: thrown into a system that's based on you know, patriarchal values,

437
00:24:13,920 --> 00:24:19,959
Speaker 1: cistet patriarchy, white supremacy, right. Yeah, And as a young person,

438
00:24:20,359 --> 00:24:26,080
Speaker 1: as a young woman, you're you know, you're free, and

439
00:24:26,160 --> 00:24:28,760
Speaker 1: then you enter them, Like I said, you enter this

440
00:24:28,880 --> 00:24:31,640
Speaker 1: kind of marketplace for it all, and then you spend

441
00:24:31,640 --> 00:24:33,840
Speaker 1: a lot of years like trying to navigate it and

442
00:24:33,840 --> 00:24:37,359
Speaker 1: feeling like you should participate in it because all of

443
00:24:37,400 --> 00:24:39,880
Speaker 1: the messaging is basically like, oh, you should get married

444
00:24:39,920 --> 00:24:42,520
Speaker 1: and have kids and you know, be a normal person,

445
00:24:42,560 --> 00:24:44,159
Speaker 1: buy a house, buy a car, do all of the

446
00:24:44,200 --> 00:24:49,520
Speaker 1: things that you're supposed to do and then and everybody's

447
00:24:49,600 --> 00:24:52,520
Speaker 1: participating in it. Even if you if you try not to,

448
00:24:53,920 --> 00:24:55,680
Speaker 1: the pressure is so strong.

449
00:24:56,240 --> 00:24:58,560
Speaker 2: Oh yeah, even if you're queer, like, you're still getting

450
00:24:58,600 --> 00:25:01,480
Speaker 2: the messaging that there is way to succeed in life.

451
00:25:01,880 --> 00:25:05,320
Speaker 1: Yeah, yeah, even if you're whomever. I mean, that's this.

452
00:25:05,600 --> 00:25:08,600
Speaker 1: It's really just sort of like a it's the adulting

453
00:25:08,960 --> 00:25:11,280
Speaker 1: myth or something of being like, oh, I've got to

454
00:25:11,320 --> 00:25:13,840
Speaker 1: be this like person by this certain age, right, or

455
00:25:13,880 --> 00:25:16,320
Speaker 1: I've got to be settled and this and that by

456
00:25:16,359 --> 00:25:20,359
Speaker 1: a certain age, and then at some point you just

457
00:25:20,480 --> 00:25:22,440
Speaker 1: age out of it. You just truly age out of it.

458
00:25:22,440 --> 00:25:24,600
Speaker 1: I mean like at this point, Like I think I

459
00:25:24,640 --> 00:25:27,600
Speaker 1: told myself that once I felt like, Okay, I'm not

460
00:25:27,720 --> 00:25:30,240
Speaker 1: having kids, I'm too old to have kids or something,

461
00:25:30,680 --> 00:25:33,200
Speaker 1: or I just don't want to. I was like, Wow,

462
00:25:33,200 --> 00:25:35,560
Speaker 1: what a freedom that exists, because it doesn't feel like

463
00:25:35,720 --> 00:25:38,520
Speaker 1: now everything is hinging upon all of that, Like I'm

464
00:25:38,560 --> 00:25:40,760
Speaker 1: just like, oh, well, then who cares if I don't

465
00:25:40,800 --> 00:25:44,080
Speaker 1: if I don't you know, if I'm not married, or

466
00:25:44,080 --> 00:25:45,760
Speaker 1: who cares if I don't do this or that or

467
00:25:45,840 --> 00:25:48,000
Speaker 1: haven't done anything by certain age, because that whole system

468
00:25:48,080 --> 00:25:52,000
Speaker 1: is gone absolutely, And it's at that point where I

469
00:25:52,040 --> 00:25:58,720
Speaker 1: think you return maybe to a free, blank slate where

470
00:25:58,720 --> 00:26:01,680
Speaker 1: you're just like, well, then if this is not who

471
00:26:01,720 --> 00:26:04,640
Speaker 1: I'm if I haven't done this, then I can do

472
00:26:04,720 --> 00:26:07,960
Speaker 1: literally whatever the fuck I want right, you know, right?

473
00:26:08,000 --> 00:26:09,600
Speaker 1: And I think that's where I'm at right now. And

474
00:26:09,640 --> 00:26:11,240
Speaker 1: I feel like a lot of people that I've talked to,

475
00:26:11,359 --> 00:26:14,879
Speaker 1: and I'm talking about men, women or whoever, like a

476
00:26:14,920 --> 00:26:16,880
Speaker 1: lot of people that I know in my age range

477
00:26:16,960 --> 00:26:20,600
Speaker 1: right now are sort of feeling that same feeling of

478
00:26:20,760 --> 00:26:25,720
Speaker 1: just like wanting to try to do things, do things differently,

479
00:26:26,800 --> 00:26:29,359
Speaker 1: drop the bullshit of who they thought they were so

480
00:26:29,400 --> 00:26:33,280
Speaker 1: they could just be authentically themselves. Yeah, I love it.

481
00:26:34,160 --> 00:26:37,639
Speaker 2: I love it too. I'm I feel like people and

482
00:26:37,680 --> 00:26:42,480
Speaker 2: this is it's going to sound extremely arrogant, and I

483
00:26:42,520 --> 00:26:46,280
Speaker 2: will explain so that it doesn't sound extremely arrogant. I'm

484
00:26:46,320 --> 00:26:48,679
Speaker 2: glad that people are finally catching up with me on

485
00:26:48,760 --> 00:26:50,639
Speaker 2: this point because I have felt like this for a

486
00:26:50,840 --> 00:26:53,880
Speaker 2: very long time and I've been pretty much on my own.

487
00:26:53,960 --> 00:26:55,480
Speaker 2: Like I knew I didn't want to have kids when

488
00:26:55,520 --> 00:26:57,560
Speaker 2: I was a kid. As a child, I was like,

489
00:26:57,600 --> 00:26:59,199
Speaker 2: I am not doing that. I don't want to do that.

490
00:27:00,040 --> 00:27:02,679
Speaker 2: So I feel like, Okay, people are catching up to me.

491
00:27:03,000 --> 00:27:06,879
Speaker 2: But it's wonderful And I had to acknowledge at some

492
00:27:07,000 --> 00:27:10,000
Speaker 2: point that I can't hold it against people that they've

493
00:27:10,000 --> 00:27:11,840
Speaker 2: been trying to be part of the system because I

494
00:27:11,960 --> 00:27:14,359
Speaker 2: was too in other ways that didn't have to do

495
00:27:14,400 --> 00:27:17,520
Speaker 2: with children per se or you know, romance, but I

496
00:27:17,600 --> 00:27:20,480
Speaker 2: was absolutely trying to be part of the system in

497
00:27:20,520 --> 00:27:24,359
Speaker 2: a different way. So I feel like we're all catching

498
00:27:24,440 --> 00:27:27,639
Speaker 2: up together because we've all accessed that system in different

499
00:27:27,640 --> 00:27:29,720
Speaker 2: ways or tried to, like see how that system was

500
00:27:29,760 --> 00:27:32,080
Speaker 2: affecting us in different ways. So I feel like we're

501
00:27:32,119 --> 00:27:34,399
Speaker 2: all like, I just feel closer to most of my

502
00:27:34,440 --> 00:27:37,000
Speaker 2: friends right now, and it's beautiful to see us being

503
00:27:37,000 --> 00:27:39,000
Speaker 2: able to grow together in this way. And I think

504
00:27:39,040 --> 00:27:42,560
Speaker 2: that even if it's unacknowledged, it's because we're all shifting

505
00:27:42,640 --> 00:27:48,119
Speaker 2: back to ourselves. After years of not prioritizing ourselves for

506
00:27:48,160 --> 00:27:51,280
Speaker 2: whatever reason, be it kids, family, jobs, or whatever, we

507
00:27:51,480 --> 00:27:54,639
Speaker 2: have not been prioritizing ourselves and now we are. And

508
00:27:54,680 --> 00:27:56,640
Speaker 2: I have so many thoughts on this because I think

509
00:27:56,680 --> 00:28:00,439
Speaker 2: that for me, a lot of the we're turn to

510
00:28:00,520 --> 00:28:04,159
Speaker 2: self is because I get in my own way a lot,

511
00:28:04,280 --> 00:28:06,920
Speaker 2: and I shut myself down a lot because I look

512
00:28:06,920 --> 00:28:09,560
Speaker 2: at the world at large and I think nobody wants

513
00:28:09,600 --> 00:28:11,679
Speaker 2: to hear this, nobody wants any part of what I

514
00:28:11,720 --> 00:28:14,320
Speaker 2: have to say. Who gives a shit? And I shut

515
00:28:14,359 --> 00:28:17,240
Speaker 2: myself down a lot. So I've really stopped doing that

516
00:28:17,400 --> 00:28:20,400
Speaker 2: and thinking, well, I don't know who's going to hear this,

517
00:28:20,640 --> 00:28:23,760
Speaker 2: but it's important to me to say it, so that's enough.

518
00:28:24,320 --> 00:28:26,879
Speaker 2: Like I don't I don't think of the audience as

519
00:28:26,920 --> 00:28:29,840
Speaker 2: much as I used to. I think I got really

520
00:28:29,840 --> 00:28:32,000
Speaker 2: trained into thinking, well, who's going to read this, who's

521
00:28:32,000 --> 00:28:33,680
Speaker 2: going to buy it, who's gonna watch it, who's gonna

522
00:28:33,680 --> 00:28:35,520
Speaker 2: And I'm like, I don't know. I don't know, and

523
00:28:35,560 --> 00:28:37,480
Speaker 2: it's not my job to know. It's my job to

524
00:28:37,680 --> 00:28:41,160
Speaker 2: write and create. Yeah, So it's been really helpful, and

525
00:28:41,200 --> 00:28:43,480
Speaker 2: I think that, you know, for a long time, I

526
00:28:43,560 --> 00:28:46,720
Speaker 2: internalized and I've been writing about this. So it's really

527
00:28:46,840 --> 00:28:48,600
Speaker 2: interesting that we're talking about it because I have not

528
00:28:48,720 --> 00:28:51,240
Speaker 2: told anyone that I'm writing about about this, because I'm

529
00:28:51,240 --> 00:28:54,240
Speaker 2: just writing about it for myself. But for a long time,

530
00:28:54,440 --> 00:28:58,680
Speaker 2: I've harbored this feeling of not being black enough, and

531
00:28:58,720 --> 00:29:01,680
Speaker 2: I finally had to ask my self, not black enough

532
00:29:01,960 --> 00:29:06,640
Speaker 2: for who? Because I'm a very I'm a black person period,

533
00:29:07,120 --> 00:29:09,800
Speaker 2: anything I do can be couched in the lens of

534
00:29:09,840 --> 00:29:13,360
Speaker 2: blackness because I am black. Both my parents are black,

535
00:29:13,760 --> 00:29:16,080
Speaker 2: my whole family's black. But I think what I've been

536
00:29:16,120 --> 00:29:20,000
Speaker 2: learning through writing about it for myself is that I'm

537
00:29:20,000 --> 00:29:25,600
Speaker 2: not stereotypically black enough for white CIS culture. Yeah, and

538
00:29:25,640 --> 00:29:29,560
Speaker 2: that's not my fucking problem. Yeah, it's not my fucking

539
00:29:29,600 --> 00:29:32,560
Speaker 2: problem because I'm black enough for myself and I'm black

540
00:29:32,680 --> 00:29:35,680
Speaker 2: enough for everyone I know, and I know that there's

541
00:29:35,760 --> 00:29:38,120
Speaker 2: not I know that blackness is not monolithic. There's not

542
00:29:38,240 --> 00:29:42,800
Speaker 2: one one way to present who you are in tandem

543
00:29:42,840 --> 00:29:45,920
Speaker 2: with your race. But I forgot that somewhere along the way,

544
00:29:45,960 --> 00:29:48,720
Speaker 2: and I started questioning, you know, do I have a

545
00:29:48,800 --> 00:29:50,640
Speaker 2: right to say these things or be in this space

546
00:29:50,680 --> 00:29:52,840
Speaker 2: because maybe I'm not black enough to say it? And

547
00:29:52,880 --> 00:29:55,240
Speaker 2: I'm like, well, fuck you, I'm black, that's it. Of

548
00:29:55,240 --> 00:29:56,440
Speaker 2: course I'm black enough to say it.

549
00:29:57,000 --> 00:29:57,600
Speaker 1: Yeah.

550
00:29:57,680 --> 00:30:00,720
Speaker 2: So it's really like a lot of internal dismantling for

551
00:30:00,840 --> 00:30:03,960
Speaker 2: me and getting out of my own way and really

552
00:30:04,000 --> 00:30:06,600
Speaker 2: not thinking about who's going to see it, who could

553
00:30:06,680 --> 00:30:08,880
Speaker 2: see it, who could have an opinion on it. That's

554
00:30:09,040 --> 00:30:10,160
Speaker 2: not my fucking job.

555
00:30:10,680 --> 00:30:14,600
Speaker 1: Yeah. Yeah, I mean that's kind of how I'm feeling

556
00:30:14,640 --> 00:30:18,240
Speaker 1: generally too about the writing, where I'm just sort of like,

557
00:30:18,280 --> 00:30:22,000
Speaker 1: I don't even care if it doesn't go anywhere, you know,

558
00:30:22,360 --> 00:30:25,160
Speaker 1: I just need to literally get it out of my body.

559
00:30:25,560 --> 00:30:27,520
Speaker 1: Like that's the feeling, is that I need to get

560
00:30:27,560 --> 00:30:31,120
Speaker 1: this shit out of my body and my brain and

561
00:30:32,120 --> 00:30:35,640
Speaker 1: whatever happens with it, it doesn't matter. I don't know.

562
00:30:35,880 --> 00:30:40,680
Speaker 1: Maybe in maybe after I die, people are gonna again

563
00:30:40,800 --> 00:30:43,280
Speaker 1: find all this the box of shit that I had

564
00:30:43,320 --> 00:30:47,560
Speaker 1: with my Braves fan fiction and my fucking weird Kurt

565
00:30:47,600 --> 00:30:51,240
Speaker 1: Cobain stuff, and then there'll be like a couple of

566
00:30:51,280 --> 00:30:54,920
Speaker 1: new notebooks on top with like a bunch of like

567
00:30:56,640 --> 00:31:02,080
Speaker 1: my middle age sad you know, oh bitch poetry. I

568
00:31:02,120 --> 00:31:05,640
Speaker 1: don't know, And that's fine. It's either that or it

569
00:31:05,680 --> 00:31:07,840
Speaker 1: goes into a sub stack. Or maybe I, you know,

570
00:31:07,920 --> 00:31:10,920
Speaker 1: collaborate with my shitty little Vampire and we create a band.

571
00:31:11,400 --> 00:31:14,760
Speaker 1: Maybe it's, you know, we publish a book of poems

572
00:31:14,800 --> 00:31:17,960
Speaker 1: based on this podcast. Who the fuck knows? It is

573
00:31:18,080 --> 00:31:22,800
Speaker 1: like literally like I don't care, I don't care what

574
00:31:22,840 --> 00:31:24,400
Speaker 1: happens to it. I just need to get it out.

575
00:31:24,480 --> 00:31:26,120
Speaker 1: And so maybe that's it for you, is that you're

576
00:31:26,160 --> 00:31:27,680
Speaker 1: just like, this is the stuff that I need to

577
00:31:27,720 --> 00:31:28,240
Speaker 1: talk about.

578
00:31:28,880 --> 00:31:32,440
Speaker 2: Yes, I love this because this it feels also like

579
00:31:32,520 --> 00:31:37,280
Speaker 2: I'm returning to my most pure self as a creative person. Yeah,

580
00:31:37,320 --> 00:31:41,000
Speaker 2: and it is primarily writing for me, but it's also

581
00:31:41,720 --> 00:31:44,960
Speaker 2: when I'm knitting, you know, when I'm painting, when I'm

582
00:31:44,960 --> 00:31:48,400
Speaker 2: doing anything, I'm just kind of I've taken off the ropes,

583
00:31:48,440 --> 00:31:52,520
Speaker 2: like there's no hardness, there's no safety knit, and I'm

584
00:31:52,560 --> 00:31:53,800
Speaker 2: just gonna make what I want to make.

585
00:31:54,440 --> 00:31:57,680
Speaker 1: Yeah, I know, I don't know. I don't know what happened.

586
00:31:57,760 --> 00:32:00,920
Speaker 1: I think capitalism made me numb, wore you out, man,

587
00:32:01,360 --> 00:32:05,560
Speaker 1: wore me out to the capitalist patriarchy, really put me

588
00:32:05,560 --> 00:32:07,200
Speaker 1: in a box. And then they were just like, yeah,

589
00:32:07,240 --> 00:32:11,400
Speaker 1: you gotta be you gotta be a boss bitch. Come on, girl,

590
00:32:12,000 --> 00:32:13,960
Speaker 1: be a boss bitch. And then now I'm just like, no,

591
00:32:14,040 --> 00:32:16,160
Speaker 1: I just want to be my my own kind of bitch.

592
00:32:16,160 --> 00:32:18,080
Speaker 1: I want to be my like sad journaling bitch.

593
00:32:18,920 --> 00:32:21,640
Speaker 2: And maybe you know, it's not even sad. I think

594
00:32:21,640 --> 00:32:25,600
Speaker 2: it's exciting. It's it's emotionally journaling bitch. Like it's it's

595
00:32:25,640 --> 00:32:29,480
Speaker 2: not purely sad. I think it's you could be a sad. Look,

596
00:32:29,520 --> 00:32:30,800
Speaker 2: you know, I was hold space for you be as

597
00:32:30,840 --> 00:32:31,960
Speaker 2: sad as you want on the page.

598
00:32:32,000 --> 00:32:36,400
Speaker 1: You're ready, I'm ready to be sad, you know how.

599
00:32:36,480 --> 00:32:42,320
Speaker 2: It is also it's also like a real excitement, I think,

600
00:32:42,520 --> 00:32:46,880
Speaker 2: to return to yourself in that way where you're using

601
00:32:47,160 --> 00:32:50,480
Speaker 2: you know, your it's all very exciting to me. And

602
00:32:50,520 --> 00:32:53,760
Speaker 2: it feels to me like the exact way that we

603
00:32:53,800 --> 00:32:56,600
Speaker 2: should be creating in this world, and the exact way

604
00:32:56,600 --> 00:32:58,160
Speaker 2: we should be artists. And that's why I spend a

605
00:32:58,200 --> 00:32:59,720
Speaker 2: lot of time alone. And that's why I spent a

606
00:32:59,720 --> 00:33:02,840
Speaker 2: lot of time not on the fucking internet, because I

607
00:33:02,880 --> 00:33:08,479
Speaker 2: think ingesting opinions all day long one hundred percent affect

608
00:33:08,480 --> 00:33:12,520
Speaker 2: your ability to say something that's true about your own feelings.

609
00:33:12,560 --> 00:33:15,320
Speaker 2: So I'm glad that you're journaling. I think you spend

610
00:33:15,400 --> 00:33:18,840
Speaker 2: less time on TikTok and more time in that goddamn journal.

611
00:33:19,320 --> 00:33:22,560
Speaker 1: Well that's exactly what I was to bring it full

612
00:33:22,600 --> 00:33:25,640
Speaker 1: circle back to the beginning of this conversation thirty minutes ago.

613
00:33:27,000 --> 00:33:32,080
Speaker 1: I am using poetry and writing as an antidote.

614
00:33:31,800 --> 00:33:36,200
Speaker 2: To TikTok beautiful. I'm so here for it. Oh my gosh,

615
00:33:36,240 --> 00:33:37,320
Speaker 2: I can't wait. I knew you would be.

616
00:33:37,400 --> 00:33:39,120
Speaker 1: I mean, come out, Why do you think I brought

617
00:33:39,120 --> 00:33:41,200
Speaker 1: it up on the podcast? This is a safe space

618
00:33:41,240 --> 00:33:42,360
Speaker 1: for that kind of stuff.

619
00:33:42,560 --> 00:33:44,360
Speaker 2: Well, you're gonna be here in a couple of days,

620
00:33:44,400 --> 00:33:47,760
Speaker 2: and we're gonna load up on butter rolls and Dunkin Donuts.

621
00:33:47,800 --> 00:33:50,400
Speaker 2: We're gonna go to the witch shop in town. My

622
00:33:50,480 --> 00:33:54,320
Speaker 2: town has a couple of local witch shops, which makes

623
00:33:54,320 --> 00:33:56,720
Speaker 2: this place a delight. We're gonna sock up on some

624
00:33:56,760 --> 00:33:59,680
Speaker 2: candles and some sprays and some pendulums.

625
00:34:00,120 --> 00:34:02,880
Speaker 1: Oh yeah, and I'm gonna write that soliloquy for that

626
00:34:02,920 --> 00:34:03,840
Speaker 1: buttered roll so.

627
00:34:03,920 --> 00:34:06,960
Speaker 2: Fast, so fast that that should be video. I think

628
00:34:06,960 --> 00:34:09,440
Speaker 2: the thoughts will come too quickly for you to write them,

629
00:34:09,480 --> 00:34:12,680
Speaker 2: but we could do that unvid. Oh of course, but

630
00:34:12,800 --> 00:34:14,920
Speaker 2: I'm into it. I'm you know what, I'm also very

631
00:34:14,920 --> 00:34:20,279
Speaker 2: into I did not have to for this episode, but

632
00:34:20,320 --> 00:34:25,000
Speaker 2: I went and got the big dunk iced coffee because

633
00:34:25,040 --> 00:34:28,600
Speaker 2: I am so fucking excited for our movies this week.

634
00:34:28,880 --> 00:34:36,880
Speaker 2: Speaking of poetry, these perfect fucking segue.

