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Speaker 1: Hey guys, just a reminder that we are doing our

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Speaker 1: first ever live show at the Tara Theater in Atlanta, Georgia,

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Speaker 1: on November seventh. Ticket information is available at all of

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Speaker 1: our social media sites. We are at I Saw Pod

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Speaker 1: on Instagram, Blue Sky, Twitter and Facebook. Be there, don't

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Speaker 1: be square, be round and soft and at our show.

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Speaker 2: Hey, everybody, welcome to another episode of I Saw What

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Speaker 2: You Did. My name is Millie de Cherco.

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Speaker 1: I'm Danielle Henderson.

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Speaker 2: And we're film Gowns doing the film thing for you again,

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Speaker 2: for us, for Casey, our producer, who's on the line somewhere.

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Speaker 2: What are you doing?

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Speaker 1: I'm full, happy fall I am. I'm kind of recovering.

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Speaker 1: I've been really going to a lot of concerts. Yeah,

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Speaker 1: me too. Like I want you to cast your mind

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Speaker 1: back to about two years ago when I was in

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Speaker 1: an extreme prolonged lockdown. Yeah, and truly was not sure

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Speaker 1: if I was ever going to be in a crowd again.

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Speaker 2: Oh yeah, you were giving everybody the hairy eyeball back.

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Speaker 1: And I stand by it. I think we came back

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Speaker 1: way too soon. We started up way too soon. But

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Speaker 1: that's all right. I stand by it. But I'm also

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Speaker 1: glad that things have moved now into a more of

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Speaker 1: an endemic stage. And yeah, I got my my my booster.

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Speaker 1: I got that latest booster, which knocked me out for

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Speaker 1: like two days. It knocked me out like it did

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Speaker 1: the first time we got boosters. I wasn't expecting that.

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Speaker 1: But I feel like, if the booster is that strong,

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Speaker 1: then this version of COVID might be a pain in

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Speaker 1: the ass. So get your boosters.

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Speaker 2: Well, I know, I've been waiting for my new health

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Speaker 2: insurance plan to kick in before I get I get

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Speaker 2: the booster because.

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Speaker 1: Yeah, they're like two dollars. I know at it, Like

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Speaker 1: what the fuck?

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Speaker 2: I was like, did they used to give this shit

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Speaker 2: out for free? Yes, now it's two hundred dollars, okay whatever.

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Speaker 1: So and then I saw something in Japan where somebody

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Speaker 1: posted on Instagram like here's what you get from Japan

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Speaker 1: if you have COVID, and it's like two boxes, massive

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Speaker 1: boxes full of like water, food, electrolytes, all kinds. Like

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Speaker 1: now like today, that's what you get in Japan if

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Speaker 1: you have COVID. And meanwhile, America is like, oh wait, wait,

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Speaker 1: let's get back to charging, Let's get back to our

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Speaker 1: for profit capitalist bullshit.

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Speaker 2: God, Japan is so bespoke. They're just like the best design,

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Speaker 2: the best COVID relief apparently.

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Speaker 1: I mean, just so shows unreal. So yeah, so I'm

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Speaker 1: casting my every time I go out. I remember like,

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Speaker 1: oh yeah, there were a couple of years ago there

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Speaker 1: where I thought this would never happen again. So I

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Speaker 1: truly enjoy every time I get to be amongst people

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Speaker 1: I feel like.

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Speaker 2: I also feel too, though, that the music industry is

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Speaker 2: also like, hey, guess what we were under lockdown? Now

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Speaker 2: everybody has to tour right now, Every fucking band that

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Speaker 2: you ever liked from thirty years ago is gotta reform,

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Speaker 2: gotta gotta play full albums again.

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Speaker 1: So yes, it's great, and it's ruining my body, like

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Speaker 1: I am so fucking broken down, tired.

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Speaker 2: Well, because you're not going to you're not going to

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Speaker 2: see no symphony or you know, you're not going to

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Speaker 2: see uh the band low or something you're seeing like

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Speaker 2: hard rock slash punk rock based on what I've seen

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Speaker 2: on your Instagram. That's all I'm saying.