635
00:34:41,640 --> 00:34:49,440
Speaker 1: Okay, people, we're cooking with gas this week, y'all. This

636
00:34:49,480 --> 00:34:52,440
Speaker 1: is going to counteract. I think the last couple episodes

637
00:34:52,480 --> 00:34:56,200
Speaker 1: were a little bit more interior, a little a little sadder.

638
00:34:56,680 --> 00:34:59,400
Speaker 1: This one is full fucking strength.

639
00:34:59,719 --> 00:35:02,799
Speaker 2: When I don't know about you, but I did this

640
00:35:02,880 --> 00:35:06,239
Speaker 2: as a true double feature, which too is not the

641
00:35:06,280 --> 00:35:11,239
Speaker 2: first time I watched these two movies constantly. Yeah, and

642
00:35:11,520 --> 00:35:15,680
Speaker 2: it is astonishing how happy it makes me to watch

643
00:35:15,920 --> 00:35:17,800
Speaker 2: either or both of these films. This was one of

644
00:35:17,840 --> 00:35:19,560
Speaker 2: the best double features I've watched all year.

645
00:35:20,320 --> 00:35:22,799
Speaker 1: Oh yeah, I've stayed up till three thirty in the

646
00:35:22,800 --> 00:35:24,399
Speaker 1: morning last night watching both of these.

647
00:35:26,200 --> 00:35:28,920
Speaker 2: I mean, I hope you're busted out that journal. Directly

648
00:35:28,960 --> 00:35:30,440
Speaker 2: after I did.

649
00:35:31,000 --> 00:35:32,440
Speaker 1: I went to bed, and then I got up at

650
00:35:32,440 --> 00:35:34,040
Speaker 1: like five thirty in the morning, and I was like,

651
00:35:34,600 --> 00:35:37,160
Speaker 1: let me pull out this notebook from my office just

652
00:35:37,200 --> 00:35:41,080
Speaker 1: to have it by in case some dreams happen or something.

653
00:35:41,719 --> 00:35:46,120
Speaker 2: Man and I could have sworn we had done these

654
00:35:46,120 --> 00:35:48,960
Speaker 2: films before. I mean, you know, I forget everything I

655
00:35:49,000 --> 00:35:50,719
Speaker 2: say as soon as it's out of my head. I

656
00:35:50,719 --> 00:35:53,239
Speaker 2: forget what movies. I forget everything about everything I do

657
00:35:53,400 --> 00:35:56,160
Speaker 2: with this podcast all day and in most of my life.

658
00:35:56,360 --> 00:35:58,759
Speaker 2: I think we just talked about both of these in

659
00:35:58,840 --> 00:36:02,600
Speaker 2: depth on separate bonus episodes, but we've never actually covered

660
00:36:02,600 --> 00:36:04,480
Speaker 2: the films, which was shocking to me. So when you

661
00:36:04,520 --> 00:36:07,880
Speaker 2: suggested it, I was like, duh.

662
00:36:08,000 --> 00:36:11,160
Speaker 1: Yeah, no, I think we we talked about them, yeah,

663
00:36:11,280 --> 00:36:14,280
Speaker 1: on bonuses, Like I think we just like went hard

664
00:36:14,400 --> 00:36:17,399
Speaker 1: on on a couple of these, but then that's it,

665
00:36:17,520 --> 00:36:21,439
Speaker 1: Like we we've never done a full episode. So why

666
00:36:21,480 --> 00:36:25,760
Speaker 1: don't you tell everybody what the name of our theme

667
00:36:25,880 --> 00:36:26,560
Speaker 1: is this week?

668
00:36:26,800 --> 00:36:29,560
Speaker 2: Our theme this week is we love watching people get

669
00:36:29,600 --> 00:36:33,920
Speaker 2: kicked in the face. We do.

670
00:36:34,600 --> 00:36:36,720
Speaker 1: It's I knew, guilty as charged.

671
00:36:37,040 --> 00:36:41,000
Speaker 2: I can interrogate it. I don't know why I love

672
00:36:41,040 --> 00:36:44,600
Speaker 2: watching people get kicked in the face. Yeah, on the film.

673
00:36:45,040 --> 00:36:47,000
Speaker 1: I'll go one further. I like it. I like watching

674
00:36:47,000 --> 00:36:52,399
Speaker 1: people get shot in the face. Is that psychotic? Well

675
00:36:52,400 --> 00:36:54,120
Speaker 1: that put me on some kind of weird list.

676
00:36:54,719 --> 00:36:57,480
Speaker 2: Note if you add on film.

677
00:36:56,680 --> 00:37:00,120
Speaker 1: On film people, of course, I mean on film well,

678
00:37:00,120 --> 00:37:02,239
Speaker 1: because this is why it's so strange to me in

679
00:37:02,280 --> 00:37:03,719
Speaker 1: my day to day life.

680
00:37:03,840 --> 00:37:06,680
Speaker 2: I am a pacifist. If you hit me in the head,

681
00:37:06,719 --> 00:37:08,399
Speaker 2: like I just watched both of these films where people

682
00:37:08,400 --> 00:37:11,960
Speaker 2: are getting struck repeatedly in various ways, if you hit

683
00:37:12,040 --> 00:37:14,279
Speaker 2: me in the head a little bit once, I'm gonna

684
00:37:14,280 --> 00:37:16,840
Speaker 2: be on the floor forever. I am a very tender bitch.

685
00:37:16,880 --> 00:37:22,239
Speaker 2: I am not about this active, angry, shouting, punching lifestyle

686
00:37:23,000 --> 00:37:26,120
Speaker 2: in my day to day life on screen. Can literally

687
00:37:26,160 --> 00:37:27,080
Speaker 2: cannot get enough of it.

688
00:37:27,400 --> 00:37:29,200
Speaker 1: Yeah, no, no, no, we're I think we both got on

689
00:37:29,239 --> 00:37:31,800
Speaker 1: a record. We're like terrified of violence, real life violence

690
00:37:31,800 --> 00:37:35,279
Speaker 1: and guns and shit. But meanwhile, in the movies, where

691
00:37:35,280 --> 00:37:39,480
Speaker 1: everything is a fantasy, we love seeing people get kicked

692
00:37:39,520 --> 00:37:42,879
Speaker 1: and shot in the face. We love explosions, we love

693
00:37:43,320 --> 00:37:48,960
Speaker 1: natural disasters. We love helicopters losing their blades, falling from the.

694
00:37:48,880 --> 00:37:56,640
Speaker 2: Sky, a bladeless helicopter, you know. I mean that is

695
00:37:56,840 --> 00:37:59,759
Speaker 2: just that's that's all day comfort for me.

696
00:38:00,360 --> 00:38:03,719
Speaker 1: No, I think it's the fans because we're we love

697
00:38:03,760 --> 00:38:04,360
Speaker 1: the fantasy.

698
00:38:04,840 --> 00:38:07,600
Speaker 2: We don't like it. It's not the real life. So

699
00:38:07,600 --> 00:38:12,400
Speaker 2: it's a strange dichotomy that's present. But I also know

700
00:38:12,560 --> 00:38:14,960
Speaker 2: a lot of maybe this is going back to our

701
00:38:15,000 --> 00:38:17,439
Speaker 2: earlier conversation, I know a lot of women who feel

702
00:38:17,480 --> 00:38:20,480
Speaker 2: this way, Like there's always been this conception that action

703
00:38:20,640 --> 00:38:24,799
Speaker 2: movies are for dudes. Yeah, it is so false. It

704
00:38:24,920 --> 00:38:29,040
Speaker 2: is such a false narrative to push. Everyone likes watching

705
00:38:29,080 --> 00:38:31,960
Speaker 2: people get kicked in the face. Oh, women in particular

706
00:38:32,239 --> 00:38:33,680
Speaker 2: love watching people get kicked in the face.

707
00:38:33,960 --> 00:38:37,600
Speaker 1: Oh, absolutely, one hundred percent. I mean, Carol, your grandmother

708
00:38:37,800 --> 00:38:40,839
Speaker 1: being number one, number one, stan my.

709
00:38:41,080 --> 00:38:41,799
Speaker 2: And my mom.

710
00:38:42,600 --> 00:38:44,480
Speaker 1: I think I've talked about this before and I'm certainly

711
00:38:44,480 --> 00:38:45,880
Speaker 1: going to talk about it when I talk about my

712
00:38:45,960 --> 00:38:48,520
Speaker 1: movie this week. But like, my mom has had like

713
00:38:48,880 --> 00:38:52,040
Speaker 1: a very late life action movie phase where she watches

714
00:38:52,120 --> 00:38:54,239
Speaker 1: them alone after my dad has gone to bed at

715
00:38:54,280 --> 00:38:57,799
Speaker 1: like eight o'clock PM. She stays up all night and

716
00:38:57,840 --> 00:39:02,640
Speaker 1: watches action movies. And she as this series, this film

717
00:39:02,640 --> 00:39:05,640
Speaker 1: that I'm gonna talk about this week. This the sequels,

718
00:39:06,040 --> 00:39:09,839
Speaker 1: the series, The world is like the one connection point

719
00:39:09,840 --> 00:39:13,239
Speaker 1: between me and my mom, Like, she absolutely loves my

720
00:39:13,320 --> 00:39:16,960
Speaker 1: movie this week. She made me buy all of them

721
00:39:17,000 --> 00:39:21,120
Speaker 1: on Amazon Prime, like not renting. I had to purchase

722
00:39:21,200 --> 00:39:26,120
Speaker 1: them in HD because she uses my account and she

723
00:39:26,160 --> 00:39:29,759
Speaker 1: wants to watch these movies whenever she wants. It's kind

724
00:39:29,760 --> 00:39:33,240
Speaker 1: of I'm like, I don't know, so.

725
00:39:33,080 --> 00:39:35,000
Speaker 2: We got to have her on the pod. But also

726
00:39:35,080 --> 00:39:36,920
Speaker 2: I want the New Yorker article of this.

727
00:39:37,600 --> 00:39:41,480
Speaker 1: I know who's gonna write this, like you, oh, me,

728
00:39:41,960 --> 00:39:43,040
Speaker 1: you want me to write it.

729
00:39:43,120 --> 00:39:45,080
Speaker 2: I want you to write you about you and your

730
00:39:45,160 --> 00:39:49,600
Speaker 2: mother watching You're both having these revelations about these action movies.

731
00:39:51,600 --> 00:39:53,680
Speaker 1: I mean, I think it's because we both share a

732
00:39:53,760 --> 00:39:55,880
Speaker 1: love for for our main actor.

733
00:39:56,000 --> 00:39:57,760
Speaker 2: Of course, of course, of course.

734
00:39:57,600 --> 00:40:01,080
Speaker 1: But but I yeah, there's gotta be some connection point.

735
00:40:01,120 --> 00:40:02,840
Speaker 1: I don't I don't know. Look, we got to do

736
00:40:02,920 --> 00:40:07,360
Speaker 1: some research on the the women who love action movies

737
00:40:08,440 --> 00:40:10,000
Speaker 1: and across the spectrum.

738
00:40:10,040 --> 00:40:15,279
Speaker 2: It's across age, it's across race, it's across everything. The

739
00:40:15,320 --> 00:40:18,360
Speaker 2: women in my life and the women that I know personally,

740
00:40:18,640 --> 00:40:22,879
Speaker 2: and their and their mothers and their aunts and everyone

741
00:40:23,800 --> 00:40:28,080
Speaker 2: and their grandmothers fucking love action movies. I have a

742
00:40:28,120 --> 00:40:32,880
Speaker 2: theory that it's because, first, especially in older generations, is

743
00:40:32,880 --> 00:40:38,000
Speaker 2: because women were so completely demoralized and diminished that they

744
00:40:38,080 --> 00:40:41,320
Speaker 2: actually love seeing people get revenge. They love seeing people

745
00:40:41,440 --> 00:40:47,640
Speaker 2: use their bodies to exact revenge and and pain because

746
00:40:47,680 --> 00:40:53,040
Speaker 2: it was so unavailable to them. Yes, I mean, speaking.

747
00:40:52,640 --> 00:40:56,360
Speaker 1: Of speaking of TikTok, have you seen that meme on

748
00:40:56,440 --> 00:41:00,680
Speaker 1: TikTok where it's like the first slide of it is

749
00:41:00,719 --> 00:41:04,920
Speaker 1: basically like, what would women dress like if left to

750
00:41:05,520 --> 00:41:07,960
Speaker 1: you know, completely their own devices, if they had every

751
00:41:07,960 --> 00:41:11,319
Speaker 1: decision in the world that was theirs? How would they

752
00:41:11,400 --> 00:41:14,360
Speaker 1: dress every single day of their lives? And then you

753
00:41:14,400 --> 00:41:18,440
Speaker 1: switch to the next slide and it's blade like Wesley

754
00:41:18,640 --> 00:41:27,560
Speaker 1: Snipes's blade like pictures of like like heads and toe, leather,

755
00:41:28,040 --> 00:41:33,480
Speaker 1: black vampire outfits with capes and like swords and like hats.

756
00:41:33,560 --> 00:41:37,200
Speaker 1: It's like so fucking funny to me, and I'm like, yes,

757
00:41:37,400 --> 00:41:41,640
Speaker 1: that's exactly what we want, dud good.

758
00:41:41,680 --> 00:41:44,200
Speaker 2: I have not seen that, of course, but that is

759
00:41:44,360 --> 00:41:45,040
Speaker 2: so good.

760
00:41:45,640 --> 00:41:49,320
Speaker 1: Yeah. I'm just like, nobody wants to be running around

761
00:41:49,400 --> 00:41:55,080
Speaker 1: in fucking crop pops and fucking you know, booty shorts,

762
00:41:55,120 --> 00:41:58,319
Speaker 1: and we want to be action movie stars. We want

763
00:41:58,360 --> 00:42:04,000
Speaker 1: to dress like fucking blade and kick people in the face.

764
00:42:05,840 --> 00:42:07,799
Speaker 2: Or just be ready for it. That's all I need.

765
00:42:07,880 --> 00:42:09,680
Speaker 2: I just need to know that if I need to

766
00:42:09,760 --> 00:42:14,919
Speaker 2: kick someone in the face, my clothing will not restrict me. Now,

767
00:42:15,080 --> 00:42:18,560
Speaker 2: my movie was a first watch for you? Is that true?

768
00:42:18,880 --> 00:42:21,200
Speaker 1: Yes, ma'am, you know that for sure.

769
00:42:21,480 --> 00:42:25,279
Speaker 2: Oh shit, I am not kidding when I tell you.

770
00:42:26,560 --> 00:42:29,239
Speaker 2: If I were put in a room and told you

771
00:42:29,320 --> 00:42:32,280
Speaker 2: cannot leave this room until you tell us the plot

772
00:42:32,400 --> 00:42:35,560
Speaker 2: of the raid redemption beat for beat, you have twenty

773
00:42:35,560 --> 00:42:37,800
Speaker 2: four hours, I'd be out of that room in ten minutes.

774
00:42:40,640 --> 00:42:44,279
Speaker 2: Ten fucking minutes, using all the character names and everything. Wow,

775
00:42:44,360 --> 00:42:48,040
Speaker 2: same with your film. Yeah, and I think your film,

776
00:42:48,040 --> 00:42:52,279
Speaker 2: it needs to be said, A lot of people shy

777
00:42:52,400 --> 00:42:56,360
Speaker 2: away from your film because a dog dies almost immediately

778
00:42:56,760 --> 00:42:59,560
Speaker 2: in the beginning of the film. Correct, But one thing

779
00:42:59,600 --> 00:43:04,000
Speaker 2: that I love about this franch this this film, the

780
00:43:04,200 --> 00:43:09,120
Speaker 2: entire franchise is built on avenging the death of that dog. Yes,

781
00:43:09,800 --> 00:43:14,560
Speaker 2: the entire John Wick franchise hinges on the death of

782
00:43:14,600 --> 00:43:17,040
Speaker 2: this animal being avenged. And there is nothing more beautiful

783
00:43:17,040 --> 00:43:17,839
Speaker 2: if you're an animal lover.

784
00:43:18,000 --> 00:43:20,280
Speaker 1: So yeah, I was gonna say, it's actually very pro

785
00:43:20,760 --> 00:43:23,120
Speaker 1: animal at the end of the Yeah, you just have

786
00:43:23,239 --> 00:43:25,520
Speaker 1: to get through a very uncomfortable part which if you

787
00:43:25,600 --> 00:43:28,919
Speaker 1: actually can't stomach it, go to does thedog tied dot

788
00:43:28,960 --> 00:43:31,960
Speaker 1: com and find out what the timestamp is. Just fast

789
00:43:31,960 --> 00:43:36,440
Speaker 1: forward a couple seconds. But just understand that literally they've

790
00:43:36,520 --> 00:43:42,360
Speaker 1: hinged an entire movie franchise on the love of dogs

791
00:43:42,400 --> 00:43:44,040
Speaker 1: and cats, basically.

792
00:43:43,920 --> 00:43:46,720
Speaker 2: Multiple films, like fifteen hours in counting a film.

793
00:43:49,000 --> 00:43:51,560
Speaker 1: Well then like a living dogs show up at some

794
00:43:51,680 --> 00:43:56,120
Speaker 1: point in the which is even greater. Enter there, even better.

795
00:43:56,120 --> 00:44:00,040
Speaker 2: But anyway, to your courses, all kinds of things, this is.

796
00:44:00,120 --> 00:44:02,239
Speaker 1: Going to be a great week. I cannot wait to

797
00:44:02,280 --> 00:44:04,080
Speaker 1: talk about your movie. I have some questions, but I

798
00:44:04,120 --> 00:44:06,520
Speaker 1: also just I just literally want to hear you talk

799
00:44:06,520 --> 00:44:07,879
Speaker 1: about this movie because I know you love.

800
00:44:07,800 --> 00:44:11,359
Speaker 2: It so much. Oh, thank you so much. I'm going first.

801
00:44:11,400 --> 00:44:14,000
Speaker 2: I'm just gonna jump in. Yeah. My film was released

802
00:44:14,000 --> 00:44:17,920
Speaker 2: in twenty eleven. It was written and directed by Gareth Evans,

803
00:44:18,040 --> 00:44:27,920
Speaker 2: and my movie is The Raid Redemption. And I genuinely

804
00:44:27,960 --> 00:44:30,080
Speaker 2: do not know what clip Casey's even gonna pull for

805
00:44:30,120 --> 00:44:33,840
Speaker 2: this because it's all the sounds of people getting punched

806
00:44:33,840 --> 00:44:41,960
Speaker 2: in the face. I'm gonna give you my one sentence synopsis.

807
00:44:43,880 --> 00:44:46,960
Speaker 2: A police officer trying to extricate his brother from a

808
00:44:46,960 --> 00:44:50,400
Speaker 2: life of crime, infiltrates a building run by a drug

809
00:44:50,520 --> 00:44:54,360
Speaker 2: or overlord and fights every motherfucker who crosses his path.

810
00:44:56,239 --> 00:44:59,799
Speaker 2: That's so cool and that is something that I love

811
00:45:00,280 --> 00:45:05,960
Speaker 2: this movie foundationally. The premise is so simple. Yeah, it

812
00:45:06,040 --> 00:45:10,600
Speaker 2: is so simple. You've got the main character, Rama who

813
00:45:11,080 --> 00:45:13,440
Speaker 2: his motivation is that he has a pregnant wife at home,

814
00:45:14,200 --> 00:45:16,360
Speaker 2: he has a father reminding him of his family duty,

815
00:45:16,440 --> 00:45:19,640
Speaker 2: and he has to save his brother. Simple simple. The

816
00:45:19,640 --> 00:45:24,160
Speaker 2: film takes place in Indonesia's n Jakarta, and again it's

817
00:45:24,200 --> 00:45:26,880
Speaker 2: just it's a very simple premise. It's man versus man

818
00:45:27,960 --> 00:45:31,360
Speaker 2: because it's man versus literally every man in his way.

819
00:45:32,239 --> 00:45:35,759
Speaker 2: There's some twist to this film like some of the

820
00:45:35,800 --> 00:45:38,520
Speaker 2: officers that Rama works with are corrupt. There is an

821
00:45:38,520 --> 00:45:42,839
Speaker 2: incredible villain, Tama Tama Riatti, who is this legendary drug

822
00:45:42,880 --> 00:45:46,360
Speaker 2: lord and he for ten years has been living and

823
00:45:46,440 --> 00:45:49,360
Speaker 2: running this building and it's been a no go zone

824
00:45:49,600 --> 00:45:52,279
Speaker 2: for police because everyone knows he's in there, and he

825
00:45:52,360 --> 00:45:54,359
Speaker 2: knows no one's coming for him, so he rents out

826
00:45:54,440 --> 00:45:56,800
Speaker 2: rooms and just acts lawlessly, and he lives on the

827
00:45:56,880 --> 00:45:59,360
Speaker 2: top floor. So the whole premise of this film is

828
00:45:59,840 --> 00:46:02,640
Speaker 2: a group of police officers have to invade a building

829
00:46:02,760 --> 00:46:08,480
Speaker 2: and work floor by floor, room by room to extracate

830
00:46:08,760 --> 00:46:11,000
Speaker 2: to They're trying to get to the main baddy. It's

831
00:46:11,000 --> 00:46:12,840
Speaker 2: like a very video game setup where they're trying to

832
00:46:12,840 --> 00:46:15,279
Speaker 2: get to like King Koopa at the end. So they're

833
00:46:15,280 --> 00:46:18,279
Speaker 2: trying to get to the fifteenth floor. But Rama has

834
00:46:18,320 --> 00:46:21,640
Speaker 2: his own separate agenda, which is to save his brother

835
00:46:21,680 --> 00:46:24,880
Speaker 2: who has somehow fallen into this life of crime. The

836
00:46:24,920 --> 00:46:26,759
Speaker 2: fact that there are tenants in the building mean that

837
00:46:26,760 --> 00:46:29,400
Speaker 2: there are also innocent people in the building, so you

838
00:46:29,400 --> 00:46:34,280
Speaker 2: don't know who's working for Tama or not. As another layer,

839
00:46:35,000 --> 00:46:38,280
Speaker 2: there's also a narcotic slab in the building, so Toama's

840
00:46:38,440 --> 00:46:43,000
Speaker 2: very motivated to protect this investment, and I love it.