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Speaker 1: I really am. I got I went and saw Idols

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Speaker 1: a couple of weeks ago, and I got the tickets

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Speaker 1: in like February. It was one of those far reaching

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Speaker 1: things where I was suddenly like, oh wait, this actual,

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Speaker 1: this concert is actually happening now. So I saw them

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Speaker 1: in Forest Hill's Queen's which is hilarious on its own

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Speaker 1: because it's in the middle of a neighborhood. So they

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Speaker 1: have a very strict ten pm cutoff time. There's a

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Speaker 1: countdown clock on the stage and they will pull the

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Speaker 1: plug if the music hasn't stopped. There's also a venue

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Speaker 1: in London that's like that, which I just I find

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Speaker 1: it hilarious that they're like, fucking stop playing now or

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Speaker 1: else we're gonna get the fucking noise complaints. But I

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Speaker 1: went to this show and Forrest L's is a pretty

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Speaker 1: big stadium. It's you know, where a lot of tennis

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Speaker 1: is played. If you're a tennis person, you've seen it before.

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Speaker 1: And it was fucking packed, and thankfully I got tickets

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Speaker 1: in the seats, but they were like the first row

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Speaker 1: of the seats, so it was like pretty close to

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Speaker 1: the stage. It was still the whole experience, but with

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Speaker 1: a seat. But I didn't sit down once because Idols

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Speaker 1: goes so fucking hard. Yeah, so fucking hard.

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Speaker 2: Okay, I have to admit I do not know them.

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Speaker 2: I think you would love them, I know, and like,

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Speaker 2: first of all, besides you, I know like three other

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Speaker 2: people that went to that show.

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Speaker 1: Jalea was there. I found I was there.

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Speaker 2: I know she was there, uh because she texted me

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Speaker 2: about it and I was like, oh, so, like good.

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Speaker 2: You know people I know who have good taste in

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Speaker 2: music like them. I The other thing that I know

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Speaker 2: about them is that, uh, the lead singer of one

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Speaker 2: of my favorite bands, The Jesus Lizard, collaborated with them

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Speaker 2: at some point YEP. But that's all I know about them.

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Speaker 1: Oh my god. They are so intensely great, Like their

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Speaker 1: music is great, and I think they're like a real

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Speaker 1: working class band, like they all had jobs while they

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Speaker 1: were touring for the first really one or two EPs

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Speaker 1: kind of. They're older. They're like in their late thirties

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Speaker 1: early forties most of it.

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Speaker 2: And they're British right or from the UK.

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Speaker 1: British from the UK. The Favor Bristol they formed in Bristol,

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Speaker 1: and they've all had like intense life stories, like they've

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Speaker 1: all had addiction issues and death and just like crazy

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Speaker 1: crazy shit going on. Like when they were young, like

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Speaker 1: young men going through this. But what I love is

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Speaker 1: that you can see the energy on stage of how

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Speaker 1: happy they are to be. They like to be doing

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Speaker 1: what they're doing, so they're truly in the moment and

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Speaker 1: they go so fucking hard. I have the biggest crush

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Speaker 1: on the I have two guitarists. I have the biggest

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Speaker 1: crush on one of their guitarists right now.

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Speaker 2: Can I be googling?

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Speaker 1: Is so cute and he is just a little maniac

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Speaker 1: on the stage. He's dancing. He threw himself into the

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Speaker 1: fucking pit like no less than ten times while playing guitar, like,

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Speaker 1: still playing in the pit while crowdsurfing. He's intense.

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Speaker 2: Yeah. The picture or the video or whatever it was

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Speaker 2: that you posted a while back was a full pit photo,

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Speaker 2: which I was like, Okay, people are still doing that,

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Speaker 2: which is performing. But at the same time, I was

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Speaker 2: just like, does this mean you're considering getting back in there?

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Speaker 2: Are you, like, you know, throwing up some elbows, like

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Speaker 2: what's going on?

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Speaker 1: Well, this is what I'm having to balance right now

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Speaker 1: because we are still a couple of weeks out from

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Speaker 1: the show, and I still feel tired. At All I

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Speaker 1: did was stand up and dance in place. Who said

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Speaker 1: that about Paul too, by the way, Yeah, so I'm

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Speaker 1: I'm my muscles are of haf atrophy and I need

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Speaker 1: to address it. I think I need to finally start

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Speaker 1: weightlifting if I'm going to be going to all these concerts.

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Speaker 1: That's the only reason why I would lift weights, just

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Speaker 1: so I can get to these shows and feel normal

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Speaker 1: the next day. But as I was watching this pit,

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Speaker 1: I feel like I haven't seen a pit like that

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Speaker 1: in decades, in a long time for myself. I know

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Speaker 1: they've existed obviously, but I haven't been to a show

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Speaker 1: with a pit like that in fucking decades, and I

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Speaker 1: was dying to get in there. I was really surprised

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Speaker 1: by how much I wanted to get in that pit.

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Speaker 2: So you were you did that back? I never, Kelly, Yeah,

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Speaker 2: I was not a pit. Why I got I was

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Speaker 2: so scared? Are you kidding? Like terrified? Now Now, I'm

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Speaker 2: not saying if it's something. There's been many times where

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Speaker 2: I've been at a concert standing in the front and

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Speaker 2: then all of a sudden a pit forms around me

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Speaker 2: and then I accidentally get like knocked over. That has happened,

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Speaker 2: Like I've actually like at one point. One of my

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Speaker 2: like one of the stories that I remember the most

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Speaker 2: from being like a rocker back in the day was

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Speaker 2: that I remember I went and saw that band, the

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Speaker 2: Reverend Horton Heat.

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Speaker 1: Oh hell yeah, they still go by the way hard.

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Speaker 2: Some of those old albums are fucking great, like amazing.

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Speaker 1: I have an I'll put Slow on any playlist, any playlist, Yo,

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Speaker 1: those literary jackets and their little magic outfits.

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Speaker 2: The full custom gospel sounds. Man, that's a good album.

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Speaker 2: That's a good fucking album, especially if you're driving.

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Speaker 1: Like absolutely, so yeah I was. I was at that

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Speaker 1: show and I was.

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Speaker 2: Standing sort of like near the front and literally stood

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Speaker 2: there and then the next thing I knew, a guy

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Speaker 2: next to me got punched in the face in a

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Speaker 2: because I guess, you know, people were dancing and starting

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Speaker 2: to pit and then like blood went splattering across my

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Speaker 2: crisp white psychobilly adjacent cowboy shirts that I just bought

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Speaker 2: that I had just bought from Horsetown, which is a

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Speaker 2: cowboy store here in Georgia. So I was like, from

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Speaker 2: this point on, I'm not standing in the front at

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Speaker 2: any rock and roll show, Like, I gotta stand in

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Speaker 2: the back because I gotta be aware of like when

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Speaker 2: the pitforms. So that's me, but I wasn't sure, like

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Speaker 2: you know, you ask sometimes people like are you pit

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Speaker 2: person or you're not pit person? A lot of times,

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Speaker 2: you know, people were like, yeah, I get in there

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Speaker 2: once in a while, but you're saying that you're you

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Speaker 2: were like a standard lander.

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Speaker 1: It was the cheap ticket and the best time, standard

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Speaker 1: solidly in the pit for a long time.

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Speaker 2: Y'all.

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Speaker 1: I'm so proud of you for that.

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Speaker 2: That is so impressed.

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Speaker 1: Not only in the pit. I have jumped off of

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Speaker 1: speaker stacks into a pit get the fuck out of here. Yeah. Yeah,

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Speaker 1: I was that bitch, and I'm a tall bitch. You

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Speaker 1: see me coming I eight times, nine times out of ten.

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Speaker 1: I thought they're gonna drop me. I'm too big for

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Speaker 1: this ship, but no, they always catch it. It was

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Speaker 1: the best feeling it was. I definitely want to do

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Speaker 1: that again before I died, definitely.