841
00:46:43,120 --> 00:46:47,279
Speaker 2: I just fucking love it. The style of fighting that

842
00:46:47,440 --> 00:46:51,399
Speaker 2: is used in this film is Pennsaxy Lot, and it's

843
00:46:51,520 --> 00:46:55,920
Speaker 2: really a type of fight fighting meant to from my perspective,

844
00:46:56,120 --> 00:47:00,080
Speaker 2: that seems to be about showcasing the different kind of

845
00:47:00,080 --> 00:47:03,160
Speaker 2: grappling and punching and kicking. It's like a multiple style

846
00:47:03,360 --> 00:47:06,080
Speaker 2: fighting style. So sometimes you'll look in the background and

847
00:47:06,080 --> 00:47:07,480
Speaker 2: you'll be like, why is this dude just kind of

848
00:47:07,520 --> 00:47:09,560
Speaker 2: hanging out and waiting for these two other people to

849
00:47:09,560 --> 00:47:11,960
Speaker 2: finish fighting. There's a little bit of suspension of disbelief

850
00:47:12,000 --> 00:47:14,319
Speaker 2: when that happens, but it's because you want to see

851
00:47:14,320 --> 00:47:16,799
Speaker 2: these two people who are fighting punch themselves, punch each

852
00:47:16,800 --> 00:47:18,520
Speaker 2: other in the face, like you want to really see

853
00:47:18,520 --> 00:47:20,680
Speaker 2: how they're doing it. And the way that they're punching

854
00:47:20,719 --> 00:47:23,200
Speaker 2: each other in the face is my favorite thing in

855
00:47:23,200 --> 00:47:25,040
Speaker 2: the fucking world. There are so many scenes in this

856
00:47:25,080 --> 00:47:27,520
Speaker 2: movie because that's really the most mostly what I'm going

857
00:47:27,520 --> 00:47:30,040
Speaker 2: to be talking about is not the narrative of the film,

858
00:47:30,040 --> 00:47:32,439
Speaker 2: but my favorite action shots in this film, of course,

859
00:47:32,960 --> 00:47:35,239
Speaker 2: and there are so many scenes in this film where

860
00:47:35,239 --> 00:47:38,439
Speaker 2: people are My favorite thing is when you pick someone

861
00:47:38,520 --> 00:47:40,560
Speaker 2: up by one leg and just wheel them around and

862
00:47:40,600 --> 00:47:43,279
Speaker 2: slam them into a wall. Like you know how hard

863
00:47:43,280 --> 00:47:45,040
Speaker 2: it is to do that. It's like picking up a

864
00:47:45,040 --> 00:47:49,480
Speaker 2: fucking cow. These people are all muscle. Yeah, it's fucking incredible,

865
00:47:49,520 --> 00:47:51,799
Speaker 2: and I just I love so I love watching how

866
00:47:51,840 --> 00:47:54,320
Speaker 2: they're beating the shit out of each other and killing

867
00:47:54,360 --> 00:47:57,560
Speaker 2: each other in these movies. That's a real part of it.

868
00:47:57,680 --> 00:48:00,640
Speaker 2: So I love it. And then you know, Rama as

869
00:48:00,680 --> 00:48:03,799
Speaker 2: a character is very interesting. The actor that plays him

870
00:48:03,840 --> 00:48:08,920
Speaker 2: is eco ute, and he's just so fucking incredible to

871
00:48:09,120 --> 00:48:13,399
Speaker 2: watch fighting, which is again part of what I love

872
00:48:13,440 --> 00:48:16,920
Speaker 2: about this movie. But I also love that even though

873
00:48:16,920 --> 00:48:20,319
Speaker 2: he's the main dude, everyone is good at fighting, and

874
00:48:20,360 --> 00:48:24,360
Speaker 2: there's definitely everyone who kind of plays a member of

875
00:48:24,400 --> 00:48:27,960
Speaker 2: the SWAT team had to go through training by the

876
00:48:28,000 --> 00:48:32,480
Speaker 2: Indonesian Navy Special Ops. Hell yeah, so they actually study

877
00:48:32,560 --> 00:48:36,760
Speaker 2: the techniques and the weapons and the hand signals. Like again,

878
00:48:36,840 --> 00:48:40,000
Speaker 2: this movie is incredible. If I was at all in

879
00:48:40,120 --> 00:48:43,399
Speaker 2: charge of the AFI, this movie would be top five

880
00:48:43,480 --> 00:48:47,399
Speaker 2: every year for the rest of time, which is why

881
00:48:47,400 --> 00:48:49,440
Speaker 2: they will never let me do anything like that. Nobody

882
00:48:49,480 --> 00:48:51,520
Speaker 2: will ever let me be in charge of any list

883
00:48:51,560 --> 00:48:53,919
Speaker 2: of movies. So I'm like, who needs any Woody Allen

884
00:48:53,920 --> 00:48:54,920
Speaker 2: when the raid exists?

885
00:48:55,920 --> 00:48:58,960
Speaker 1: Oh my god, there's so many dudes in this movie too.

886
00:48:59,040 --> 00:49:01,520
Speaker 1: It's like when I was when I was watching, When

887
00:49:01,520 --> 00:49:03,440
Speaker 1: I was watching it and then the end credits came up,

888
00:49:03,719 --> 00:49:08,040
Speaker 1: I was like, they fucking list like drug Lab Guard one,

889
00:49:08,280 --> 00:49:11,680
Speaker 1: Drug Lab Guard two, Drug Drug Lab Guard.

890
00:49:11,760 --> 00:49:15,160
Speaker 2: Sixteen, Machete Gang one, Machete Gang two.

891
00:49:15,200 --> 00:49:18,680
Speaker 1: Bo Woh Fighter six, bo Wo Fire seven, Bow Wo

892
00:49:18,800 --> 00:49:24,040
Speaker 1: Fighter eighteen, Hole Drop Attacker number six, Whole Attacker number seven.

893
00:49:24,160 --> 00:49:27,319
Speaker 1: I was like, Yo, they got everybody on board with

894
00:49:27,360 --> 00:49:29,000
Speaker 1: this where they find all these people? I knew how

895
00:49:29,000 --> 00:49:30,320
Speaker 1: to fight werow real good.

896
00:49:30,560 --> 00:49:35,080
Speaker 2: It's so incredible, incredible and pen Chuxy lot is just

897
00:49:35,480 --> 00:49:38,760
Speaker 2: it's a beautiful type of fighting that we also see

898
00:49:39,000 --> 00:49:43,279
Speaker 2: in your film. And there are actually people in my

899
00:49:43,440 --> 00:49:46,800
Speaker 2: film and your film who helped with the stunt coordination.

900
00:49:47,520 --> 00:49:52,560
Speaker 2: Oh and appear in future in future installments of your film,

901
00:49:52,560 --> 00:49:56,480
Speaker 2: because this is this type of fighting is now becoming

902
00:49:57,120 --> 00:49:58,920
Speaker 2: incredibly prevalent in Hollywood.

903
00:49:59,320 --> 00:50:01,960
Speaker 1: Yeah, I was gonna I say my question to you

904
00:50:02,120 --> 00:50:05,080
Speaker 1: is if suddenly you're like in town and you're like

905
00:50:05,120 --> 00:50:07,719
Speaker 1: at the bookstore and you're getting your coffee, and you're

906
00:50:07,719 --> 00:50:10,080
Speaker 1: walking around and you know, you're saying hi to your

907
00:50:10,120 --> 00:50:11,960
Speaker 1: neighbors and you're like, Hey, what's up. And then you

908
00:50:12,040 --> 00:50:15,960
Speaker 1: walk past this store front and it says that you

909
00:50:15,960 --> 00:50:20,200
Speaker 1: can take pen chalks a lot lessons. How quickly are

910
00:50:20,239 --> 00:50:21,240
Speaker 1: you signing up?

911
00:50:21,840 --> 00:50:25,399
Speaker 2: I'm throwing everything in my hands to the ground. I'm

912
00:50:25,440 --> 00:50:29,520
Speaker 2: pushing children out of the way, I'm pushing strollers down

913
00:50:29,600 --> 00:50:34,080
Speaker 2: the street, running in and locking the door behind me.

914
00:50:34,160 --> 00:50:36,919
Speaker 2: I'm your only student until I get this completely right.

915
00:50:37,160 --> 00:50:40,200
Speaker 2: I would fucking love to study this. It is the

916
00:50:40,239 --> 00:50:42,680
Speaker 2: only thing in my life that makes me want to

917
00:50:42,680 --> 00:50:44,480
Speaker 2: be strong. Like I know everyone's you know, ever really

918
00:50:44,520 --> 00:50:46,840
Speaker 2: got into like lifting a few years ago and getting swollen.

919
00:50:47,320 --> 00:50:50,080
Speaker 2: I do not care about that. Yeah, I would love

920
00:50:50,120 --> 00:50:53,240
Speaker 2: to learn how to kick someone in the fucking face

921
00:50:53,640 --> 00:50:54,000
Speaker 2: like this.

922
00:50:54,520 --> 00:50:57,520
Speaker 1: Listen. I think this is part, you know, of what

923
00:50:58,120 --> 00:51:01,799
Speaker 1: we're talking about in terms of the the poetry the

924
00:51:01,840 --> 00:51:05,040
Speaker 1: age of elegance is learning of martial arts. I think

925
00:51:05,080 --> 00:51:07,160
Speaker 1: you should do it. I think you could get into

926
00:51:07,200 --> 00:51:11,520
Speaker 1: the spirituality of it, the discipline of it. You'd be

927
00:51:11,760 --> 00:51:15,960
Speaker 1: shredded like that. Is one reason I want to take

928
00:51:16,000 --> 00:51:19,400
Speaker 1: martial arts is because I want to be fucking shreded,

929
00:51:21,320 --> 00:51:24,879
Speaker 1: like to be like real lean, like, uh, you know

930
00:51:25,040 --> 00:51:32,919
Speaker 1: we talked about your fucking boyfriend Bruce Lee where it's.

931
00:51:34,560 --> 00:51:37,960
Speaker 2: You know, there's something very enticing to me about maybe

932
00:51:37,960 --> 00:51:39,959
Speaker 2: going into New York City and seeing if somebody will

933
00:51:40,000 --> 00:51:41,360
Speaker 2: teach me pent choxy lot.

934
00:51:42,320 --> 00:51:45,280
Speaker 1: Listen, I can I fund half of it? Like how

935
00:51:45,680 --> 00:51:47,920
Speaker 1: can I just vend your venmo you a bunch of

936
00:51:47,960 --> 00:51:49,920
Speaker 1: money right now? Because I want this for you.

937
00:51:50,520 --> 00:51:52,080
Speaker 2: But I also don't know is this the type of

938
00:51:52,080 --> 00:51:54,360
Speaker 2: martial art that you have to take other martial arts

939
00:51:54,360 --> 00:51:56,080
Speaker 2: first to learn it and get good? Like can you

940
00:51:56,120 --> 00:51:57,719
Speaker 2: just walk off the street and kick someone in the

941
00:51:57,719 --> 00:51:59,000
Speaker 2: face in this way? I don't know.

942
00:51:59,280 --> 00:52:01,440
Speaker 1: We need to get like we need to get like

943
00:52:01,440 --> 00:52:03,960
Speaker 1: an MMA fighter to be on the podcast to explain

944
00:52:04,000 --> 00:52:05,839
Speaker 1: it to me, because I don't know how it works either,

945
00:52:06,280 --> 00:52:09,160
Speaker 1: Like what is involved with all the because there's all

946
00:52:09,160 --> 00:52:11,480
Speaker 1: these like different styles and if you're an MMA fighter,

947
00:52:11,800 --> 00:52:15,080
Speaker 1: are you like doing all of it? Is there? Like

948
00:52:15,480 --> 00:52:18,719
Speaker 1: is it kind of like dare I say, scientology where

949
00:52:18,719 --> 00:52:20,880
Speaker 1: there are like levels to the ship where you start

950
00:52:20,880 --> 00:52:22,719
Speaker 1: out with like one level and then you move to

951
00:52:22,840 --> 00:52:24,799
Speaker 1: the next and the next and the next. I don't know.

952
00:52:26,200 --> 00:52:30,319
Speaker 2: MMA fighting looks like when my brother and I used

953
00:52:30,320 --> 00:52:32,879
Speaker 2: to fight as children. I gotta say, there's no right,

954
00:52:32,920 --> 00:52:35,040
Speaker 2: there's no one, No one to me, looks like they're

955
00:52:35,040 --> 00:52:39,320
Speaker 2: doing anything technical. It's just me and Corey beating the

956
00:52:39,320 --> 00:52:41,720
Speaker 2: shit out of each other because he took my toy.

957
00:52:41,960 --> 00:52:44,400
Speaker 2: Is what MMA fighting looks like to me, whereas this

958
00:52:44,440 --> 00:52:47,480
Speaker 2: looks like fucking ballet to me.

959
00:52:47,600 --> 00:52:51,319
Speaker 1: That's what I think is more appealing about martial arts

960
00:52:51,440 --> 00:52:54,680
Speaker 1: versus like boxing, like straight up boxing, because it feels

961
00:52:54,680 --> 00:52:56,239
Speaker 1: like you can do a bunch of things, Like you

962
00:52:56,239 --> 00:52:58,839
Speaker 1: can dance around, you can do some flips, you can

963
00:52:58,880 --> 00:53:03,000
Speaker 1: fucking do some park horror off the walls. You know,

964
00:53:03,040 --> 00:53:05,000
Speaker 1: you can hang from the top of the cage and

965
00:53:05,400 --> 00:53:07,680
Speaker 1: like dangle your legs on top of someone's head, kick

966
00:53:07,719 --> 00:53:08,880
Speaker 1: them a bunch like I know.

967
00:53:08,920 --> 00:53:13,399
Speaker 2: There's more in vault, you know. I love. I love

968
00:53:13,680 --> 00:53:15,880
Speaker 2: how involved it is because you also forces you to

969
00:53:15,880 --> 00:53:18,399
Speaker 2: pay attention. This is the kind if you think I'm

970
00:53:18,440 --> 00:53:20,640
Speaker 2: not an action movie person, I don't like action movies,

971
00:53:20,800 --> 00:53:23,120
Speaker 2: watch our two movies this week. Not only are the

972
00:53:23,200 --> 00:53:27,840
Speaker 2: narratives interesting, simple but interesting. These are the kinds of

973
00:53:27,840 --> 00:53:29,680
Speaker 2: movies that force you to pay attention to the action

974
00:53:29,760 --> 00:53:33,319
Speaker 2: and get you become part of the action in that way.

975
00:53:33,520 --> 00:53:36,479
Speaker 2: So if it's not like the old school eighties action

976
00:53:36,600 --> 00:53:38,680
Speaker 2: films where you're just watching a guy show off, this

977
00:53:38,840 --> 00:53:42,440
Speaker 2: is very in your face and very close hand to

978
00:53:42,440 --> 00:53:45,640
Speaker 2: hand combat style fighting. That to me makes it more interesting.

979
00:53:46,120 --> 00:53:50,520
Speaker 1: Well, and can I ask you this just just having

980
00:53:50,520 --> 00:53:54,520
Speaker 1: read about this movie finally? Is it so it's true

981
00:53:54,560 --> 00:53:57,160
Speaker 1: that a Welsh guy directed this movie and was.

982
00:53:57,200 --> 00:53:59,839
Speaker 2: Just like obsessed with the style of it.

983
00:54:00,239 --> 00:54:02,520
Speaker 1: Of penchok' salot was basically like, I want to make

984
00:54:02,560 --> 00:54:04,440
Speaker 1: an entire movie about it. Is that true?

985
00:54:04,680 --> 00:54:06,319
Speaker 2: Gareth Evans was just like, you know, what would be

986
00:54:06,360 --> 00:54:09,279
Speaker 2: cool a movie where I could show this thing that

987
00:54:09,360 --> 00:54:13,960
Speaker 2: I love. Wow, And normally, you know, I'd be fully

988
00:54:14,000 --> 00:54:16,040
Speaker 2: against it, like the Hubris of White Men. I'd be like,

989
00:54:16,080 --> 00:54:20,400
Speaker 2: are you fucking serious You're gonna roll in here and

990
00:54:20,440 --> 00:54:22,880
Speaker 2: just do that? But he did such a great job,

991
00:54:23,880 --> 00:54:26,840
Speaker 2: so I gotta have credit where credits due. He thought

992
00:54:27,040 --> 00:54:29,440
Speaker 2: he was leaps to me, leaps and bounds ahead of

993
00:54:29,480 --> 00:54:32,160
Speaker 2: the game and highlighting a style of fighting that has

994
00:54:32,200 --> 00:54:35,799
Speaker 2: been popular in another part of the world, and he

995
00:54:35,880 --> 00:54:39,000
Speaker 2: brought it to the world at large.

996
00:54:39,200 --> 00:54:42,120
Speaker 1: Yeah, I mean, like I think I read somewhere that

997
00:54:42,200 --> 00:54:46,080
Speaker 1: he directed a documentary about it. Yeah, so and then

998
00:54:46,160 --> 00:54:49,000
Speaker 1: just became fascinated with it. So that's not terrible. I

999
00:54:49,000 --> 00:54:51,840
Speaker 1: mean that's not him being like, I'm taking your culture

1000
00:54:51,840 --> 00:54:53,360
Speaker 1: and I'm making it mine. I mean I was like,

1001
00:54:53,360 --> 00:54:56,640
Speaker 1: he does a genuine interest in it and then made

1002
00:54:56,840 --> 00:54:58,880
Speaker 1: how many movies, like two movies.

1003
00:54:59,080 --> 00:55:01,719
Speaker 2: Two raid films. Okay, but like I said, he went

1004
00:55:01,760 --> 00:55:04,080
Speaker 2: on to do you know this style of fighting became

1005
00:55:04,160 --> 00:55:09,000
Speaker 2: super popularized, Yeah, in most action movies now, So it

1006
00:55:09,040 --> 00:55:10,880
Speaker 2: wasn't like that in twenty eleven, which is why I

1007
00:55:10,880 --> 00:55:14,360
Speaker 2: think this movie blew my fucking mind when I saw it. Yeah,

1008
00:55:15,040 --> 00:55:17,719
Speaker 2: but yeah, he just it doesn't feel appropriated because he

1009
00:55:17,800 --> 00:55:21,319
Speaker 2: also uses some of the superstars of that sport in

1010
00:55:21,360 --> 00:55:24,120
Speaker 2: these films and like again really leans on them for

1011
00:55:24,280 --> 00:55:28,400
Speaker 2: the choreography and the stunts and the direction of the fighting.

1012
00:55:28,760 --> 00:55:29,520
Speaker 1: Yeah.

1013
00:55:29,560 --> 00:55:31,120
Speaker 2: Well it just is incredible.

1014
00:55:31,640 --> 00:55:33,839
Speaker 1: Well, and you know what I love about this movie too,

1015
00:55:33,880 --> 00:55:38,560
Speaker 1: because I kind of love this this premise. I've talked

1016
00:55:38,560 --> 00:55:42,239
Speaker 1: about this movie called Siege like a long time ago.

1017
00:55:42,360 --> 00:55:44,120
Speaker 1: I think I don't know when we brought this up,

1018
00:55:44,480 --> 00:55:46,400
Speaker 1: or maybe I was talking about it when I was

1019
00:55:46,440 --> 00:55:50,040
Speaker 1: like talking about my letterboxed stuff. But there was this

1020
00:55:50,080 --> 00:55:54,440
Speaker 1: Canadian movie named Siege, which I think came out in

1021
00:55:54,520 --> 00:55:57,040
Speaker 1: nineteen eighty three. It was like eighty three or eighty four.

1022
00:55:57,880 --> 00:56:00,759
Speaker 1: I want to say. It's also called Self Like there's

1023
00:56:00,760 --> 00:56:03,640
Speaker 1: a couple of different names for it, but like Siege

1024
00:56:03,680 --> 00:56:05,600
Speaker 1: just how it was presented to me on like the

1025
00:56:05,600 --> 00:56:09,600
Speaker 1: Blu Ray, And it's basically about the same premise of

1026
00:56:10,080 --> 00:56:14,120
Speaker 1: people who are like the police and criminals are trapped

1027
00:56:14,239 --> 00:56:17,920
Speaker 1: in a building together. It's kind of that like Assault

1028
00:56:18,000 --> 00:56:23,640
Speaker 1: on precinc Thirteen things. Yeah, Yeah, two opposing forces that

1029
00:56:23,719 --> 00:56:26,840
Speaker 1: get stuck in some kind of scenario in a building

1030
00:56:26,840 --> 00:56:29,279
Speaker 1: together and they have to like fight their way out that.

1031
00:56:29,440 --> 00:56:32,319
Speaker 1: I love that premise for some reason, and I'm like,

1032
00:56:32,560 --> 00:56:34,680
Speaker 1: it's some going to watch any action movie that has

1033
00:56:34,719 --> 00:56:37,080
Speaker 1: that shit Like me, That's.

1034
00:56:36,880 --> 00:56:39,680
Speaker 2: What I mean. This is not an original, purely original

1035
00:56:39,680 --> 00:56:44,120
Speaker 2: idea because of that genre of people being trapped together,

1036
00:56:44,680 --> 00:56:48,320
Speaker 2: but they take it and do something so specifically different

1037
00:56:48,360 --> 00:56:51,040
Speaker 2: with it. Yeah, and I love it. I love that

1038
00:56:51,200 --> 00:56:54,000
Speaker 2: it is because it induces a little bit of chaos

1039
00:56:54,080 --> 00:56:57,680
Speaker 2: in mayhem into the story. So you have to have

1040
00:56:57,719 --> 00:57:00,799
Speaker 2: a good narrative because otherwise it's all like you don't

1041
00:57:00,800 --> 00:57:04,440
Speaker 2: know who to care about or what to focus on. Yeah, emotionally,

1042
00:57:04,480 --> 00:57:08,160
Speaker 2: so I kind of love that that that this is

1043
00:57:08,200 --> 00:57:10,520
Speaker 2: all taking place in one spot, like the movies that

1044
00:57:10,560 --> 00:57:12,479
Speaker 2: take place in one night or movies that take place

1045
00:57:12,520 --> 00:57:14,440
Speaker 2: in one building. I think you really have to be

1046
00:57:14,440 --> 00:57:17,280
Speaker 2: better at punctuating the narrative you're going to do that

1047
00:57:17,280 --> 00:57:20,800
Speaker 2: because you can't rely on scenes and locations to flesh

1048
00:57:20,800 --> 00:57:21,360
Speaker 2: that out for you.

1049
00:57:21,960 --> 00:57:22,760
Speaker 3: Yeah.

1050
00:57:22,840 --> 00:57:26,360
Speaker 1: Man, Plus, like you mentioning that it's like a video

1051
00:57:26,440 --> 00:57:30,120
Speaker 1: game that did you. I'm sure you played this video

1052
00:57:30,160 --> 00:57:32,720
Speaker 1: game when you were a kid, but that game Kung Fu,

1053
00:57:33,720 --> 00:57:39,959
Speaker 1: the original Nintendo. I was so fucking obsessed with that game,

1054
00:57:41,560 --> 00:57:48,480
Speaker 1: like obsessed, like I mean the way like and it

1055
00:57:48,520 --> 00:57:50,560
Speaker 1: would go floor by floor, so you'd be like the

1056
00:57:50,600 --> 00:57:52,880
Speaker 1: little guy and then you know, you'd have like batties

1057
00:57:52,920 --> 00:57:57,440
Speaker 1: come at you and it always made that noise. Oh,

1058
00:57:57,480 --> 00:58:00,960
Speaker 1: and then people would like throw the throw knives at you.

1059
00:58:01,160 --> 00:58:03,720
Speaker 1: But then then it would be like after you completed

1060
00:58:03,800 --> 00:58:07,000
Speaker 1: the floor, then you're a stupid little you know, a

1061
00:58:07,200 --> 00:58:13,840
Speaker 1: bit graphic guy would go up the steps and whatever

1062
00:58:13,880 --> 00:58:15,720
Speaker 1: floor and then it's like at the top floor is

1063
00:58:15,800 --> 00:58:18,200
Speaker 1: like you know the boss.

1064
00:58:18,520 --> 00:58:21,520
Speaker 2: The big boss. Yeah, and that's like so good that

1065
00:58:21,560 --> 00:58:23,000
Speaker 2: you described it like that, because.

1066
00:58:22,760 --> 00:58:25,160
Speaker 1: The minute I saw when I first I saw this movie,

1067
00:58:25,200 --> 00:58:27,680
Speaker 1: I kept thinking the same shit, Like I was like, oh,

1068
00:58:27,720 --> 00:58:30,440
Speaker 1: it's like that old Nintendo game Kung Fu. I love it.

1069
00:58:30,720 --> 00:58:36,200
Speaker 2: What it is, and it is just they're also just

1070
00:58:36,560 --> 00:58:40,400
Speaker 2: plain beautiful shots in this movie. One of my favorite

1071
00:58:40,960 --> 00:58:43,560
Speaker 2: is in the beginning because it's also kind of interesting

1072
00:58:43,600 --> 00:58:48,000
Speaker 2: how Tama, the main battye the villain, locks down the building.

1073
00:58:48,440 --> 00:58:51,200
Speaker 2: So he's made it so that it is impossible to infiltrate,

1074
00:58:51,240 --> 00:58:53,200
Speaker 2: or if you do infiltrate, you're not getting out alive.

1075
00:58:53,720 --> 00:58:55,520
Speaker 2: So the cops go in, they show up in their van,

1076
00:58:55,560 --> 00:58:58,160
Speaker 2: they bust in, and they're starting to kill people, and

1077
00:58:58,200 --> 00:59:00,320
Speaker 2: you feel like they're getting into a groove. And then

1078
00:59:00,440 --> 00:59:03,840
Speaker 2: Tama is alerted to the fact that the police are

1079
00:59:03,840 --> 00:59:06,120
Speaker 2: there because he has people on the lower floor as

1080
00:59:06,160 --> 00:59:10,520
Speaker 2: little kids who are kind of tapping into the PA

1081
00:59:10,640 --> 00:59:13,480
Speaker 2: system and saying the police, the police, the police. So

1082
00:59:13,560 --> 00:59:18,280
Speaker 2: then when that happens, he calls in the neighbors quote unquote,

1083
00:59:18,320 --> 00:59:23,160
Speaker 2: which are just fucking snipers to guard the outside of

1084
00:59:23,200 --> 00:59:25,600
Speaker 2: the building. So anyone who gets close to a window,

1085
00:59:25,720 --> 00:59:27,800
Speaker 2: anyone who tries the bus out of the door, they

1086
00:59:27,880 --> 00:59:32,000
Speaker 2: get killed instantly, So he really keeps it in the

1087
00:59:32,280 --> 00:59:36,040
Speaker 2: literally in the building by making it impossible to leave. Yeah,

1088
00:59:36,080 --> 00:59:38,000
Speaker 2: and at one point he even says, like, you know,

1089
00:59:38,120 --> 00:59:40,120
Speaker 2: he tells all the tenants and everyone in the building

1090
00:59:40,600 --> 00:59:43,080
Speaker 2: that they can live there for free forever if they

1091
00:59:43,120 --> 00:59:46,520
Speaker 2: start killing cops. Yeah, he has he lists the help

1092
00:59:46,560 --> 00:59:50,520
Speaker 2: of everybody in the building to like not just his dudes,

1093
00:59:50,560 --> 00:59:54,840
Speaker 2: but like everybody. Yeah, and I'm like, what the fuck.

1094
00:59:54,840 --> 00:59:58,000
Speaker 2: And then there's one point also where the lieutenant or

1095
00:59:58,080 --> 01:00:01,000
Speaker 2: the you know, the sergeant reveals actually know it is

1096
01:00:01,000 --> 01:00:04,000
Speaker 2: a lieutenant who reveals that no one else knows that

1097
01:00:04,040 --> 01:00:06,880
Speaker 2: they're here. This is like a rogue mission. So all

1098
01:00:06,920 --> 01:00:10,240
Speaker 2: the cops eventually realize we're on our fucking own here.

1099
01:00:10,280 --> 01:00:12,680
Speaker 2: There's no backup, and even if there was backup, they

1100
01:00:12,720 --> 01:00:17,880
Speaker 2: can't get in, so they literally have to fight their

1101
01:00:17,920 --> 01:00:19,040
Speaker 2: way out to survive.

1102
01:00:19,760 --> 01:00:25,360
Speaker 1: This movie delivered exactly as you promised, by the way.

1103
01:00:25,320 --> 01:00:29,800
Speaker 2: Yeah, I gotta say, it was like it was so exciting.

1104
01:00:29,840 --> 01:00:30,520
Speaker 2: It was dark.

1105
01:00:30,560 --> 01:00:33,920
Speaker 1: I mean like it's visually very dark, which is and menacing,

1106
01:00:34,000 --> 01:00:37,560
Speaker 1: which is great. And yeah, I think that there are

1107
01:00:37,640 --> 01:00:41,000
Speaker 1: stakes to everything. You know, characters get fleshed out. But honestly,

1108
01:00:41,080 --> 01:00:44,640
Speaker 1: the fucking fighting is so insane, so insane. People are

1109
01:00:44,680 --> 01:00:51,520
Speaker 1: literally getting demolished, like just deesimated in the face, a

1110
01:00:51,560 --> 01:00:52,680
Speaker 1: lot of face trauma.

1111
01:00:54,240 --> 01:00:56,760
Speaker 2: There are so many neck and eyeball shots that's not

1112
01:00:57,040 --> 01:01:02,480
Speaker 2: you can't even count so good, so many, and it is,

1113
01:01:02,560 --> 01:01:05,960
Speaker 2: oh my god, contortionist, almost contortionist level of fighting. To

1114
01:01:06,000 --> 01:01:08,640
Speaker 2: watch some of these scenes. But one of my favorites

1115
01:01:08,960 --> 01:01:10,800
Speaker 2: is at the very beginning, like I was saying about

1116
01:01:10,800 --> 01:01:12,520
Speaker 2: the outside of the building, is when he calls in

1117
01:01:12,560 --> 01:01:16,200
Speaker 2: these snipers. There's this very short scene where the snipers

1118
01:01:16,240 --> 01:01:20,240
Speaker 2: are breathing in unison before they start firing, and they're

1119
01:01:20,280 --> 01:01:22,440
Speaker 2: kind of just like you just watch their shoulders go

1120
01:01:22,560 --> 01:01:24,520
Speaker 2: up and down, and then they start fucking fire and

1121
01:01:24,560 --> 01:01:28,040
Speaker 2: you're like, oh my god, it's just so Then there's

1122
01:01:28,520 --> 01:01:31,480
Speaker 2: another scene that I fucking love is all the cops

1123
01:01:31,520 --> 01:01:34,360
Speaker 2: are gathered around this door because the inside of the

1124
01:01:34,360 --> 01:01:36,120
Speaker 2: building looks the way you think it will where you know,

1125
01:01:36,120 --> 01:01:40,080
Speaker 2: there's like a corridor of steps that you go up,

1126
01:01:40,320 --> 01:01:42,560
Speaker 2: so there's a lot of space in between those steps.

1127
01:01:43,440 --> 01:01:46,680
Speaker 2: So these cops are gathered around a door and one

1128
01:01:46,720 --> 01:01:49,800
Speaker 2: of them fires a shot and in that little tiny

1129
01:01:49,840 --> 01:01:53,280
Speaker 2: moment where the shot is fired. Gareth Evans acides to

1130
01:01:53,440 --> 01:01:56,360
Speaker 2: use that light to showcase the shadows of where the

1131
01:01:56,400 --> 01:02:00,680
Speaker 2: cops are, and there's this line of assassins behind them,

1132
01:02:02,120 --> 01:02:05,200
Speaker 2: and they use that light to pinpoint where every police

1133
01:02:05,200 --> 01:02:07,800
Speaker 2: officer is. And by the time that light has swung

1134
01:02:07,840 --> 01:02:10,720
Speaker 2: around and those shadows are gone, they start shooting and

1135
01:02:10,760 --> 01:02:15,240
Speaker 2: killing all the cops. It's unreal. It's unreal some of

1136
01:02:15,280 --> 01:02:17,680
Speaker 2: the actual shots in this film, And I think again

1137
01:02:17,720 --> 01:02:20,120
Speaker 2: that elevates the movie for me because it is stunning

1138
01:02:20,200 --> 01:02:21,880
Speaker 2: and it's beautiful to actually watch.

1139
01:02:22,240 --> 01:02:25,000
Speaker 1: Yeah, one hundred percent agree, Like, now I want to

1140
01:02:25,040 --> 01:02:26,520
Speaker 1: watch the second one.

1141
01:02:27,280 --> 01:02:30,360
Speaker 2: Yeah, I own them, right, it's not The.

1142
01:02:31,560 --> 01:02:33,280
Speaker 1: Redemption two or something that's just called.

1143
01:02:34,720 --> 01:02:38,600
Speaker 2: The Rain to Redemption too, your Mama too. Next, Shots

1144
01:02:38,640 --> 01:02:46,000
Speaker 2: to Face, shots too, high balls too. No, it is,

1145
01:02:46,120 --> 01:02:47,720
Speaker 2: I own it. You can watch it when you get here.

1146
01:02:47,800 --> 01:02:50,600
Speaker 2: It's so good, but it is so there's these these

1147
01:02:50,880 --> 01:02:52,480
Speaker 2: I feel like the best way for me to break

1148
01:02:52,520 --> 01:02:55,640
Speaker 2: it down is the shots that I like, because otherwise

1149
01:02:55,680 --> 01:02:57,400
Speaker 2: I will just be talking about this movie for seven

1150
01:02:57,400 --> 01:03:01,360
Speaker 2: hour straight. Yeah, go ahead again, favorite shots instantaneously and

1151
01:03:01,400 --> 01:03:03,840
Speaker 2: there are so fucking many, So I really had to

1152
01:03:03,840 --> 01:03:06,480
Speaker 2: work hard to narrow it down. I love that scene

1153
01:03:06,480 --> 01:03:09,240
Speaker 2: where the guy kind of contorts out of his zip

1154
01:03:09,280 --> 01:03:12,120
Speaker 2: tie restraints, like he just kind of pops his shoulders.

1155
01:03:12,120 --> 01:03:13,800
Speaker 2: He's sitting at a table. They've tied him up because

1156
01:03:13,800 --> 01:03:15,960
Speaker 2: again they don't know who's a they don't know the

1157
01:03:16,000 --> 01:03:19,720
Speaker 2: cops do not know who is with Tama and who

1158
01:03:19,800 --> 01:03:23,400
Speaker 2: is a civilian, right, so they zip tie him and

1159
01:03:23,440 --> 01:03:27,120
Speaker 2: he pops his shoulders and like drags his feet underneath,

1160
01:03:28,120 --> 01:03:31,200
Speaker 2: and then he slides a machete out from under the

1161
01:03:31,280 --> 01:03:37,040
Speaker 2: table and just starts wrecking shop. It's unreal. And then

1162
01:03:37,040 --> 01:03:39,960
Speaker 2: he's just covered in blood and he's running down the

1163
01:03:40,000 --> 01:03:42,600
Speaker 2: hallway towards a cop, pretending that he's an innocent person,

1164
01:03:43,640 --> 01:03:45,720
Speaker 2: and he's like, they're shooting, they're shooting, they're killing us,

1165
01:03:45,720 --> 01:03:47,960
Speaker 2: they're killing us. And then he takes out the machete

1166
01:03:47,960 --> 01:03:49,800
Speaker 2: and just starts shopping up. Like it's just such a

1167
01:03:49,840 --> 01:03:52,640
Speaker 2: good scene, and we never see this dude again, like

1168
01:03:52,640 --> 01:03:57,120
Speaker 2: we do not know who this dude is. He just

1169
01:03:57,280 --> 01:04:02,760
Speaker 2: running around FETI. There's another scene early on where Rama,

1170
01:04:02,800 --> 01:04:05,360
Speaker 2: who's again the main dude who's trying to get his

1171
01:04:05,440 --> 01:04:08,280
Speaker 2: brother out of the building, and we find out that

1172
01:04:08,360 --> 01:04:11,400
Speaker 2: his brother. By the way, Andy is one of the

1173
01:04:11,480 --> 01:04:16,919
Speaker 2: right hand men of Tama. So Tama has two ass

1174
01:04:17,000 --> 01:04:20,760
Speaker 2: kicking sidekicks essentially, and one of them is Andy and

1175
01:04:20,800 --> 01:04:23,280
Speaker 2: the other is a character named mad Dog, who we

1176
01:04:23,320 --> 01:04:25,640
Speaker 2: will get into more in depth in a moment, mad

1177
01:04:25,720 --> 01:04:29,440
Speaker 2: Dog Man. But Rama is hanging out with all of

1178
01:04:29,480 --> 01:04:32,720
Speaker 2: his school not hanging out, obviously, they're running and freaking

1179
01:04:32,760 --> 01:04:34,920
Speaker 2: out and trying not to get killed. But Rama and

1180
01:04:35,000 --> 01:04:39,960
Speaker 2: all the cops, this kind of special op squad of cops,

1181
01:04:40,720 --> 01:04:44,480
Speaker 2: run into this apartment built apartment in the building, and

1182
01:04:44,560 --> 01:04:48,680
Speaker 2: he grabs an ax and starts swinging through the floor

1183
01:04:50,040 --> 01:04:54,400
Speaker 2: so that they can jump down and escape. The guys

1184
01:04:54,480 --> 01:04:57,240
Speaker 2: we are trying to get in to the door into

1185
01:04:57,280 --> 01:04:59,840
Speaker 2: that apartment, so that there's one scene where men are

1186
01:05:00,080 --> 01:05:02,600
Speaker 2: dropping from the ceiling to fight each other and shoot

1187
01:05:02,600 --> 01:05:04,240
Speaker 2: each other in the dome and acts each other in

1188
01:05:04,240 --> 01:05:07,000
Speaker 2: the chest and all that shit. Then he rips a

1189
01:05:07,120 --> 01:05:10,000
Speaker 2: tank out from under a kitchen sink, puts it in

1190
01:05:10,000 --> 01:05:15,240
Speaker 2: a refrigerator, throws in a grenade, flips the refrigerator around,

1191
01:05:15,320 --> 01:05:17,640
Speaker 2: and basically makes a bomb that wipes out every dude

1192
01:05:17,680 --> 01:05:21,320
Speaker 2: in the hallway. He is one man. Rama is one

1193
01:05:21,600 --> 01:05:24,439
Speaker 2: fucking man and he is a one man wrecking crew.

1194
01:05:24,600 --> 01:05:29,360
Speaker 2: It is fucking incredible. That's amazing. Then there's a scene

1195
01:05:29,400 --> 01:05:32,280
Speaker 2: where this machete guy, he's number one in the machete gang,

1196
01:05:32,440 --> 01:05:35,200
Speaker 2: and his eyes are wild. He looks like the kind

1197
01:05:35,200 --> 01:05:36,520
Speaker 2: of person you would not say hello two on the

1198
01:05:36,520 --> 01:05:38,280
Speaker 2: street unless you're me. I say hello to everyone and

1199
01:05:38,360 --> 01:05:42,000
Speaker 2: end up dating these crazy men. But he comes in.

1200
01:05:42,440 --> 01:05:45,800
Speaker 2: He comes into the apartment where Tom and his friend

1201
01:05:45,800 --> 01:05:49,200
Speaker 2: are hiding. So bo wo. His friend gets shot, like,

1202
01:05:49,240 --> 01:05:50,680
Speaker 2: he gets shot in the ear and he's shot in

1203
01:05:50,680 --> 01:05:54,600
Speaker 2: the gut at one point, and Rama's kind of dragging

1204
01:05:54,680 --> 01:05:59,520
Speaker 2: him to safety. So they're in this apartment. Machete man

1205
01:05:59,560 --> 01:06:03,200
Speaker 2: comes in and they're hiding behind a false wall and

1206
01:06:03,240 --> 01:06:05,840
Speaker 2: the guy just starts stabbing into the wall and there

1207
01:06:06,080 --> 01:06:08,080
Speaker 2: he's just stabbing, just stab it into the wall with

1208
01:06:08,080 --> 01:06:12,400
Speaker 2: a fucking machete. And the last stab he jams his

1209
01:06:12,440 --> 01:06:17,160
Speaker 2: machete into the wall and it slices Rama's cheek. And

1210
01:06:17,200 --> 01:06:19,800
Speaker 2: he's just sitting there because the guy walks away to

1211
01:06:19,840 --> 01:06:22,040
Speaker 2: talk to another you know another that he talks to

1212
01:06:22,080 --> 01:06:26,360
Speaker 2: the tenant, and he's just sitting there with this fucking

1213
01:06:26,440 --> 01:06:30,280
Speaker 2: machete blade in his cheek, and then he has to

1214
01:06:30,400 --> 01:06:33,440
Speaker 2: lift his hand and hold onto the blade as the

1215
01:06:33,480 --> 01:06:36,200
Speaker 2: guy twists it out of the wall so that his

1216
01:06:36,400 --> 01:06:39,160
Speaker 2: blood isn't on it, so the guy can't see that

1217
01:06:39,200 --> 01:06:45,520
Speaker 2: there's someone behind the fucking wall. Yeah, it's incredible. He

1218
01:06:45,680 --> 01:06:48,680
Speaker 2: sets the squeegee off his own blood while he's holding

1219
01:06:48,720 --> 01:06:52,000
Speaker 2: onto his busted up friend, and his cheek is exploded.

1220
01:06:57,160 --> 01:07:01,200
Speaker 2: It's so simple and so unreal. Now, my absolute favorite

1221
01:07:01,240 --> 01:07:06,000
Speaker 2: scene is about fifty three minutes in and it's rama

1222
01:07:06,120 --> 01:07:10,840
Speaker 2: alone and weaponless as he takes on four dudes in

1223
01:07:10,880 --> 01:07:14,040
Speaker 2: a hallway and he's completely trapped in the hallway. Every

1224
01:07:14,040 --> 01:07:19,640
Speaker 2: door is locked. And my all time favorite action scene

1225
01:07:19,760 --> 01:07:22,760
Speaker 2: to date is in this film. Again, this movie came

1226
01:07:22,760 --> 01:07:25,040
Speaker 2: out in twenty eleven. Nothing has topped it since I've

1227
01:07:25,080 --> 01:07:29,080
Speaker 2: seen this movie. Where he's fighting these guys in the hallway,

1228
01:07:29,320 --> 01:07:31,760
Speaker 2: just rapid punching like tat tat tat tat top, just

1229
01:07:31,880 --> 01:07:35,720
Speaker 2: rapid punches. He punches a dude five times. That's very

1230
01:07:35,720 --> 01:07:37,960
Speaker 2: well choreographed. If you've watched the scene as much as

1231
01:07:38,000 --> 01:07:41,360
Speaker 2: I have, you can count the beats of how the

1232
01:07:41,640 --> 01:07:44,800
Speaker 2: rhythm of this looks, how the dance looks but he

1233
01:07:44,840 --> 01:07:47,000
Speaker 2: punches this guy five times and it's like bop bop,

1234
01:07:47,040 --> 01:07:49,760
Speaker 2: bop bop. And then the last one he has already

1235
01:07:49,840 --> 01:07:53,880
Speaker 2: kicked someone through a door behind him, so he grabs

1236
01:07:53,880 --> 01:07:57,280
Speaker 2: this guy's head and his final blow is to grab

1237
01:07:57,360 --> 01:08:02,520
Speaker 2: this guy's head and throw him. He jumps backwards and

1238
01:08:02,720 --> 01:08:06,280
Speaker 2: throws this guy's neck onto the shards of the broken door.