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Speaker 2: So you've crowdsurved, hell yeah, well yeah, fuck oh. I

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Speaker 2: was always that is his own level of anxiety for me,

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Speaker 2: absolutely crowdserved. What if somebody like accidentally like puts their

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Speaker 2: hand in your ass, like well, I mean, it's like

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Speaker 2: anything goes right, Like I'm just absolutely, I mean, anything goes.

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Speaker 1: But that's the whole boy.

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Speaker 2: You pay to play, as what you're paying to play.

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Speaker 1: No, I would talk. I would always tuck like my

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Speaker 1: money or my keys or whatever in my bra Yeah,

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Speaker 1: and I usually had some kind of like button down

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Speaker 1: or something to cover up like the tank top or

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Speaker 1: whatever I was t shirt whatever wearing. Yeah, like there's

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Speaker 1: I I went prepared for a pit always in my

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Speaker 1: docks always and jeans because I don't want like you

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Speaker 1: see people crowdsurfing and skirts and you're like you're like,

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Speaker 1: there's a finger going up that, buttole.

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Speaker 2: Yeah, that's that's why I'm like, it's tactical. It's you

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Speaker 2: got to plan a little bit before. You can't walk

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Speaker 2: in there all willy nilly and expect like you.

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Speaker 1: Know, nope, docs jeans, an over shirt because and then

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Speaker 1: tuck everything in your tits because even if people are

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Speaker 1: trying to feel you up, all they're getting is keys.

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Speaker 2: Keys.

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Speaker 1: They're for the shock of their life when they reach

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Speaker 1: for a boob and it's just like some sharp ass keys.

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Speaker 1: And then I just got in there.

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Speaker 2: I gotta say from an outsider's perspective, crowdsurfing looks incredible,

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Speaker 2: Like you look incredible when you're crowdsurfing. I don't know

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Speaker 2: if you knew that about yourself, but.

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Speaker 1: Did not even know.

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Speaker 2: I was standing in the back. I'm like, Yo, that

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Speaker 2: looks so fucking free.

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Speaker 1: It was like, it's so free, it's so fun. It's

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Speaker 1: like a moment of pure It's a very zunlike experience

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Speaker 1: when when you think about it, because you're just giving

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Speaker 1: yourself over to the trust of the people beneath you

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Speaker 1: to carry you.

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Speaker 2: I was gonna say, it's like a real trust exercise.

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Speaker 2: I mean, let me tell you right now, I fucking like,

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Speaker 2: very very not into Woodstock ninety nine, very very not

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Speaker 2: into Fred Durst from Limp Biscuit.

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Speaker 1: Now.

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Speaker 2: I don't know him personally, I'm just saying back in

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Speaker 2: the day, I was not a Limp Biscuit fan, and

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Speaker 2: I did not like his vibe. Okay in ninety nine. However,

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Speaker 2: when I see footage of him on that plank, on

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Speaker 2: that wooden plank, wrappin' while people are crowdsurfing him like

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Speaker 2: so basically standing on a wooden plank while people are

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Speaker 2: like holding him up, I'm like, Yo, that looks cool.

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Speaker 1: As shit. It's the best feeling in the world, in

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Speaker 1: the world, and I will do this.

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Speaker 2: At Idols, right.

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Speaker 1: You did not do no, No, I did not do

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Speaker 1: this at Idols to much to my dismay, I think

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Speaker 1: I should have been in the pit at Idols. And

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Speaker 1: also there's now in my elder Statesman days, I feel

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Speaker 1: like the place to be in the pit is just

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Speaker 1: off to the right or left, like, not in the

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Speaker 1: middle where you can get kicked in the face, where

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Speaker 1: you like where if you can see the pit forming

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Speaker 1: and you don't want to participate, then you can back away.

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Speaker 1: That feels like more of the place to be for

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Speaker 1: me now. But also it was a very respectable crowd.