1239
01:08:07,120 --> 01:08:07,640
Speaker 1: Ah.

1240
01:08:07,720 --> 01:08:14,320
Speaker 2: Yes, rama is fucking unbelievable. Like again, you punch me once,

1241
01:08:14,400 --> 01:08:19,760
Speaker 2: I'm done for the day. Then it doesn't end there.

1242
01:08:20,439 --> 01:08:24,600
Speaker 2: So he slices this dude's neck by throwing over this

1243
01:08:24,680 --> 01:08:27,280
Speaker 2: broken door. But then he has to fight the guy

1244
01:08:27,320 --> 01:08:29,960
Speaker 2: who in the apartment who he threw through the door.

1245
01:08:33,000 --> 01:08:35,080
Speaker 2: So he just gets up and he's not even a

1246
01:08:35,280 --> 01:08:38,120
Speaker 2: hide like basking the beauty of that kill. He just

1247
01:08:38,200 --> 01:08:41,120
Speaker 2: gets up and here's how he fights that guy. He

1248
01:08:41,240 --> 01:08:43,320
Speaker 2: literally punches his neck apart.

1249
01:08:43,560 --> 01:08:48,759
Speaker 1: Yes, like the fuck neck apart.

1250
01:08:49,880 --> 01:08:53,640
Speaker 2: What the fucking punches his neck apart? He explos this

1251
01:08:53,720 --> 01:08:56,360
Speaker 2: guy's neck with his fist. Then he throws him out

1252
01:08:56,360 --> 01:08:58,519
Speaker 2: of the window, goes out of the window with him,

1253
01:08:59,040 --> 01:09:03,320
Speaker 2: falls down like four floors and he has to start again,

1254
01:09:03,560 --> 01:09:07,040
Speaker 2: going up all the floors in this fucking building. Yeah,

1255
01:09:07,200 --> 01:09:11,120
Speaker 2: Rama is a maniac. It's so fucking intensely good to

1256
01:09:11,120 --> 01:09:16,200
Speaker 2: watch this movie. My last two favorite scenes so that

1257
01:09:16,200 --> 01:09:20,000
Speaker 2: at first, there's an epic fight between mad Dog and Rama,

1258
01:09:20,240 --> 01:09:22,960
Speaker 2: and this is one of those scenes where they're picking

1259
01:09:23,000 --> 01:09:25,320
Speaker 2: each other up by the leg and just throwing them

1260
01:09:24,800 --> 01:09:29,360
Speaker 2: their opponent into the wall. But mad Dog, who is

1261
01:09:29,400 --> 01:09:34,639
Speaker 2: played by an actor named Yayan Ruhiyan, is one of

1262
01:09:34,680 --> 01:09:40,880
Speaker 2: the most compact, tough strong He is one of the

1263
01:09:40,920 --> 01:09:43,800
Speaker 2: most intense fighters you could ever watch, and he is

1264
01:09:43,840 --> 01:09:47,080
Speaker 2: the He looks like the tiniest fucking dude, but he

1265
01:09:47,200 --> 01:09:49,679
Speaker 2: uses it to his advantage because there is a point

1266
01:09:49,680 --> 01:09:52,920
Speaker 2: where they're fighting in this scene and he runs up

1267
01:09:52,960 --> 01:09:58,680
Speaker 2: a wall while Rama has him in a headlock, like

1268
01:09:58,920 --> 01:10:02,800
Speaker 2: what bangster. It's so gangster. They're punching the shit out

1269
01:10:02,800 --> 01:10:05,600
Speaker 2: of each other. But what's beautiful about this scene is

1270
01:10:05,640 --> 01:10:08,800
Speaker 2: you're watching these two incredible martial artists at the top

1271
01:10:08,880 --> 01:10:12,559
Speaker 2: of their game. So neither one dies in that scene,

1272
01:10:13,880 --> 01:10:16,320
Speaker 2: which allows us to have another great scene, which is

1273
01:10:16,360 --> 01:10:23,680
Speaker 2: when Dago Rama and wah Wahuei Wa Huie, who is

1274
01:10:23,760 --> 01:10:27,160
Speaker 2: the corrupt leader, the corrupt cop that brought them into

1275
01:10:27,160 --> 01:10:30,080
Speaker 2: this building in the first place, where they get to

1276
01:10:31,000 --> 01:10:33,360
Speaker 2: run through a drug lab and you know that scene

1277
01:10:33,400 --> 01:10:35,280
Speaker 2: an old Boy where he just grabs the hammer and

1278
01:10:35,320 --> 01:10:38,840
Speaker 2: just starts wrecking shop in the hallway and he's it's

1279
01:10:38,960 --> 01:10:44,080
Speaker 2: like that with three people man just wrecking shop in

1280
01:10:44,120 --> 01:10:47,360
Speaker 2: this drug lab. It's they're sliding across tables, they're running

1281
01:10:47,439 --> 01:10:50,960
Speaker 2: up walls. It is fucking intensely grades. It is so

1282
01:10:51,160 --> 01:10:52,320
Speaker 2: exciting to watch.

1283
01:10:52,600 --> 01:10:57,160
Speaker 1: Yeah, teatures of it online right now, right as you're

1284
01:10:57,200 --> 01:11:00,320
Speaker 1: talking to remind you know, I'm basically like, what a

1285
01:11:00,479 --> 01:11:06,280
Speaker 1: visual component to this moment right now with Danielle.

1286
01:11:06,600 --> 01:11:09,360
Speaker 2: Because it's so crazy fucking incredible. If you go and

1287
01:11:09,400 --> 01:11:13,480
Speaker 2: just look at still shots from this film, yeah, oh yeah,

1288
01:11:13,560 --> 01:11:15,719
Speaker 2: I don't and you're not excited to see the movie

1289
01:11:15,720 --> 01:11:18,920
Speaker 2: if you haven't seen it before, I don't understand how

1290
01:11:18,960 --> 01:11:23,839
Speaker 2: I can help you be on that point. It looks

1291
01:11:24,160 --> 01:11:29,200
Speaker 2: so cool to watch these dudes fight. Yeah, it's fun,

1292
01:11:30,160 --> 01:11:33,599
Speaker 2: and they're sometimes using the things around them. They will

1293
01:11:33,640 --> 01:11:36,559
Speaker 2: occasionally pick up something and jam it in somebody's eyeball,

1294
01:11:36,800 --> 01:11:41,320
Speaker 2: but it's mostly about the hands and the legs. Yeah. Now,

1295
01:11:41,520 --> 01:11:44,960
Speaker 2: my all time favorite fight scene. Speaking of picking things

1296
01:11:45,040 --> 01:11:48,160
Speaker 2: up around you, So, at one point Ram and Andy

1297
01:11:48,200 --> 01:11:50,320
Speaker 2: do talk. They get to kind of chat. You realize

1298
01:11:50,320 --> 01:11:52,120
Speaker 2: that Andy hasn't been in contact with his family in

1299
01:11:52,160 --> 01:11:54,120
Speaker 2: six years. He kind of ended up here. He knows

1300
01:11:54,120 --> 01:11:56,920
Speaker 2: he's a disappointment to his family. Ram is like, I

1301
01:11:56,960 --> 01:11:58,920
Speaker 2: just want to take you out, Like, let me just

1302
01:11:58,960 --> 01:12:03,000
Speaker 2: take you out of here. Then you see Andy hanging

1303
01:12:03,080 --> 01:12:06,160
Speaker 2: from a chain in a cinder block room, because you

1304
01:12:06,200 --> 01:12:08,160
Speaker 2: know how you just have those in apartment buildings, you know,

1305
01:12:08,280 --> 01:12:11,799
Speaker 2: just a room with a chain hanging from the ceiling. Sure,

1306
01:12:11,840 --> 01:12:14,919
Speaker 2: so Rama is like, oh shit, my brother's being tortured

1307
01:12:16,040 --> 01:12:18,840
Speaker 2: because Tama has caught on to the fact that they're

1308
01:12:19,000 --> 01:12:20,920
Speaker 2: that he was helping me, or there's that he didn't

1309
01:12:21,000 --> 01:12:22,559
Speaker 2: at least that he didn't kill me when he had

1310
01:12:22,600 --> 01:12:26,840
Speaker 2: the chance. So Rama and Andy versus mad Dog in

1311
01:12:26,960 --> 01:12:30,200
Speaker 2: this room is to me one of the most exciting

1312
01:12:30,240 --> 01:12:33,759
Speaker 2: action scenes of the past fifty years. Yeah, of course,

1313
01:12:34,720 --> 01:12:38,080
Speaker 2: there is a point where they break one of the

1314
01:12:38,120 --> 01:12:43,600
Speaker 2: overhead fluorescent lights because mad Dog swings Rama around and

1315
01:12:43,640 --> 01:12:48,000
Speaker 2: his legs bust the light and they pick up the tube,

1316
01:12:48,080 --> 01:12:52,240
Speaker 2: the fluorescent lighting tube, jam it in mad Dog's neck

1317
01:12:52,840 --> 01:12:58,880
Speaker 2: and he keeps fighting for like four minutes. I know

1318
01:12:59,000 --> 01:13:02,519
Speaker 2: it's not real, but just the concept of that he's

1319
01:13:02,520 --> 01:13:04,639
Speaker 2: not gonna let it get a little bulb, get him

1320
01:13:04,680 --> 01:13:08,120
Speaker 2: down right. He's like jam a fucking cathloid ray in

1321
01:13:08,120 --> 01:13:11,400
Speaker 2: my fucking Now, who cares? You think I haven't been

1322
01:13:11,520 --> 01:13:15,760
Speaker 2: hit by tubes before? And he keeps fighting and you think, oh,

1323
01:13:15,880 --> 01:13:19,040
Speaker 2: it's two guys versus one guy. What an easy fight.

1324
01:13:19,640 --> 01:13:23,120
Speaker 2: No it's not. That's how great a goddamn martial artist

1325
01:13:23,439 --> 01:13:29,120
Speaker 2: ya yan Rulyan is Yeah, because it is not that easy.

1326
01:13:29,200 --> 01:13:31,559
Speaker 2: The man is pure muscle. And he also appears in

1327
01:13:31,880 --> 01:13:32,760
Speaker 2: Jonathan Wick three.

1328
01:13:32,920 --> 01:13:34,439
Speaker 1: Yeah, I was gonna say he's in John Wick three.

1329
01:13:34,479 --> 01:13:36,639
Speaker 1: Pair of Parabellum yep.

1330
01:13:37,600 --> 01:13:40,000
Speaker 2: This It is incredible to watch the three of them

1331
01:13:40,000 --> 01:13:43,080
Speaker 2: fight each other. It is so fucking good. So I

1332
01:13:43,120 --> 01:13:45,920
Speaker 2: will say, if you think you're not an action movie person,

1333
01:13:46,720 --> 01:13:49,520
Speaker 2: if you think I don't like why do people get

1334
01:13:49,800 --> 01:13:54,080
Speaker 2: jammed in the face with bullets or fluorescent lighting tubes,

1335
01:13:54,600 --> 01:13:57,760
Speaker 2: If you think there's no way I would ever like

1336
01:13:57,760 --> 01:14:00,760
Speaker 2: a movie like this, give it a shot. Yeah, and

1337
01:14:00,800 --> 01:14:05,040
Speaker 2: I guarantee you will find something to like about this movie. Yeah,

1338
01:14:05,800 --> 01:14:08,120
Speaker 2: it's my favorite, not just my favorite action movie. It

1339
01:14:08,200 --> 01:14:12,400
Speaker 2: is my favorite movie. Pound for pound. I will put

1340
01:14:12,439 --> 01:14:14,400
Speaker 2: it up against any of the other movies that I love,

1341
01:14:15,240 --> 01:14:17,360
Speaker 2: and it is absolutely a top three movie for me.

1342
01:14:17,920 --> 01:14:21,799
Speaker 1: Absolutely, and also like Asian action movies are fucking awesome.

1343
01:14:22,360 --> 01:14:28,400
Speaker 2: Sorry, we cannot hold a candle. We genuinely cannot hold it,

1344
01:14:28,400 --> 01:14:31,360
Speaker 2: which is why again, in your franchise of films they

1345
01:14:31,360 --> 01:14:33,320
Speaker 2: have a lot of Asian martial artists who are doing

1346
01:14:33,360 --> 01:14:34,639
Speaker 2: the choreography and fighting.

1347
01:14:34,760 --> 01:14:38,200
Speaker 1: Hell yeah, no, it's it's so true. There's just such

1348
01:14:38,200 --> 01:14:40,599
Speaker 1: a like a a it's like.

1349
01:14:40,560 --> 01:14:44,880
Speaker 2: A dance, you know, and beautiful dance.

1350
01:14:45,000 --> 01:14:47,000
Speaker 1: I appreciate it, and there's just so much of that

1351
01:14:47,120 --> 01:14:50,240
Speaker 1: in this movie. I'm so glad I finally fucking watched it.

1352
01:14:50,280 --> 01:14:53,800
Speaker 1: I feel like it's been forever. You've been like trying

1353
01:14:53,840 --> 01:14:56,479
Speaker 1: to get me to watch this movie for literal years.

1354
01:14:57,040 --> 01:14:59,640
Speaker 1: It finally happened. And then now I'm gonna watch the

1355
01:14:59,720 --> 01:15:02,360
Speaker 1: second at one at your house in a couple days.

1356
01:15:02,720 --> 01:15:03,520
Speaker 1: I'm excited.

1357
01:15:03,840 --> 01:15:07,080
Speaker 2: Right, I'm glad you liked it. No, man, it was

1358
01:15:07,120 --> 01:15:16,680
Speaker 2: all I thought you would. I thought you would now

1359
01:15:16,720 --> 01:15:17,240
Speaker 2: your movie.

1360
01:15:17,479 --> 01:15:22,960
Speaker 1: So, speaking of another passion of yours, a a passion

1361
01:15:22,960 --> 01:15:29,480
Speaker 1: that we share together, are we ready to talk about Jonathan?

1362
01:15:30,520 --> 01:15:32,439
Speaker 2: Hell yeah, let's get into this jar Dottie.

1363
01:15:32,880 --> 01:15:37,240
Speaker 1: All right, So my movie for the theme, which is

1364
01:15:37,680 --> 01:15:41,360
Speaker 1: we love watching people get kicked in the face, is

1365
01:15:41,400 --> 01:15:45,080
Speaker 1: from twenty fourteen. It was written by Derek Coolestadt. It

1366
01:15:45,160 --> 01:15:49,599
Speaker 1: was directed by Chad Stileski, and of course it's called

1367
01:15:49,880 --> 01:15:50,439
Speaker 1: John Wick.

1368
01:15:50,760 --> 01:15:57,080
Speaker 2: People keep asking if I'm back. Yeah, I'm thinking I'm back.

1369
01:15:57,479 --> 01:16:00,360
Speaker 1: So this movie means so much to both of us

1370
01:16:00,439 --> 01:16:04,879
Speaker 1: because we our friendship was in LA was essentially formed

1371
01:16:04,960 --> 01:16:06,920
Speaker 1: by the sequels, right.

1372
01:16:07,680 --> 01:16:12,479
Speaker 2: And my friendship with our friend at the Pod, Maggie Serota,

1373
01:16:13,160 --> 01:16:15,760
Speaker 2: was also solidified by watching this film together. This is

1374
01:16:15,800 --> 01:16:17,240
Speaker 2: the first time I saw it was with Maggie, and

1375
01:16:17,280 --> 01:16:18,360
Speaker 2: I lost my fucking mind.

1376
01:16:18,640 --> 01:16:21,240
Speaker 1: Yeah, well, that's the thing. I mean not to say

1377
01:16:21,240 --> 01:16:24,040
Speaker 1: that we weren't friends before john Wick three came out,

1378
01:16:25,200 --> 01:16:27,800
Speaker 1: but when we were both living in LA at the

1379
01:16:27,840 --> 01:16:31,720
Speaker 1: same time, we were both like kind of like, what

1380
01:16:31,800 --> 01:16:34,040
Speaker 1: are we doing here? And then I remember we did.

1381
01:16:34,320 --> 01:16:36,320
Speaker 1: We made a plan to go see John Wick three

1382
01:16:36,479 --> 01:16:42,200
Speaker 1: at the Cineramadome in Hollywood and it was rest in

1383
01:16:42,280 --> 01:16:46,400
Speaker 1: Peace and it was such an epic screening because you

1384
01:16:46,479 --> 01:16:48,720
Speaker 1: and I, of course you probably know this if you've

1385
01:16:48,720 --> 01:16:50,840
Speaker 1: listened to the podcast from the beginning, you and I

1386
01:16:50,960 --> 01:16:53,799
Speaker 1: were screaming in this movie.

1387
01:16:54,600 --> 01:17:01,200
Speaker 2: We were laughing so loud and literally hollering. Y not hollering,

1388
01:17:01,280 --> 01:17:04,360
Speaker 2: we were hollering, hollering, and the guys in front of

1389
01:17:04,439 --> 01:17:06,640
Speaker 2: us kept turning around, and I thought they're gonna want

1390
01:17:06,640 --> 01:17:08,920
Speaker 2: to kick our fucking ass at some point. No, they

1391
01:17:09,000 --> 01:17:10,320
Speaker 2: wanted to be our best friend.

1392
01:17:10,640 --> 01:17:14,000
Speaker 1: I know, Like I was thinking, Oh, I'm sure the

1393
01:17:14,240 --> 01:17:17,280
Speaker 1: la fucking cinophile rules apply, and we're gonna have some

1394
01:17:17,479 --> 01:17:21,479
Speaker 1: like ArcLight guy in a vest come over and be like, uh,

1395
01:17:21,600 --> 01:17:23,840
Speaker 1: you ladies are enjoying this movie too much. You need

1396
01:17:23,880 --> 01:17:27,880
Speaker 1: to be quiet, follow me, get you're getting kicked out.

1397
01:17:27,880 --> 01:17:30,840
Speaker 1: But no, no, no, Like in fact, we won over

1398
01:17:30,880 --> 01:17:33,040
Speaker 1: the crowd. It was like during the day anyway, so

1399
01:17:33,200 --> 01:17:35,439
Speaker 1: like fucking who cares. But it was basically the guys

1400
01:17:35,439 --> 01:17:37,280
Speaker 1: in front of us turn around after the movie was

1401
01:17:37,280 --> 01:17:39,640
Speaker 1: over and was like, I really appreciated the fact that

1402
01:17:39,760 --> 01:17:42,000
Speaker 1: y'all laughed and screamed and had a great time. And

1403
01:17:42,000 --> 01:17:44,200
Speaker 1: then I was like, could you not?

1404
01:17:44,640 --> 01:17:47,120
Speaker 2: How could you not? How dead inside are you that

1405
01:17:47,200 --> 01:17:49,720
Speaker 2: you could not have the same reaction watching Donathan Wick.

1406
01:17:50,080 --> 01:17:52,720
Speaker 1: I mean, come on, you got fucking like Penschoks a

1407
01:17:52,720 --> 01:17:57,200
Speaker 1: lot going around and all over the place fucking dogs.

1408
01:17:58,479 --> 01:18:03,080
Speaker 2: Fuck it wasn't he had a horse at some point

1409
01:18:03,160 --> 01:18:03,960
Speaker 2: or was that over four?

1410
01:18:04,200 --> 01:18:06,760
Speaker 1: That was where he was riding the horse through the

1411
01:18:06,800 --> 01:18:08,439
Speaker 1: streets with like the two guns.

1412
01:18:08,760 --> 01:18:11,160
Speaker 2: Come on, john Wick.

1413
01:18:11,160 --> 01:18:15,080
Speaker 1: Three is the one with halle Berry and the dogs, right, yes, yeah,

1414
01:18:15,439 --> 01:18:17,360
Speaker 1: come on, fucking dog.

1415
01:18:17,680 --> 01:18:18,960
Speaker 2: I mean it's so good.

1416
01:18:19,479 --> 01:18:21,920
Speaker 1: But this is why I'm so fond of this. This

1417
01:18:22,040 --> 01:18:24,840
Speaker 1: franchise is partly because of you. And so when we

1418
01:18:24,840 --> 01:18:27,000
Speaker 1: were like, let's put this up, let's finally talk about

1419
01:18:27,040 --> 01:18:29,880
Speaker 1: the first John Wick movie, I was like, happily we have.

1420
01:18:30,120 --> 01:18:33,280
Speaker 1: We both have so many, so many lovely things to

1421
01:18:33,280 --> 01:18:33,720
Speaker 1: say about it.

1422
01:18:33,720 --> 01:18:34,040
Speaker 2: I'm sure.

1423
01:18:34,080 --> 01:18:36,040
Speaker 1: So I'm gonna do like a one sentence synopsis of

1424
01:18:36,120 --> 01:18:41,080
Speaker 1: john Wick. Okay, so here it is a myth and

1425
01:18:41,200 --> 01:18:46,080
Speaker 1: legend in hit person circles and the criminal underworld at large.

1426
01:18:46,520 --> 01:18:52,519
Speaker 1: A highly skilled assassin is brought back for one last

1427
01:18:52,680 --> 01:18:56,439
Speaker 1: job after the death of his dog.

1428
01:18:57,400 --> 01:18:59,479
Speaker 2: Thank you cannot stress you.

1429
01:18:59,560 --> 01:19:03,479
Speaker 1: Enough how much this movie hinges upon the fact that

1430
01:19:03,600 --> 01:19:07,120
Speaker 1: John Wick's dog is murdered.

1431
01:19:07,720 --> 01:19:10,679
Speaker 2: Okay, that is why I ended up watching it because

1432
01:19:10,720 --> 01:19:12,800
Speaker 2: I was I was on an episode of the Best

1433
01:19:12,800 --> 01:19:15,479
Speaker 2: Show with Tom Sharpling and he talked about it, I said,

1434
01:19:15,600 --> 01:19:16,840
Speaker 2: and it was like right after it came out, and

1435
01:19:16,840 --> 01:19:18,160
Speaker 2: I was like, oh, I haven't seen that, you know.

1436
01:19:18,200 --> 01:19:21,200
Speaker 2: I just you know, doesn't seem like my kind of thing.

1437
01:19:21,200 --> 01:19:23,160
Speaker 2: And he's like, what are you fucking talking? It's right

1438
01:19:23,240 --> 01:19:27,280
Speaker 2: up your alley, He's like you in particular, it's about

1439
01:19:27,280 --> 01:19:29,600
Speaker 2: a dude who's avenging the death of his dog. And

1440
01:19:29,640 --> 01:19:31,040
Speaker 2: I was like, oh, all right, I'll give it a shot.

1441
01:19:31,080 --> 01:19:32,400
Speaker 2: And then I watched it and lost my mind for

1442
01:19:32,439 --> 01:19:33,120
Speaker 2: the rest of my life.

1443
01:19:33,400 --> 01:19:35,400
Speaker 1: Oh I know it is. It was literally like a

1444
01:19:35,479 --> 01:19:36,320
Speaker 1: turning point for me.

1445
01:19:36,840 --> 01:19:39,320
Speaker 2: Also, do you remember when we were watching John Wick three?

1446
01:19:39,760 --> 01:19:41,160
Speaker 2: I can't remember what was when. I think it was

1447
01:19:41,160 --> 01:19:44,680
Speaker 2: when we were buying popcorn and the person who was

1448
01:19:44,720 --> 01:19:48,400
Speaker 2: selling us our goodies was like, oh, Keanu Reeves was

1449
01:19:48,479 --> 01:19:51,400
Speaker 2: here the other day watching john Wick and like he

1450
01:19:51,520 --> 01:19:54,040
Speaker 2: just sat in the back, just wanted to watch it

1451
01:19:54,080 --> 01:19:57,680
Speaker 2: with the people. And I'm like, are you fucking kidding me?

1452
01:19:57,960 --> 01:19:59,679
Speaker 2: Don't even get me started on how great count Reeves

1453
01:19:59,720 --> 01:20:02,280
Speaker 2: is as a person. I will say, if there's any

1454
01:20:02,400 --> 01:20:04,160
Speaker 2: justice in this fucking world. And this is now the

1455
01:20:04,200 --> 01:20:06,360
Speaker 2: coffee talking, you can see how much I've I've finished

1456
01:20:06,360 --> 01:20:09,439
Speaker 2: so shut me up when you need to. If there's

1457
01:20:09,479 --> 01:20:14,320
Speaker 2: any justice in this world, I will one day be

1458
01:20:14,439 --> 01:20:16,759
Speaker 2: on the back of Kyanger Reeves's motorcycle for ten minutes.

1459
01:20:17,120 --> 01:20:20,320
Speaker 2: That's it. Anywhere in the world. I don't care. I

1460
01:20:20,400 --> 01:20:22,479
Speaker 2: don't care. I have to give me ten minutes. My

1461
01:20:22,520 --> 01:20:26,040
Speaker 2: stomach right, ten minutes with Keani on a motorcycle would

1462
01:20:26,040 --> 01:20:28,880
Speaker 2: revolutionize my fucking life.

1463
01:20:29,120 --> 01:20:33,800
Speaker 1: There, Listen, there were so many tales of when I

1464
01:20:33,840 --> 01:20:38,240
Speaker 1: was living in La about like Keanu coming down off

1465
01:20:38,280 --> 01:20:41,479
Speaker 1: the mountain and just like hanging out with the normal folk. Yes,

1466
01:20:41,600 --> 01:20:46,479
Speaker 1: that drove me insane. I think I probably lived there

1467
01:20:46,520 --> 01:20:49,080
Speaker 1: for a year or two more than I probably should have,

1468
01:20:49,160 --> 01:20:51,439
Speaker 1: because I just kept thinking, am I going to run

1469
01:20:51,479 --> 01:20:55,200
Speaker 1: into him? Am I gonna see him ripping fucking SIGs

1470
01:20:55,960 --> 01:20:59,599
Speaker 1: at Earth Cafe or you know, the Standard or something.

1471
01:20:59,920 --> 01:21:01,960
Speaker 1: I gonna see him at the Arc Light watching his

1472
01:21:02,000 --> 01:21:04,320
Speaker 1: own fucking movies, like I don't know.

1473
01:21:04,760 --> 01:21:06,960
Speaker 2: Like my friend went to his gym, She's like, oh, yeah,

1474
01:21:06,960 --> 01:21:08,680
Speaker 2: he just comes. He doesn't like go into a special room,

1475
01:21:08,720 --> 01:21:10,280
Speaker 2: he just comes and works out. And I'm like, are

1476
01:21:10,280 --> 01:21:13,160
Speaker 2: you fucking kidding me? Why do not? Why have I

1477
01:21:13,280 --> 01:21:16,080
Speaker 2: never seen him anywhere? Yeah?

1478
01:21:16,240 --> 01:21:20,880
Speaker 1: I I don't think I can stress enough how much

1479
01:21:20,920 --> 01:21:24,240
Speaker 1: I love that man much. And part of it is

1480
01:21:24,240 --> 01:21:27,680
Speaker 1: that because he's like kind of of the people, like

1481
01:21:27,800 --> 01:21:29,000
Speaker 1: he's off the people.

1482
01:21:29,320 --> 01:21:33,120
Speaker 2: He's the people's princess. He is the people's princess. He

1483
01:21:33,240 --> 01:21:36,840
Speaker 2: is the people's princess, get out of the way, Princess Diana.

1484
01:21:38,720 --> 01:21:40,920
Speaker 2: The real people's princess is Keanu Reeves. And let me

1485
01:21:40,960 --> 01:21:43,320
Speaker 2: tell you, he's gonna be on Broadway doing Waiting for

1486
01:21:43,400 --> 01:21:47,599
Speaker 2: Goodou with a Alack Winter's Alex Winters. We are not

1487
01:21:47,640 --> 01:21:49,519
Speaker 2: only going to it, but that means he's going to

1488
01:21:49,600 --> 01:21:51,960
Speaker 2: be in New York, and I guarantee we will see

1489
01:21:52,000 --> 01:21:53,719
Speaker 2: him somewhere in the wild.

1490
01:21:54,080 --> 01:21:57,439
Speaker 1: He insists on being in his fucking nineties alt rock band,

1491
01:21:57,640 --> 01:22:00,640
Speaker 1: Like he's just he's like, I mean, a sandwich on

1492
01:22:00,640 --> 01:22:04,120
Speaker 1: a park bench. I don't give a fuck. He's so normal,

1493
01:22:05,040 --> 01:22:06,960
Speaker 1: and I that is like the one thing that I

1494
01:22:07,000 --> 01:22:09,360
Speaker 1: love about him, you know what I mean, Like I

1495
01:22:09,520 --> 01:22:10,840
Speaker 1: justore it.

1496
01:22:10,840 --> 01:22:13,320
Speaker 2: It also makes no sense to me, as someone who

1497
01:22:13,439 --> 01:22:17,160
Speaker 2: has genuinely been in love with him for over thirty

1498
01:22:17,360 --> 01:22:21,000
Speaker 2: fucking years. Exactly have I ever had a longer crush

1499
01:22:21,040 --> 01:22:21,559
Speaker 2: in my life?

1500
01:22:21,640 --> 01:22:25,120
Speaker 1: And he's just around he's just yeah, he's out there.

1501
01:22:25,160 --> 01:22:27,360
Speaker 1: He drives me insane. I mean, like I said, I

1502
01:22:27,400 --> 01:22:30,439
Speaker 1: would like literally like walk out of the house. Like

1503
01:22:30,479 --> 01:22:33,120
Speaker 1: the motivation to leave the house on some days was

1504
01:22:33,160 --> 01:22:35,720
Speaker 1: the idea that I might see Keanu Reeves somewhere. Like

1505
01:22:35,760 --> 01:22:36,559
Speaker 1: It's so insane.

1506
01:22:36,960 --> 01:22:37,560
Speaker 2: Absolutely.

1507
01:22:38,120 --> 01:22:43,880
Speaker 1: I And here's the thing about John Wick, Okay, I

1508
01:22:43,960 --> 01:22:46,880
Speaker 1: this was kind of seen as his comeback film in

1509
01:22:46,960 --> 01:22:48,240
Speaker 1: a lot of ways, right.

1510
01:22:48,479 --> 01:22:49,920
Speaker 2: I don't think it was meant to be. I think

1511
01:22:49,960 --> 01:22:53,080
Speaker 2: it was. It wasn't taken very seriously until it became

1512
01:22:53,120 --> 01:22:54,439
Speaker 2: a big underground hit.

1513
01:22:54,960 --> 01:22:58,600
Speaker 1: Right, So I I was I remember the trajectory of

1514
01:22:58,640 --> 01:23:04,200
Speaker 1: this specifically because I was at Fantastic Fest in Austin

1515
01:23:04,840 --> 01:23:08,080
Speaker 1: the year that this movie premiered. They had premier. I

1516
01:23:08,120 --> 01:23:10,680
Speaker 1: don't know if it was like the actual premiere, but

1517
01:23:10,720 --> 01:23:14,200
Speaker 1: they it was very very early on screening of it

1518
01:23:14,280 --> 01:23:18,320
Speaker 1: at Fantastic Fest at the Alma draft House sophomore and

1519
01:23:18,400 --> 01:23:21,000
Speaker 1: I remember being at the festival that year and people

1520
01:23:21,040 --> 01:23:23,920
Speaker 1: were like, Oh, John Wick is this new Keanu Reeves movie,

1521
01:23:23,920 --> 01:23:26,800
Speaker 1: action movie, and he's actually gonna be here, I think.

1522
01:23:27,160 --> 01:23:30,280
Speaker 1: And that was the thing was that everybody went crazy

1523
01:23:30,400 --> 01:23:33,280
Speaker 1: because everybody loves Keanu I mean it's a genre film festival.

1524
01:23:33,320 --> 01:23:37,120
Speaker 1: Everybody was like everyone has already bought into him period

1525
01:23:37,200 --> 01:23:41,599
Speaker 1: there totally, so the screening was actually totally sold out,

1526
01:23:41,600 --> 01:23:43,920
Speaker 1: and then they ended up like booking it a couple

1527
01:23:43,960 --> 01:23:46,800
Speaker 1: more times at the festival. But like I remember, it

1528
01:23:46,880 --> 01:23:50,920
Speaker 1: premiered at Fantastic Fest, which to me was like, Oh,

1529
01:23:51,120 --> 01:23:54,479
Speaker 1: this is a movie that is not gonna be this

1530
01:23:54,520 --> 01:23:57,840
Speaker 1: like huge Hollywood blockbuster thing. It's gonna be for like

1531
01:23:57,920 --> 01:24:02,000
Speaker 1: the genre film fans, like the fucking scumbags like us

1532
01:24:02,040 --> 01:24:05,160
Speaker 1: that love watching people get their faces kicked in, right,

1533
01:24:06,479 --> 01:24:08,479
Speaker 1: which I thought was kind of cool because I was like, oh,

1534
01:24:08,560 --> 01:24:11,200
Speaker 1: Keaner is such a famous actor. That's cool that he's

1535
01:24:11,280 --> 01:24:13,240
Speaker 1: kind of doing something. It was kind of like a

1536
01:24:13,320 --> 01:24:15,759
Speaker 1: I don't know, like in a Nicholas Cage kind of way,

1537
01:24:16,080 --> 01:24:17,320
Speaker 1: sort of right right.

1538
01:24:17,960 --> 01:24:19,760
Speaker 2: But it is also around the time that you saw

1539
01:24:20,040 --> 01:24:22,240
Speaker 2: like Liam Neeson was in all the Taken movies, like

1540
01:24:22,320 --> 01:24:25,439
Speaker 2: older dudes who he'd watched acting for a long time

1541
01:24:26,000 --> 01:24:27,320
Speaker 2: were going it this way.

1542
01:24:27,560 --> 01:24:30,400
Speaker 1: Right well, and like the thing about it was, you know,

1543
01:24:30,439 --> 01:24:34,280
Speaker 1: the reason why it wasn't it was kind of like

1544
01:24:34,320 --> 01:24:37,760
Speaker 1: a cult hit right when it began is because a

1545
01:24:37,920 --> 01:24:40,400
Speaker 1: Keano had was sort of seen. He was in a

1546
01:24:40,479 --> 01:24:43,960
Speaker 1: kind of follow period. He hadn't made a couple of movies.

1547
01:24:44,000 --> 01:24:46,760
Speaker 1: He'd the movies that he'd made prior didn't do well.

1548
01:24:47,160 --> 01:24:51,960
Speaker 1: All right, then you've got the director, Chad Stileski, who

1549
01:24:52,120 --> 01:24:54,040
Speaker 1: a little bit about him. If you didn't know, I'm

1550
01:24:54,080 --> 01:24:56,320
Speaker 1: sure if you do, if you watch the john Wick

1551
01:24:56,400 --> 01:24:58,360
Speaker 1: movies or you're into action movies, you know who this

1552
01:24:58,400 --> 01:25:02,160
Speaker 1: guy is because basically he was He is a stuntman

1553
01:25:02,680 --> 01:25:06,439
Speaker 1: and he was Keanu stunt double in The Matrix, so

1554
01:25:06,640 --> 01:25:09,320
Speaker 1: they had already had a relationship before john Wick came out.

1555
01:25:09,800 --> 01:25:12,600
Speaker 1: He was also the stunt double for Brandon Lee and

1556
01:25:12,640 --> 01:25:16,760
Speaker 1: The Crow and was actually used as his stand in

1557
01:25:16,960 --> 01:25:18,439
Speaker 1: after Brandon Lee died.

1558
01:25:19,160 --> 01:25:23,280
Speaker 2: Oh shit, yeah, so he's this guy. You know.

1559
01:25:23,320 --> 01:25:26,000
Speaker 1: The director of this film has had a career obviously

1560
01:25:26,040 --> 01:25:31,600
Speaker 1: that's very legendary in his own right. However, this was

1561
01:25:31,640 --> 01:25:35,040
Speaker 1: his first movie and basically he was an unknown in

1562
01:25:35,080 --> 01:25:38,439
Speaker 1: terms of a as a director. The writer wasn't unknown

1563
01:25:38,439 --> 01:25:40,840
Speaker 1: in terms of the director. And Hollywood doesn't like that shit.

1564
01:25:40,960 --> 01:25:41,680
Speaker 2: They don't like it.

1565
01:25:41,680 --> 01:25:44,040
Speaker 1: But like new people come into the fold and they

1566
01:25:44,080 --> 01:25:46,880
Speaker 1: want to try to make their own movies right and

1567
01:25:47,439 --> 01:25:50,040
Speaker 1: I get it because sometimes you end up with stuff

1568
01:25:50,120 --> 01:25:51,679
Speaker 1: like the Boondogs Saints.

1569
01:25:54,040 --> 01:25:59,720
Speaker 2: Once in a while, any chance to rip on the

1570
01:25:59,720 --> 01:26:05,559
Speaker 2: boon scenes, good, yo, we're gonna get these like boon

1571
01:26:05,600 --> 01:26:09,000
Speaker 2: Dock stands to be like fucking let them. Time has

1572
01:26:09,120 --> 01:26:13,640
Speaker 2: proven that tale time has won in the legend of

1573
01:26:13,680 --> 01:26:15,439
Speaker 2: what the moon Doock Saints means to people.

1574
01:26:18,040 --> 01:26:21,759
Speaker 1: But like, once in a while, something like this does happen,

1575
01:26:21,760 --> 01:26:23,840
Speaker 1: which is basically like you let a couple of people

1576
01:26:23,880 --> 01:26:26,759
Speaker 1: who are kind of industry adjacent or in the business

1577
01:26:26,800 --> 01:26:29,320
Speaker 1: but are not directors do their own movie. And you know,

1578
01:26:29,400 --> 01:26:31,880
Speaker 1: part of that was that Keanu kind of fought for them, right,

1579
01:26:32,000 --> 01:26:34,800
Speaker 1: Kanu was like, I vouch for these guys. So they

1580
01:26:34,840 --> 01:26:38,240
Speaker 1: made this film. And that's the thing is that it

1581
01:26:38,240 --> 01:26:41,200
Speaker 1: didn't have distribution when it first when they finished it,

1582
01:26:41,240 --> 01:26:45,960
Speaker 1: they didn't have distribution. At some point it did, I

1583
01:26:46,000 --> 01:26:49,519
Speaker 1: think because Keanu believed in it, and also it was

1584
01:26:49,600 --> 01:26:52,720
Speaker 1: having like success at these you know places where it

1585
01:26:52,760 --> 01:26:55,360
Speaker 1: was being screened, and it was like a to me,

1586
01:26:55,439 --> 01:26:58,679
Speaker 1: a very organic beginning for a movie like this. Because

1587
01:26:58,720 --> 01:27:04,000
Speaker 1: now they're so many spinoffs. There's like comic books, you know, movies,

1588
01:27:04,040 --> 01:27:06,200
Speaker 1: there's a TV show, so I don't know, there's kind

1589
01:27:06,240 --> 01:27:10,000
Speaker 1: of like a testament to once in a while, you know,

1590
01:27:10,200 --> 01:27:12,120
Speaker 1: let's some let some outsiders do something.

1591
01:27:11,920 --> 01:27:14,680
Speaker 2: Cool and it works, thank you, you know.

1592
01:27:15,600 --> 01:27:17,120
Speaker 1: But the weirdest thing to me is that I remember

1593
01:27:17,160 --> 01:27:20,080
Speaker 1: when this movie came out. I loved it.

1594
01:27:20,680 --> 01:27:22,759
Speaker 2: I also felt like it was sort of.

1595
01:27:22,680 --> 01:27:25,920
Speaker 1: Like weirdly out of time, even for the time that

1596
01:27:25,960 --> 01:27:26,559
Speaker 1: it came out.

1597
01:27:27,200 --> 01:27:29,360
Speaker 2: Yeah, even for twenty fourteen. You're like, is this from

1598
01:27:29,400 --> 01:27:32,280
Speaker 2: the fifth Like what There's people who were like the fifties,

1599
01:27:32,400 --> 01:27:36,320
Speaker 2: and there's kind of a weird gold to Bloon element.

1600
01:27:35,960 --> 01:27:39,519
Speaker 1: To it, and also just sort of like it felt

1601
01:27:39,600 --> 01:27:43,080
Speaker 1: kind of early two thousand's, like with the fo chresses

1602
01:27:43,600 --> 01:27:48,439
Speaker 1: and the music, the row Yeah, the Lincoln parkness of it,

1603
01:27:48,600 --> 01:27:52,040
Speaker 1: the fucking rocket rockabilly chicks everywhere.

1604
01:27:52,080 --> 01:27:54,680
Speaker 2: I was like, like, there's a moment where I.

1605
01:27:54,600 --> 01:27:56,599
Speaker 1: Was like, are we sure this isn't like two thousand

1606
01:27:56,640 --> 01:27:58,800
Speaker 1: and two. It's But here's the thing.

1607
01:27:59,160 --> 01:28:01,080
Speaker 2: If it took a while for this movie to get made,

1608
01:28:01,120 --> 01:28:04,040
Speaker 2: it could have been written in two thousand two. Well,

1609
01:28:04,080 --> 01:28:04,400
Speaker 2: but I.

1610
01:28:04,320 --> 01:28:07,840
Speaker 1: Actually think it's fucking genius for that, because to me,

1611
01:28:08,400 --> 01:28:12,599
Speaker 1: it feels like these movies were almost kind of made

1612
01:28:13,040 --> 01:28:16,679
Speaker 1: for people who were teenagers in like the late nineties

1613
01:28:16,720 --> 01:28:17,920
Speaker 1: and early two thousands.

1614
01:28:18,080 --> 01:28:18,280
Speaker 2: Yeah.

1615
01:28:18,320 --> 01:28:22,519
Speaker 1: Right, so now they're probably in their thirties and they're

1616
01:28:22,560 --> 01:28:27,439
Speaker 1: watching like stylistically something that's like twenty years prior or

1617
01:28:27,439 --> 01:28:30,080
Speaker 1: fifteen years prior. And I feel like that's what got

1618
01:28:30,120 --> 01:28:32,000
Speaker 1: a lot of the buy in in a weird way,

1619
01:28:32,360 --> 01:28:34,840
Speaker 1: is that we were all like, hey, remember when, like

1620
01:28:35,640 --> 01:28:40,320
Speaker 1: you know, assassins had like intricate back tattoos and like

1621
01:28:40,880 --> 01:28:46,760
Speaker 1: it's all it's real, like goth industrial adjacent good, like

1622
01:28:47,320 --> 01:28:49,760
Speaker 1: the dip Tones are are involved or something. You know,

1623
01:28:49,840 --> 01:28:53,200
Speaker 1: like everyone was sort of like charged upon that. So

1624
01:28:53,840 --> 01:28:56,320
Speaker 1: I don't know that it's actually kind of brilliant retrospect,

1625
01:28:56,360 --> 01:28:58,000
Speaker 1: even though it felt kind of weird when I first

1626
01:28:58,000 --> 01:29:02,040
Speaker 1: watched it. No, I'm with you, so part of like,

1627
01:29:02,400 --> 01:29:05,360
Speaker 1: because let's get serious. I mean, this movie is all action,

1628
01:29:05,479 --> 01:29:07,160
Speaker 1: so I'm not gonna go beat by beat on thams.