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Speaker 1: I watched these people take care of each other so

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Speaker 1: much in the pit, and the security was amazing that

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Speaker 1: because sometimes security when I was going to shows and

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Speaker 1: fucking crowdsurfing, security was full of dicks, like they were

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Speaker 1: looking to hurt people and they were not helping anyone.

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Speaker 1: And the security at this show were handing out bottles

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Speaker 1: of water. They're making sure people weren't getting overheated. There

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Speaker 1: were little kids crowdsurfing, and they were like bring them

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Speaker 1: to the front and like make sure they got safely

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Speaker 1: back to who they needed to go to. It was

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Speaker 1: like a real care, Like there's more care in a pit.

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Speaker 1: Maybe it's just idle, but there was more care in

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Speaker 1: this pit than I'd ever seen before in my life.

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Speaker 1: And maybe just wanted to climb a stack of speakers

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Speaker 1: and launch myself off into the crowd, which I will

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Speaker 1: do again one day.

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Speaker 2: Yeah, there's a real respect for pitt etiquette as yet,

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Speaker 2: but that there wasn't in certain regards in the nineties.

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Speaker 1: For tell. No, oh my god, I just the surprise

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Speaker 1: boot to the face is not a good experience. Yeah, yeah, experience.

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Speaker 1: I will say that for the most part, like most

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Speaker 1: of the rest of life, ain't nobody thinking about anybody

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Speaker 1: else in that pit? Yeah right, I know Money's thinking

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Speaker 1: about I'm gonna punch this woman specifically. I mean, who knows, right,

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Speaker 1: I think I think I've definitely been to shows with

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Speaker 1: some actual psychopaths. We were like, I'm going to say,

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Speaker 1: we're from this fucker, because like I could see in

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Speaker 1: your eyes that you're just looking to throw down with

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Speaker 1: somebody or.

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Speaker 2: Just like extremely drunk people. Yeah, like extremely drunk people,

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Speaker 2: Like I gotta tell you, Like I went to I've

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Speaker 2: been going to a lot of contract too. I wouldn't

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Speaker 2: saw that band's Sisters of Mercy.

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Speaker 1: You do have to present Sisters of Mercy like I

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Speaker 1: don't know who they are, that band Sisters of Mercy.

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Speaker 2: Talking to you, I'm talking to these other people who

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Speaker 2: are listening, like, I'm never talking to you. I'm talking

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Speaker 2: to the crowd that listened to us. And I'm not

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Speaker 2: even talking about the jet exers. I'm talking about the

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Speaker 2: younger folks or maybe even the boomers. Do we have boomers?

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Speaker 2: Do we have oh, silent generation listeners.

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Speaker 1: I don't know.

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Speaker 2: How far back does this ship reach.

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Speaker 1: If any podcast had silent generation listeners, it's us and

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Speaker 1: like Freakonomics, that's it.

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Speaker 2: We should go on tour together and like play like

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Speaker 2: you know, assistant living facilities and ship. Sure not sure

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Speaker 2: how very successful.

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Speaker 1: That is also the absolute apex of people who know

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Speaker 1: both Sisters of Mercy Freakonomics than us would be. It's

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Speaker 1: a in living.

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Speaker 2: What a fucking tour? You love that Stone Tumble Violots Live.

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Speaker 2: That Soul Sound tour was fucked up? Here comes freaking

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Speaker 2: our podcast in freaking Omics, man, That would be fucking insane.

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Speaker 1: That would be so tight. But yes, you went to

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Speaker 1: Sisters of Mercy.

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Speaker 2: No, I went to and like, yo, like there are

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Speaker 2: still like one off, extremely drunk guys and bondage pants

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Speaker 2: and leather jackets and like you know who are like

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Speaker 2: real squirrely and there they will like go into a

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Speaker 2: pit and act any kind of way and they don't

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Speaker 2: care if they're fifty seven years old. I mean, it's

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Speaker 2: just that's the thing you gotta really be careful of,

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Speaker 2: is the rogue element that exists.

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Speaker 1: But here, to my experience, people band together real quick

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Speaker 1: against that dude. Oh yeah, yeah, like there is a

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Speaker 1: real like get the fuck out of here energy.

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Speaker 2: Oh yeah. And I actually think to your earlier point

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Speaker 2: about security, uh, they actually clock that stuff way faster now.

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Speaker 2: And I and what happened. I see this guy walking

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Speaker 2: all jaggedy into the front. He starts fucking throwing arms,

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Speaker 2: and everyone starts getting weird like looking at him, like

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Speaker 2: what's this guy up to? And then I just saw

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Speaker 2: a fucking security guard goal yoinke pulled about, went to

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Speaker 2: the lobby, made him eat popcorn and gave him a

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Speaker 2: bottled water. And because I was, I was, you know,

336
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Speaker 2: basically in line for the bathroom after that, and they

337
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Speaker 2: made him eat popcorn. Force fed him Movie theater popcorn

338
00:18:03,320 --> 00:18:05,480
Speaker 2: and was like, yeah, you got to drink this. You

339
00:18:05,520 --> 00:18:08,680
Speaker 2: gotta eat some stuff, Like I mean, know what's going

340
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Speaker 2: on with you right now, buddy.

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Speaker 1: Truly a cab, But high five to all security work

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Speaker 1: at these venues. This is not how it used to be.

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Speaker 1: They are doing they're like part EMTs, part moms and dads.

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Speaker 2: Yes, Like they are.

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Speaker 1: Doing a lot. And you're in security right now at

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Speaker 1: a venue, you're doing a lot more work than they

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Speaker 1: used to do well.

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Speaker 2: And that's what I think too, is that it is

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Speaker 2: I mean, it is a cab, but it's also that

350
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Speaker 2: thing where it's like I don't think that the personality

351
00:18:38,240 --> 00:18:41,080
Speaker 2: types for security guard and those are are are coming

352
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Speaker 2: from the same No, they're not coming from the same

353
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Speaker 2: stream anymore.

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Speaker 1: Now, you know.

355
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Speaker 2: Security guards are like mts and like firefighters off the

356
00:18:49,320 --> 00:18:53,359
Speaker 2: off Yeah, like nice people yeahs to people who just

357
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Speaker 2: want to be aggressive and want to then want to

358
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Speaker 2: like you know, order people around and that kind of

359
00:18:59,400 --> 00:19:00,000
Speaker 2: cop kind of.

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Speaker 1: So absolutely, no, I like high five. I was really

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Speaker 1: impressed and even the band was like, please thank the

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Speaker 1: security for keeping you all safe. Tonight. Yeah it was great.

363
00:19:10,280 --> 00:19:12,760
Speaker 1: It was great, But yeah, I also, yeah, I'm going

364
00:19:12,800 --> 00:19:14,560
Speaker 1: to get back in that pit one day, and I

365
00:19:14,600 --> 00:19:17,879
Speaker 1: have to remember I'm pretty tough in a pit. Like

366
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Speaker 1: I'm not a tough person in general, and very tender bitch,

367
00:19:20,320 --> 00:19:23,280
Speaker 1: but yeah, I have I have recollections. I was thinking

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Speaker 1: about it while I was at the show, and I

369
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Speaker 1: was like, oh, yeah, I remember that one time I

370
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Speaker 1: was at a show and someone drunk was like, you know,

371
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Speaker 1: getting a little too elbowie fifty next to me, and

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Speaker 1: I just turn and I pushed them and I thought

373
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Speaker 1: I was going to push them kind of away from me,

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Speaker 1: and I just pushed them clear across the fucking room

375
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Speaker 1: like a superhero like in a Western.

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Speaker 2: I love that.

377
00:19:47,560 --> 00:19:49,919
Speaker 1: And I was like, go way over there, way over there.

378
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Speaker 1: And I'm like, oh, I'm tough sometimes, like if I'm threatened,

379
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Speaker 1: I'm tough.