1629
01:29:07,200 --> 01:29:11,000
Speaker 1: But the one thing I did I watched the special

1630
01:29:11,040 --> 01:29:16,719
Speaker 1: features on the disc, and I loved the stories about

1631
01:29:16,840 --> 01:29:20,160
Speaker 1: Keanu going fucking ham on training for this movie.

1632
01:29:20,479 --> 01:29:22,760
Speaker 2: So oh, there's so many videos you can watch of

1633
01:29:22,800 --> 01:29:24,760
Speaker 2: him going like training, It's so good.

1634
01:29:24,960 --> 01:29:29,560
Speaker 1: Yeah, so he actually learned judo he learned both Brazilian

1635
01:29:29,640 --> 01:29:32,040
Speaker 1: and Japanese jiu jitsu, which is pretty tight.

1636
01:29:33,000 --> 01:29:38,240
Speaker 2: He traded with the Navy seals man with.

1637
01:29:38,120 --> 01:29:40,919
Speaker 1: Like the swat the LAPD Swat Team.

1638
01:29:40,960 --> 01:29:45,200
Speaker 2: Which is sousy and I mean also how wild. The

1639
01:29:45,360 --> 01:29:49,200
Speaker 2: LAPD fucking Swat Team has the same level of violence

1640
01:29:49,280 --> 01:29:55,559
Speaker 2: as a Brazilian martial art or a Navy fucking seal Like,

1641
01:29:55,600 --> 01:29:57,759
Speaker 2: you need all that la you need all that violence,

1642
01:29:57,800 --> 01:30:01,160
Speaker 2: do you? They've proven time and time again they are

1643
01:30:01,200 --> 01:30:06,040
Speaker 2: way too militarized, way too militarized, and have been for

1644
01:30:06,400 --> 01:30:11,080
Speaker 2: literal decades. Uh oh my god. The best part to me, though, is.

1645
01:30:11,040 --> 01:30:15,360
Speaker 1: That I heard that Keanu learned how to tokyo drift

1646
01:30:15,560 --> 01:30:16,920
Speaker 1: while shooting.

1647
01:30:16,600 --> 01:30:20,600
Speaker 2: Guns, which is so cool because he does in the movie.

1648
01:30:20,680 --> 01:30:22,840
Speaker 2: He does it in the movie.

1649
01:30:23,360 --> 01:30:27,320
Speaker 1: Imagine going to that storefront in your hometown in Warwick

1650
01:30:27,520 --> 01:30:30,000
Speaker 1: being like, would you like to learn how to tokyo drift

1651
01:30:30,120 --> 01:30:32,639
Speaker 1: your car while shooting guns out the window?

1652
01:30:33,280 --> 01:30:36,200
Speaker 2: I mean, you had me at, do you want to

1653
01:30:36,320 --> 01:30:41,479
Speaker 2: learn I get to slide a car around? Just slide

1654
01:30:41,479 --> 01:30:43,559
Speaker 2: in the car around. It would be fucking exciting to me,

1655
01:30:44,000 --> 01:30:44,519
Speaker 2: kidding me.

1656
01:30:44,840 --> 01:30:48,280
Speaker 1: Yeah, it would be like Tokyo underscore drift in Underscore

1657
01:30:48,760 --> 01:30:54,000
Speaker 1: Guns at Gmail for more information on how to sign

1658
01:30:54,080 --> 01:30:54,880
Speaker 1: up for that class.

1659
01:30:55,400 --> 01:30:59,840
Speaker 2: If anyone wants a million dollar fucking idea, teach John

1660
01:31:00,040 --> 01:31:04,240
Speaker 2: Wick martial arts to middle aged women. Please God, what

1661
01:31:04,280 --> 01:31:07,960
Speaker 2: the fuck? You will have a billion of money business

1662
01:31:08,000 --> 01:31:11,760
Speaker 2: idea and we now have to be part of the

1663
01:31:11,840 --> 01:31:15,439
Speaker 2: profits of that because you will make a bajillion fucking dollars.

1664
01:31:15,720 --> 01:31:18,200
Speaker 1: You will make a trillion bajillion dollars.

1665
01:31:19,479 --> 01:31:23,320
Speaker 2: Got middle aged women had a Tokyo drift? The fuck

1666
01:31:23,360 --> 01:31:25,240
Speaker 2: is wrong with you people? That's all we really waiting.

1667
01:31:25,560 --> 01:31:30,080
Speaker 1: We've been waiting. I I so, I'm gonna I'm gonna

1668
01:31:30,200 --> 01:31:33,439
Speaker 1: just go into it very briefly. So basically the beginning

1669
01:31:33,439 --> 01:31:35,679
Speaker 1: of the movie, if you can you know, as I've said,

1670
01:31:35,880 --> 01:31:38,800
Speaker 1: it's basically like, uh so, there's a man who was

1671
01:31:38,840 --> 01:31:40,840
Speaker 1: played by Keiana Reeves, a woman who's played by a

1672
01:31:40,840 --> 01:31:43,240
Speaker 1: Bridge of Wynihan. They are married, they're living a happy

1673
01:31:43,600 --> 01:31:46,080
Speaker 1: life and a very nice home in New York, which

1674
01:31:46,120 --> 01:31:52,720
Speaker 1: also looks like Silver Lake, California. Almost immediately she collapses

1675
01:31:52,800 --> 01:31:57,559
Speaker 1: and dies, but she has time to buy a dog

1676
01:31:57,640 --> 01:32:00,720
Speaker 1: before she dies. Absolutely so she has this long term

1677
01:32:00,840 --> 01:32:04,040
Speaker 1: unknown illness. We don't know what it is. Her funeral

1678
01:32:04,120 --> 01:32:07,120
Speaker 1: has shades of the November rain video by Guns n' Roses.

1679
01:32:07,200 --> 01:32:15,000
Speaker 1: Let's get serious, shades. Nobody jumps through a cake. But

1680
01:32:16,560 --> 01:32:19,639
Speaker 1: you know, there's the funeral is very very much like that.

1681
01:32:20,040 --> 01:32:23,720
Speaker 1: Willem Dafoe is there. We don't know why he's like, he.

1682
01:32:23,800 --> 01:32:26,600
Speaker 2: Better be at my funeral. I don't care why he

1683
01:32:26,760 --> 01:32:29,960
Speaker 2: better have Willem Dafoe at my funeral too. Let's call

1684
01:32:30,000 --> 01:32:30,360
Speaker 2: his agent.

1685
01:32:30,439 --> 01:32:32,600
Speaker 1: Let's lock that in right now, that he has to

1686
01:32:32,640 --> 01:32:34,920
Speaker 1: be at your funeral under contractual obligation.

1687
01:32:35,320 --> 01:32:35,680
Speaker 2: Thank you.

1688
01:32:36,240 --> 01:32:41,000
Speaker 1: So you've got John John Wick, Jonathan Wick. He's now

1689
01:32:41,040 --> 01:32:45,160
Speaker 1: living alone. He lives alone, his wife has passed away.

1690
01:32:45,200 --> 01:32:48,600
Speaker 1: He still seems to have this is just really like,

1691
01:32:49,479 --> 01:32:52,120
Speaker 1: this really stood out to me. He still has like

1692
01:32:52,280 --> 01:32:56,479
Speaker 1: I cat printed throw pillows in his in his house.

1693
01:32:56,880 --> 01:32:58,639
Speaker 2: Yeah, he's got shaneil Yeah.

1694
01:32:58,760 --> 01:33:01,439
Speaker 1: I'm so at the end of the day, I'm always like,

1695
01:33:01,640 --> 01:33:04,400
Speaker 1: I'm glad that single guys like figured out how to

1696
01:33:04,439 --> 01:33:05,720
Speaker 1: have throw pillows in their home.

1697
01:33:06,479 --> 01:33:08,760
Speaker 2: Thank you, whatever the reason. Thank you for adding a

1698
01:33:08,800 --> 01:33:12,960
Speaker 2: popa color and a little bit of lumbar support. Yeah.

1699
01:33:13,240 --> 01:33:18,280
Speaker 1: Gone are the days of like the solo flex being

1700
01:33:18,320 --> 01:33:21,280
Speaker 1: the centerpiece of the living room with like the fucking

1701
01:33:21,320 --> 01:33:23,920
Speaker 1: Budweiser side. It's like, oh no, you're a single guy's

1702
01:33:24,000 --> 01:33:27,480
Speaker 1: wife just passed away. You still got those Hollywood regency

1703
01:33:28,000 --> 01:33:32,720
Speaker 1: style throw pillows right, like, good for you.

1704
01:33:34,160 --> 01:33:37,719
Speaker 2: The main the top three things I love about John

1705
01:33:37,760 --> 01:33:41,639
Speaker 2: Wick as a person, beyond the throw pillows is that

1706
01:33:42,120 --> 01:33:45,280
Speaker 2: he will He's a drip coffee drinker. He's not doing

1707
01:33:45,280 --> 01:33:48,760
Speaker 2: a far over. He's a drip coffee drinker. He's got

1708
01:33:48,800 --> 01:33:52,000
Speaker 2: some throw pillows. He wakes up early and he will

1709
01:33:52,040 --> 01:33:54,639
Speaker 2: take a bus to an ass kicking like the man's

1710
01:33:54,680 --> 01:33:57,679
Speaker 2: down to earth. The character is down to earth, as

1711
01:33:57,720 --> 01:33:58,360
Speaker 2: is Keanu.

1712
01:33:59,040 --> 01:34:03,240
Speaker 1: Yeah, he's I like this dude, bloody bullet, whole shirt on.

1713
01:34:03,479 --> 01:34:05,880
Speaker 1: He's like, get on the public city bus. He's like,

1714
01:34:05,960 --> 01:34:08,639
Speaker 1: I'm just a man of the people on the people's princess.

1715
01:34:09,040 --> 01:34:10,920
Speaker 2: Maybe I had a nosebleed. You don't know. Now, what

1716
01:34:10,960 --> 01:34:13,400
Speaker 2: do you think his wife thought about those tattoos? This

1717
01:34:13,439 --> 01:34:16,160
Speaker 2: is something I've asked because he left the world of

1718
01:34:16,200 --> 01:34:19,320
Speaker 2: assassinating to get married to this woman, and he'd been

1719
01:34:19,320 --> 01:34:22,880
Speaker 2: gone for four years. Yeah, so what was the story

1720
01:34:22,920 --> 01:34:25,640
Speaker 2: he told her when they got together? Because his tattoos

1721
01:34:25,640 --> 01:34:29,040
Speaker 2: are very intense. Yeah, they're like Russian mob tattoos.

1722
01:34:29,160 --> 01:34:30,920
Speaker 1: Yeah, you don't find out that he went to like

1723
01:34:30,960 --> 01:34:34,439
Speaker 1: Assassin school with uh, what's her name?

1724
01:34:35,320 --> 01:34:39,599
Speaker 2: With Angelica Houston until like later, like the fourth fucking movie.

1725
01:34:39,840 --> 01:34:43,280
Speaker 1: Yeah, you don't realize that he's actually called George dani.

1726
01:34:44,720 --> 01:34:48,559
Speaker 4: He's a Russian bobster named Jargotti Beek, Like he went

1727
01:34:48,640 --> 01:34:53,080
Speaker 4: to this Suspiria academy to get branded to be like

1728
01:34:53,120 --> 01:34:55,599
Speaker 4: a fucking killing machine, and now.

1729
01:34:55,400 --> 01:34:58,360
Speaker 1: He's a normal guy living with his throw pillows being

1730
01:34:58,400 --> 01:35:00,240
Speaker 1: like and as yeah, you're right here. His wife's b like,

1731
01:35:00,479 --> 01:35:04,680
Speaker 1: so what's up with this uh crazy Latin phrasing and

1732
01:35:04,760 --> 01:35:06,720
Speaker 1: the yeah symbols?

1733
01:35:07,120 --> 01:35:09,960
Speaker 2: Like I can't convince me that you made your money

1734
01:35:10,000 --> 01:35:11,840
Speaker 2: on Wall Street if you got all that going on

1735
01:35:11,840 --> 01:35:14,000
Speaker 2: in your back. So I'm just I'm just saying, in

1736
01:35:14,080 --> 01:35:16,760
Speaker 2: terms of the mythos, the mythos of this this world,

1737
01:35:17,120 --> 01:35:18,880
Speaker 2: I still have questions, but continue.

1738
01:35:19,000 --> 01:35:21,240
Speaker 1: Can you imagine if you were dating a guy and

1739
01:35:21,840 --> 01:35:25,160
Speaker 1: y'all are like hanging out and then things get a

1740
01:35:25,160 --> 01:35:28,479
Speaker 1: little steamy and he peels the shirt off and he's

1741
01:35:28,479 --> 01:35:36,400
Speaker 1: got crazy like old school like Masonic lodge temple looking

1742
01:35:36,600 --> 01:35:39,320
Speaker 1: fucking tattoos on his back and you're like, what's up?

1743
01:35:39,560 --> 01:35:45,200
Speaker 1: And he's like, I went to assassin school in Eastern Europe.

1744
01:35:45,600 --> 01:35:48,120
Speaker 2: You say this as if I haven't dated multiple felons

1745
01:35:48,120 --> 01:35:51,680
Speaker 2: this year alone. God, yes, I can't imagine that that

1746
01:35:51,720 --> 01:35:52,840
Speaker 2: has happened to me.

1747
01:35:54,320 --> 01:35:58,559
Speaker 1: I wish what kind of life of I have?

1748
01:35:58,680 --> 01:36:04,839
Speaker 3: I not led, I'm not experienced the the mystical tattoo

1749
01:36:04,880 --> 01:36:10,439
Speaker 3: reveal with a very interesting exploration.

1750
01:36:10,520 --> 01:36:14,599
Speaker 2: Intense, backstory, intense, but yeah, like where to happen again?

1751
01:36:15,280 --> 01:36:16,920
Speaker 2: I'd be like one of y'all is gonna have to

1752
01:36:16,960 --> 01:36:18,479
Speaker 2: start asking answer some questions.

1753
01:36:18,720 --> 01:36:24,360
Speaker 1: Yeah, absolutely, So, Like Daniel said his wife is dead,

1754
01:36:24,640 --> 01:36:28,280
Speaker 1: but then she somehow decided to before she died to

1755
01:36:28,400 --> 01:36:31,960
Speaker 1: send him a puppy. So she he's delivered a puppy

1756
01:36:31,960 --> 01:36:35,960
Speaker 1: one day and she's basically like, here's love this puppy,

1757
01:36:36,040 --> 01:36:38,719
Speaker 1: like love again, like you, you know, use this puppy

1758
01:36:38,800 --> 01:36:41,559
Speaker 1: as a way to connect with me. Right, So already

1759
01:36:41,560 --> 01:36:46,040
Speaker 1: the puppy has has massive projections on it. It's also

1760
01:36:46,080 --> 01:36:50,799
Speaker 1: completely well behaved and immediately goes outside to use the bathroom,

1761
01:36:50,800 --> 01:36:52,840
Speaker 1: which is basically impossible.

1762
01:36:53,360 --> 01:36:56,680
Speaker 2: Yeah, if you eat anything you put in front of it.

1763
01:36:56,760 --> 01:36:58,439
Speaker 2: But that's not dog food. It will just eat it.

1764
01:36:59,280 --> 01:37:03,719
Speaker 1: Yeah, but this puppy is perfect. The scene of John

1765
01:37:03,760 --> 01:37:08,280
Speaker 1: Wick getting woken up by a puppy made my heart

1766
01:37:08,960 --> 01:37:12,960
Speaker 1: hurt and long in a way that I haven't experienced

1767
01:37:12,960 --> 01:37:18,360
Speaker 1: in a very, very long time. I absolutely cannot watch

1768
01:37:18,479 --> 01:37:19,840
Speaker 1: John Wick interact.

1769
01:37:19,479 --> 01:37:25,160
Speaker 2: With this puppy and this puppy like alien style face

1770
01:37:25,520 --> 01:37:29,200
Speaker 2: monstered on this on his face, like whole body puppy

1771
01:37:29,240 --> 01:37:31,760
Speaker 2: hug on his face. Will it threw me over the edge?

1772
01:37:32,080 --> 01:37:35,920
Speaker 1: I just can't. It just like it just decimates me

1773
01:37:36,439 --> 01:37:38,599
Speaker 1: as a human being. It's so cute.

1774
01:37:38,840 --> 01:37:40,880
Speaker 2: So one day he goes out, the puppy.

1775
01:37:40,520 --> 01:37:42,679
Speaker 1: Actually jumps in the car with him, which is interesting.

1776
01:37:43,720 --> 01:37:46,400
Speaker 1: He stops for gas at this like country gas station.

1777
01:37:46,560 --> 01:37:50,880
Speaker 1: I'm like, where is this gas station? And he lives

1778
01:37:50,880 --> 01:37:55,280
Speaker 1: in so okay, well there you go. But he he's

1779
01:37:55,320 --> 01:37:58,080
Speaker 1: with these He's like pumping gas and is like cool car.

1780
01:37:58,200 --> 01:38:00,599
Speaker 1: These young Russian guys come out and they're just they

1781
01:38:00,720 --> 01:38:02,960
Speaker 1: start fucking with him, like they're just like, yo, what's

1782
01:38:03,040 --> 01:38:05,240
Speaker 1: up with this car? Pretty cool? Watch sell it to

1783
01:38:05,280 --> 01:38:07,880
Speaker 1: me And he's like, absolutely fucking not. And then he's like,

1784
01:38:07,920 --> 01:38:09,639
Speaker 1: oh man, you got a puppy. In the front seat,

1785
01:38:09,720 --> 01:38:13,120
Speaker 1: like I love dogs, like and they're just fucking with him,

1786
01:38:13,439 --> 01:38:15,080
Speaker 1: and they don't know who he is. They're just like,

1787
01:38:15,080 --> 01:38:17,760
Speaker 1: who's you know, Like this fucking random guy shows up

1788
01:38:17,960 --> 01:38:21,679
Speaker 1: and you know that's it. So then immediately after this interaction,

1789
01:38:22,200 --> 01:38:25,200
Speaker 1: john Wick drives to like this airstrip at the airport

1790
01:38:25,320 --> 01:38:30,360
Speaker 1: and he's tokyo drifted all over the place. Meanwhile, they

1791
01:38:30,360 --> 01:38:34,320
Speaker 1: don't show this, but I am absolutely certain of that

1792
01:38:34,479 --> 01:38:36,960
Speaker 1: puppy is like kuking and shitting everywhere.

1793
01:38:39,520 --> 01:38:41,960
Speaker 2: The backseat is filled to the room with dog toys.

1794
01:38:42,080 --> 01:38:45,720
Speaker 2: He like went to Petco socked up on toys and

1795
01:38:45,760 --> 01:38:48,400
Speaker 2: then ruined this fucking dog's equilibrium for the rest of

1796
01:38:48,439 --> 01:38:51,440
Speaker 2: its life by just tokyo drifting and an airstrip.

1797
01:38:51,880 --> 01:38:53,960
Speaker 1: I was like, y'all, did you forget that there was

1798
01:38:54,000 --> 01:38:57,040
Speaker 1: a puppy in the front seat because you were doing donuts?

1799
01:38:57,439 --> 01:39:01,240
Speaker 1: You're just like going, like, you know, stopping real quick.

1800
01:39:01,280 --> 01:39:04,080
Speaker 1: I mean, it was kind of kind of insane. Every

1801
01:39:04,080 --> 01:39:06,280
Speaker 1: time we see that scene it makes me laugh. But

1802
01:39:07,240 --> 01:39:12,320
Speaker 1: so basically, later that evening or at some point, he's

1803
01:39:12,360 --> 01:39:16,080
Speaker 1: at home, he's asleep with the puppy. There's a home invasion. Okay,

1804
01:39:16,840 --> 01:39:18,519
Speaker 1: I get I think we know who it could be.

1805
01:39:18,600 --> 01:39:21,200
Speaker 1: I'm sure it's probably those Russians from the fucking gas station.

1806
01:39:21,800 --> 01:39:24,360
Speaker 1: And they come in, they start fucking with John Wick

1807
01:39:24,439 --> 01:39:28,960
Speaker 1: and then they kill the puppy, which is very disturbing.

1808
01:39:30,000 --> 01:39:31,599
Speaker 1: You'll have to fast forward it if you don't want

1809
01:39:31,640 --> 01:39:34,760
Speaker 1: to watch it. It's not super graphic, but it's disturbing.

1810
01:39:34,800 --> 01:39:37,839
Speaker 1: And then what's even more disturbing is basically John Wick's

1811
01:39:37,880 --> 01:39:42,840
Speaker 1: at its feed like basically like crying, which is very

1812
01:39:43,160 --> 01:39:46,280
Speaker 1: tender and also hurts my heart in a very deep way.

1813
01:39:46,479 --> 01:39:50,519
Speaker 1: But it just really just makes you want John Wick

1814
01:39:51,120 --> 01:39:55,559
Speaker 1: in such a desperate, intense way. It's just forming the

1815
01:39:55,640 --> 01:39:58,880
Speaker 1: bond for you to love John Wick as a character

1816
01:39:58,960 --> 01:40:02,280
Speaker 1: for the rest of your life. Okay, here's the thing.

1817
01:40:02,720 --> 01:40:05,080
Speaker 1: The Russian guys come in, they killed the fucking dog.