380
00:19:53,080 --> 00:19:57,000
Speaker 2: So well that's yeah. I mean, listen, I think that

381
00:19:57,119 --> 00:20:00,639
Speaker 2: we both are very you know, protective of of people

382
00:20:00,640 --> 00:20:04,159
Speaker 2: who we feel like need protection, and in those instances

383
00:20:04,200 --> 00:20:07,720
Speaker 2: we become the incredible Hulk and our powers cannot be stopped.

384
00:20:07,800 --> 00:20:11,680
Speaker 2: But for the most part, I try to avoid aggression. Yeah,

385
00:20:11,680 --> 00:20:12,479
Speaker 2: because I'm scared.

386
00:20:14,400 --> 00:20:16,840
Speaker 1: I don't want to return aggression ever, So I'm like,

387
00:20:16,920 --> 00:20:18,639
Speaker 1: I don't let don't let me be aggressive because I

388
00:20:18,640 --> 00:20:20,119
Speaker 1: don't want it to come back to me because then

389
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Speaker 1: I'll think I deserve it. So yeah, right, right, But

390
00:20:23,160 --> 00:20:24,560
Speaker 1: it's not the world I want to live in.

391
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Speaker 2: You're right, but listen, I do love you in a pit.

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Speaker 2: This is fucking exciting.

393
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Speaker 1: It's gonna happen again.

394
00:20:30,160 --> 00:20:32,959
Speaker 2: You think you're gonna CrowdSurf again. I guess that's yeah.

395
00:20:33,320 --> 00:20:36,080
Speaker 1: Yeah, I mean it's up to y'all because I'm easily

396
00:20:36,080 --> 00:20:37,639
Speaker 1: one hundred pounds more than I used to be when

397
00:20:37,640 --> 00:20:40,200
Speaker 1: I crowdsurfed. So if y'all want to lift me up,

398
00:20:40,680 --> 00:20:41,520
Speaker 1: knock yourself out.

399
00:20:42,760 --> 00:20:47,199
Speaker 2: Look, they held up fred Durst on a fucking giant

400
00:20:47,320 --> 00:20:51,880
Speaker 2: board and that they're down to clown is what I see.

401
00:20:52,080 --> 00:20:53,920
Speaker 1: That was back in the day when nobody even drank

402
00:20:53,960 --> 00:20:57,960
Speaker 1: water on purpose. They were dehydrated and holding him up

403
00:20:57,960 --> 00:21:01,240
Speaker 1: on that shit exactly. No, this is gonna be tight.

404
00:21:01,280 --> 00:21:05,320
Speaker 1: I'm definitely gonna I'm definitely this This show made me

405
00:21:05,359 --> 00:21:08,720
Speaker 1: realize two things. One, I absolutely have to wear ear

406
00:21:08,760 --> 00:21:10,919
Speaker 1: plugs to every single show. I don't even care if

407
00:21:10,920 --> 00:21:11,280
Speaker 1: it's like.

408
00:21:12,600 --> 00:21:14,520
Speaker 2: Okay, let me let me talk to you about this,

409
00:21:14,560 --> 00:21:17,600
Speaker 2: because I wore ear plugs at that Pulp concert. Even

410
00:21:17,640 --> 00:21:22,200
Speaker 2: though you know it theoretically they're not you know, they're

411
00:21:22,200 --> 00:21:25,840
Speaker 2: not the Jesus Lizard or idols or anything. I still

412
00:21:25,880 --> 00:21:29,600
Speaker 2: wore them because I don't know about you. If you

413
00:21:29,720 --> 00:21:32,359
Speaker 2: have you had your hearing checked as an adult.

414
00:21:32,359 --> 00:21:34,840
Speaker 1: Yeah, yeah, And I definitely have tonight this and I

415
00:21:34,920 --> 00:21:39,240
Speaker 1: definitely have hearing loss. Oh that was so back in

416
00:21:39,320 --> 00:21:41,800
Speaker 1: the pandemic days when I was still living in La

417
00:21:42,200 --> 00:21:45,639
Speaker 1: you know, I had that weird vertigo spell for for

418
00:21:45,680 --> 00:21:48,199
Speaker 1: a few months, and uh, you know, I ended up

419
00:21:48,240 --> 00:21:52,320
Speaker 1: going to uh get my hearing checked because they were like,

420
00:21:52,359 --> 00:21:54,560
Speaker 1: you should, you know, get your hearing checked because maybe

421
00:21:54,600 --> 00:21:59,320
Speaker 1: it's inner ear problem whatever and listens as.