1818
01:40:05,240 --> 01:40:08,720
Speaker 1: They don't know what's about to happen. And this is

1819
01:40:08,760 --> 01:40:10,840
Speaker 1: the best part of this movie is they fucked with

1820
01:40:10,880 --> 01:40:15,519
Speaker 1: the wrong motherfucker. They take the car that they wanted

1821
01:40:15,560 --> 01:40:18,280
Speaker 1: to begin with and they bring it to you know,

1822
01:40:18,360 --> 01:40:21,360
Speaker 1: like a chop shop. Who it's run by John Leguizamo,

1823
01:40:21,479 --> 01:40:27,559
Speaker 1: who was a king. We've talked about him, like Romeo

1824
01:40:27,640 --> 01:40:31,880
Speaker 1: and Juliet. He's a king in this film. He works

1825
01:40:31,920 --> 01:40:33,960
Speaker 1: on hot cars. I love how he has like a

1826
01:40:34,000 --> 01:40:35,880
Speaker 1: little drink on top of the hood of a car,

1827
01:40:35,960 --> 01:40:38,479
Speaker 1: like it kind of its kind of a g like that.

1828
01:40:39,360 --> 01:40:42,400
Speaker 1: But he basically is like, where'd you get this car?

1829
01:40:42,439 --> 01:40:44,920
Speaker 1: Guys and he's like, I don't know. Some fucking dumb

1830
01:40:44,960 --> 01:40:48,719
Speaker 1: ass with a dog. And he's like, actually you fucked

1831
01:40:48,880 --> 01:40:53,400
Speaker 1: with again the the wrong motherfucker. And so now like

1832
01:40:53,439 --> 01:41:00,320
Speaker 1: Guizamo's character's got to call Vigo, and Vigo us have

1833
01:41:00,400 --> 01:41:04,240
Speaker 1: to say, unbelievable actor.

1834
01:41:04,760 --> 01:41:07,320
Speaker 2: This guy Michael Night Night Twist.

1835
01:41:07,880 --> 01:41:12,360
Speaker 1: Yes, this guy is maybe my favorite part of the

1836
01:41:12,360 --> 01:41:13,439
Speaker 1: movie besides John Wick.

1837
01:41:14,040 --> 01:41:15,559
Speaker 2: His facial expressions alone.

1838
01:41:16,240 --> 01:41:20,000
Speaker 1: His line read, maybe we'll pull the clip and play

1839
01:41:20,000 --> 01:41:23,120
Speaker 1: it because I pulled it already. Uh maybe I'll just

1840
01:41:23,160 --> 01:41:25,479
Speaker 1: get Casey to put it in there. But this line

1841
01:41:25,520 --> 01:41:28,360
Speaker 1: read about the fucking pencil.

1842
01:41:28,800 --> 01:41:32,880
Speaker 2: Gigged three men in a bar with a fucking pencil.

1843
01:41:33,760 --> 01:41:36,000
Speaker 2: I want saw him k three men in a bar

1844
01:41:37,479 --> 01:41:38,520
Speaker 2: with a bounce.

1845
01:41:40,200 --> 01:41:47,680
Speaker 1: With a fucking I saw him kill three men and

1846
01:41:47,760 --> 01:41:53,640
Speaker 1: a bar with a pencil pencil. I was like, this

1847
01:41:53,680 --> 01:41:55,479
Speaker 1: guy is a kid, and then he like turned he

1848
01:41:55,560 --> 01:41:57,519
Speaker 1: walks away that he turns around and he's like doing

1849
01:41:57,560 --> 01:41:58,559
Speaker 1: a pencil stab.

1850
01:41:59,320 --> 01:42:02,759
Speaker 2: He's like, this guy is the best actor I've ever seen,

1851
01:42:03,400 --> 01:42:05,840
Speaker 2: and he's exasperated. He has already had it by the

1852
01:42:05,880 --> 01:42:07,719
Speaker 2: time this movie starts. He's like, are you fucking kidding

1853
01:42:07,880 --> 01:42:10,920
Speaker 2: My dumbest son fucked with John Wick. After we got

1854
01:42:11,000 --> 01:42:13,160
Speaker 2: John Wick out of our lives, we were done with

1855
01:42:13,160 --> 01:42:13,960
Speaker 2: that motherfucker.

1856
01:42:14,479 --> 01:42:17,320
Speaker 1: Yeah. So the story behind it is that John Wick

1857
01:42:17,360 --> 01:42:20,040
Speaker 1: actually used to work for Vigo, but john Wick fell

1858
01:42:20,040 --> 01:42:23,200
Speaker 1: in love and Vigo offered him a chance to leave

1859
01:42:23,240 --> 01:42:25,120
Speaker 1: the business for good to live a normal life. He

1860
01:42:25,200 --> 01:42:30,880
Speaker 1: took it. But the reality is that John Wick is

1861
01:42:30,920 --> 01:42:38,800
Speaker 1: the Baba yaga me I like.

1862
01:42:38,800 --> 01:42:41,439
Speaker 2: How he's like he's the Boogeyman or his son's like

1863
01:42:41,479 --> 01:42:43,639
Speaker 2: he's the Boogeyman, and he's like, he's who you can't

1864
01:42:43,680 --> 01:42:45,000
Speaker 2: send you kill the Boogeyman.

1865
01:42:45,439 --> 01:42:47,360
Speaker 1: No, he's like, he's the one you sent to killed

1866
01:42:47,360 --> 01:42:48,640
Speaker 1: the fucking boogieman.

1867
01:42:50,680 --> 01:42:53,240
Speaker 2: The son, by the way, played by Alfie Allen. Those

1868
01:42:53,240 --> 01:42:54,920
Speaker 2: of you who are Game of Thrones fans, it's the

1869
01:42:55,000 --> 01:42:55,559
Speaker 2: ungreat joy.

1870
01:42:56,200 --> 01:43:01,360
Speaker 1: Yeah. So he's Babba Yaga baba, Yeah, killed the Boogeyman.

1871
01:43:01,720 --> 01:43:04,639
Speaker 1: And now he's activated because you killed his fucking dog.

1872
01:43:04,760 --> 01:43:07,320
Speaker 1: So guess what. He has to go down into his

1873
01:43:07,320 --> 01:43:12,960
Speaker 1: basement and uh has to uh basically go smash a

1874
01:43:13,000 --> 01:43:15,160
Speaker 1: bunch of bricks and with sledge hammer to get to

1875
01:43:15,160 --> 01:43:17,920
Speaker 1: his underground bunker of his assassin stuff. And that's when

1876
01:43:17,920 --> 01:43:21,400
Speaker 1: you know it's on. It is on, And from there

1877
01:43:21,760 --> 01:43:27,160
Speaker 1: it gets it's basically like death wish for his dog

1878
01:43:28,479 --> 01:43:33,519
Speaker 1: with a bunch of Russian people and he basically is

1879
01:43:33,640 --> 01:43:37,120
Speaker 1: trying to trying to find the son of Vigo son

1880
01:43:37,160 --> 01:43:39,800
Speaker 1: to kill him for killing his dog. And then you know,

1881
01:43:39,840 --> 01:43:41,960
Speaker 1: of course Vigo has to retaliate, has to set all

1882
01:43:42,080 --> 01:43:46,000
Speaker 1: his goons. John Wick just lays everybody out, no fucking

1883
01:43:46,080 --> 01:43:49,680
Speaker 1: problem whatsoever. He like the best part, like maybe the

1884
01:43:49,720 --> 01:43:51,880
Speaker 1: hottest that john Wick ever is is when he's like

1885
01:43:52,080 --> 01:43:54,760
Speaker 1: leaning down and then he like shoots his gun from

1886
01:43:54,840 --> 01:43:57,559
Speaker 1: under his other arm, Like he's just like, you know,

1887
01:43:57,600 --> 01:44:00,160
Speaker 1: he's basically just taken a knee and then he he

1888
01:44:00,200 --> 01:44:03,000
Speaker 1: takes his arm and just shoots from below his other arm.

1889
01:44:03,000 --> 01:44:06,200
Speaker 2: I'm like, hello, doesn't even look. Doesn't even look. My

1890
01:44:06,280 --> 01:44:09,479
Speaker 2: favorite john Wick move in this movie. There are several

1891
01:44:09,520 --> 01:44:13,240
Speaker 2: throughout time, but in this movie, when they come back

1892
01:44:13,280 --> 01:44:14,800
Speaker 2: to his house to kill him the second and try

1893
01:44:14,800 --> 01:44:17,240
Speaker 2: to kill him the second time. Yeah. And he's in

1894
01:44:17,280 --> 01:44:19,920
Speaker 2: his little black suit, which, by the way, Keanu looks

1895
01:44:20,400 --> 01:44:23,719
Speaker 2: falling as hell. He's very thick legs, he's got a booty.

1896
01:44:24,040 --> 01:44:29,840
Speaker 2: Ke got thick ass thighs that yet I love it.

1897
01:44:30,280 --> 01:44:34,479
Speaker 2: He's got a dump truck I want. And my favorite

1898
01:44:34,479 --> 01:44:37,479
Speaker 2: seed is he's in this slick ass, sharp ass black

1899
01:44:37,520 --> 01:44:41,479
Speaker 2: suit and he just jumps onto the front of someone

1900
01:44:41,520 --> 01:44:44,920
Speaker 2: and hangs on them and like wraps his legs around

1901
01:44:44,960 --> 01:44:48,720
Speaker 2: their waists and then shoots someone over their shoulder. Oh yeah,

1902
01:44:49,160 --> 01:44:51,040
Speaker 2: let Keanu do that. To me, you don't have to

1903
01:44:51,040 --> 01:44:53,439
Speaker 2: shoot someone. You can just jump, just leap on me

1904
01:44:54,680 --> 01:44:57,400
Speaker 2: and like crouch and hold onto me. Yeah.

1905
01:44:57,479 --> 01:44:59,760
Speaker 1: Oh absolutely. And like this is the thing that I

1906
01:44:59,880 --> 01:45:02,599
Speaker 1: like stylistically about John Wick that felt very different at

1907
01:45:02,600 --> 01:45:04,720
Speaker 1: the time to me. First of all, he's shooting people

1908
01:45:04,800 --> 01:45:07,160
Speaker 1: in the head, which to me at that time, I

1909
01:45:07,200 --> 01:45:09,479
Speaker 1: didn't really see much of that, Like we really saw

1910
01:45:09,920 --> 01:45:12,640
Speaker 1: like in action movies people getting shot point blank in

1911
01:45:12,680 --> 01:45:16,920
Speaker 1: the head. Great, it's like a it's almost like zombie style.

1912
01:45:17,000 --> 01:45:19,880
Speaker 1: It's very cool the way that the choreography happens. There's

1913
01:45:19,920 --> 01:45:23,479
Speaker 1: a lot of long takes, and so the choreographed scenes

1914
01:45:23,479 --> 01:45:25,439
Speaker 1: are lengthy, and they just there's not a lot of

1915
01:45:25,560 --> 01:45:28,800
Speaker 1: editing in them, so it feels like a performance. And

1916
01:45:29,120 --> 01:45:33,760
Speaker 1: absolutely when you know that Keanu has learned judo and

1917
01:45:33,840 --> 01:45:36,599
Speaker 1: jiu jitsu and all of these things and he's shooting

1918
01:45:36,960 --> 01:45:41,479
Speaker 1: in that entire black suit, black shirt, black suit, black tie,

1919
01:45:42,280 --> 01:45:47,240
Speaker 1: I'm like, hmm, I'm feeling something below. I'm feeling something

1920
01:45:48,360 --> 01:45:49,160
Speaker 1: in the heart.

1921
01:45:49,080 --> 01:45:51,599
Speaker 2: Center, right in the strings, right in the heart.

1922
01:45:52,040 --> 01:45:55,080
Speaker 1: Also all of the chakras. I'm feeling activation in all

1923
01:45:55,120 --> 01:45:56,280
Speaker 1: the chakras by John Wick.

1924
01:45:56,320 --> 01:46:01,479
Speaker 2: But anyway, let someone let me write the John Wick Ballet,

1925
01:46:02,720 --> 01:46:08,200
Speaker 2: bring people back to ballet by making it john Wickian. Yes,

1926
01:46:09,160 --> 01:46:10,599
Speaker 2: it's it's just.

1927
01:46:10,560 --> 01:46:13,439
Speaker 1: An incredible film. I mean. From there, the lore gets

1928
01:46:13,560 --> 01:46:17,200
Speaker 1: upped because you've got this hotel called the Continental. The

1929
01:46:17,200 --> 01:46:20,519
Speaker 1: Continental is kind of a safe zone for all of

1930
01:46:20,560 --> 01:46:24,080
Speaker 1: the assassins around the world. And that's like another very

1931
01:46:24,120 --> 01:46:26,960
Speaker 1: pleasing part of this franchise for me is the lore

1932
01:46:27,160 --> 01:46:30,280
Speaker 1: of the assassin lore. Okay, like they got to pay

1933
01:46:30,400 --> 01:46:36,280
Speaker 1: with gold coins. Assassins have hits put out on them

1934
01:46:36,720 --> 01:46:41,920
Speaker 1: with bounties for other assassins. You know Ian McShane who

1935
01:46:42,000 --> 01:46:46,719
Speaker 1: is the head of the Continental he calls He famously

1936
01:46:46,760 --> 01:46:50,240
Speaker 1: calls Johnick Jonathan, which I would do that if I

1937
01:46:50,280 --> 01:46:52,679
Speaker 1: knew John Wick in real life, I might call him Jonathan.

1938
01:46:53,560 --> 01:46:55,760
Speaker 1: But then yeah, it gets wrapped up in this hole.

1939
01:46:55,880 --> 01:46:58,800
Speaker 1: So you get to meet all these other different assassins,

1940
01:46:59,360 --> 01:47:00,960
Speaker 1: you know, Like A said, there's a lot of like

1941
01:47:01,000 --> 01:47:03,880
Speaker 1: that kind of like rock and roll energy to it,

1942
01:47:04,000 --> 01:47:07,760
Speaker 1: Like all the women have tattoos and everybody's weren't black leather.

1943
01:47:08,280 --> 01:47:11,479
Speaker 1: It's real great. The subtitle thought, as I mentioned, is

1944
01:47:11,680 --> 01:47:14,439
Speaker 1: very early two thousands. It looks like an in sync video,

1945
01:47:14,520 --> 01:47:18,040
Speaker 1: which I kind of weirdly appreciate, but honestly like as

1946
01:47:18,040 --> 01:47:21,000
Speaker 1: an action film, as a like Assassin movie. It actually

1947
01:47:21,000 --> 01:47:23,120
Speaker 1: reminds me a lot of a movie that we're going

1948
01:47:23,200 --> 01:47:28,840
Speaker 1: to talk about next week. But it's very like, I know,

1949
01:47:28,920 --> 01:47:32,200
Speaker 1: there's a lot of influences that are that are here

1950
01:47:32,320 --> 01:47:34,679
Speaker 1: in present in this film. Like if you go online

1951
01:47:34,680 --> 01:47:36,720
Speaker 1: and you read about like what influenced the writer and

1952
01:47:36,720 --> 01:47:39,240
Speaker 1: the director. I mean it's everything from like Clint Eastwood

1953
01:47:39,640 --> 01:47:45,080
Speaker 1: movies to like you know, Alen Delonn, you know le Samurai,

1954
01:47:45,920 --> 01:47:50,639
Speaker 1: the you know, the kind of French crime film genre.

1955
01:47:51,000 --> 01:47:53,400
Speaker 1: So It's just it all is like one great package

1956
01:47:53,400 --> 01:47:57,559
Speaker 1: for me. I love this movie so much. I love

1957
01:47:57,600 --> 01:47:58,400
Speaker 1: the franchise.

1958
01:47:59,280 --> 01:48:02,200
Speaker 2: Could talk about it for literal ever. I love this franchise.

1959
01:48:02,240 --> 01:48:05,680
Speaker 2: And they keep upping the ante with the action, with

1960
01:48:05,800 --> 01:48:08,519
Speaker 2: the story, with the Lord. Every movie that comes out,

1961
01:48:08,520 --> 01:48:12,120
Speaker 2: they go deeper and deeper into who John Wick is.

1962
01:48:13,040 --> 01:48:16,519
Speaker 1: And you know, in terms of him being probably the

1963
01:48:16,520 --> 01:48:20,200
Speaker 1: biggest crush of the podcast. I love that I share

1964
01:48:20,240 --> 01:48:22,160
Speaker 1: this with you. I love that I share this passion.

1965
01:48:22,200 --> 01:48:24,519
Speaker 1: I love I share this with my passion with my mother.

1966
01:48:25,200 --> 01:48:28,960
Speaker 1: Like job brings people together, It's insane.

1967
01:48:29,240 --> 01:48:31,479
Speaker 2: I'm coming down for Christmas. We're watching all four movies

1968
01:48:31,479 --> 01:48:33,120
Speaker 2: with your mom. I don't know what your dad's going

1969
01:48:33,160 --> 01:48:35,479
Speaker 2: to be doing, maybe hanging out with his friends, but

1970
01:48:35,520 --> 01:48:37,559
Speaker 2: we are watching the three of us, all four john

1971
01:48:37,600 --> 01:48:38,439
Speaker 2: Wick movies together.

1972
01:48:39,080 --> 01:48:41,759
Speaker 1: Yeah, my dad's probably gonna be at the golf course

1973
01:48:41,840 --> 01:48:43,920
Speaker 1: or like you know, at the farmer's market looking for

1974
01:48:44,000 --> 01:48:47,200
Speaker 1: like a micee tomato on his own. He's not let

1975
01:48:47,200 --> 01:48:51,840
Speaker 1: the women do the women's stuff, which is watching John Wick.

1976
01:48:53,479 --> 01:48:55,559
Speaker 2: Oh what a great week. I love it so much.

1977
01:48:56,160 --> 01:48:59,240
Speaker 1: I do too, And listen, everybody, we got a great

1978
01:48:59,280 --> 01:49:03,679
Speaker 1: episode next week. But let's let's get serious. You gotta

1979
01:49:03,760 --> 01:49:08,160
Speaker 1: know our email address. The email address or email us

1980
01:49:08,200 --> 01:49:10,599
Speaker 1: as I saw you pod at gmail dot com. Please

1981
01:49:10,600 --> 01:49:14,400
Speaker 1: send us short questions for bonus episodes. We also have

1982
01:49:14,479 --> 01:49:16,200
Speaker 1: a po box two as you know.

1983
01:49:16,880 --> 01:49:18,960
Speaker 2: And you can find it on our link tree, which

1984
01:49:18,960 --> 01:49:21,160
Speaker 2: is on our social media We are at I Saw

1985
01:49:21,240 --> 01:49:23,719
Speaker 2: pod on Instagram, Blue Sky and Twitter. You can also

1986
01:49:24,080 --> 01:49:26,880
Speaker 2: send us a voicemailed play on the show. Now, just

1987
01:49:27,400 --> 01:49:29,400
Speaker 2: record a voice memo on your phone. Email it to

1988
01:49:29,360 --> 01:49:31,519
Speaker 2: you I saw I did pod at gmail dot com.

1989
01:49:31,520 --> 01:49:33,880
Speaker 2: Make it sixty seconds or less and please record it

1990
01:49:33,880 --> 01:49:34,599
Speaker 2: in a quiet space.

1991
01:49:35,120 --> 01:49:37,759
Speaker 1: Also, if you want merch, go to exactly right store dot.

1992
01:49:37,560 --> 01:49:40,560
Speaker 2: Com and we have new bonus episodes that drop on

1993
01:49:40,600 --> 01:49:45,000
Speaker 2: the main feed every third Thursday of the month. Mailie, Yeah,

1994
01:49:45,040 --> 01:49:46,760
Speaker 2: what are our fucking movies next week?

1995
01:49:46,920 --> 01:49:47,920
Speaker 1: Are you all ready for this?

1996
01:49:48,520 --> 01:49:48,920
Speaker 2: Okay?

1997
01:49:49,760 --> 01:49:52,599
Speaker 1: This is so cool? So are your movies for next week?

1998
01:49:52,640 --> 01:49:57,160
Speaker 1: Are Quick Change from nineteen ninety and La circla Rouge

1999
01:49:58,080 --> 01:49:59,120
Speaker 1: from nineteen seventy.

2000
01:50:00,439 --> 01:50:04,000
Speaker 2: Genuinely cannot wait. Ugh, what a dream, Daniell.

2001
01:50:04,680 --> 01:50:07,600
Speaker 1: A fun episode, a fun double feature. As always a

2002
01:50:07,640 --> 01:50:09,400
Speaker 1: fucking pleasure doing this podcast with you.

2003
01:50:09,960 --> 01:50:11,840
Speaker 2: Thank you for making space for me to watch people

2004
01:50:11,880 --> 01:50:12,719
Speaker 2: get kicked in the face.

2005
01:50:12,960 --> 01:50:19,720
Speaker 1: Always Bye.

2006
01:50:22,000 --> 01:50:24,719
Speaker 2: This has been an exactly right production. Our senior producer

2007
01:50:24,760 --> 01:50:28,560
Speaker 2: is Casey O'Brien. Episode mixing and theme music by Tom Bryfogel,

2008
01:50:28,880 --> 01:50:32,320
Speaker 2: artwork by Garrett Ross. Our executive producers are Georgia Hart,

2009
01:50:32,360 --> 01:50:35,120
Speaker 2: Start Caring, kil Gareff and Daniel Kramer. You can follow

2010
01:50:35,160 --> 01:50:38,120
Speaker 2: us on Instagram and Twitter at I Saw pod, and

2011
01:50:38,160 --> 01:50:40,200
Speaker 2: you can email us at I Saw what you Did

2012
01:50:40,200 --> 01:50:41,200
Speaker 2: Pod at gmail