422
00:21:59,119 --> 00:22:01,359
Speaker 2: We've both we've been I want to concerts. I've been

423
00:22:01,400 --> 00:22:03,520
Speaker 2: going to concerts since I was like thirteen years old.

424
00:22:03,920 --> 00:22:04,200
Speaker 1: Yep.

425
00:22:04,720 --> 00:22:07,760
Speaker 2: I used to work in college radio. I used to

426
00:22:08,040 --> 00:22:11,160
Speaker 2: go to multiple concerts in the same night. I wear

427
00:22:11,280 --> 00:22:13,800
Speaker 2: earphones for things, you know, Like I was a DJ.

428
00:22:14,000 --> 00:22:16,159
Speaker 2: I was always around loud music.

429
00:22:16,240 --> 00:22:16,919
Speaker 1: Let's just say that.

430
00:22:17,760 --> 00:22:20,040
Speaker 2: And I told myself, I was like, if I get

431
00:22:20,040 --> 00:22:23,560
Speaker 2: my hearing checked as an adult, I'm gonna I guarantee

432
00:22:23,600 --> 00:22:25,640
Speaker 2: you I'm gonna find out there's some shit going on.

433
00:22:25,960 --> 00:22:28,600
Speaker 2: And as it turns out, the person was like, you

434
00:22:28,800 --> 00:22:31,119
Speaker 2: have a little bit of hearing loss in one of

435
00:22:31,119 --> 00:22:34,880
Speaker 2: your ears, and I was like, it's that rock and roll, man.

436
00:22:34,920 --> 00:22:36,719
Speaker 1: It's that fucking rock and roll. And we grew up

437
00:22:36,760 --> 00:22:40,639
Speaker 1: with the legend of Pete Townsend and his tonight is

438
00:22:41,359 --> 00:22:43,280
Speaker 1: yeah rock in our world, and we still went to

439
00:22:43,320 --> 00:22:45,439
Speaker 1: shows without earplugs, I know.

440
00:22:46,040 --> 00:22:47,640
Speaker 2: And that's the thing is that, like I'm like, I'm

441
00:22:47,640 --> 00:22:50,199
Speaker 2: wearing earplugs to protect the I guess they heard that

442
00:22:50,280 --> 00:22:53,880
Speaker 2: I have left. Yeah, But I mean I have noticed

443
00:22:53,880 --> 00:22:56,359
Speaker 2: it about myself, like as I've gotten older, Like I'm like, yo,

444
00:22:56,440 --> 00:22:59,840
Speaker 2: I can't hear shit. Like if somebody walks up to

445
00:22:59,880 --> 00:23:03,560
Speaker 2: me and it is even just mumbling something, I'm like,

446
00:23:04,000 --> 00:23:07,600
Speaker 2: excuse me what, Like I can't even decipher, you know,

447
00:23:09,320 --> 00:23:12,760
Speaker 2: like people who just talk a little weird.

448
00:23:13,320 --> 00:23:16,280
Speaker 1: A little little load talker will send me over the edge.

449
00:23:16,520 --> 00:23:17,200
Speaker 2: Yeah.

450
00:23:17,440 --> 00:23:22,680
Speaker 1: Yeah, it's intense. It's intensely important to remember earplugs. And

451
00:23:22,720 --> 00:23:24,240
Speaker 1: I'm just going to keep some in my car because

452
00:23:24,280 --> 00:23:25,800
Speaker 1: I think that's part of the problem, is like I

453
00:23:25,840 --> 00:23:27,320
Speaker 1: have them. But if I don't grab them on the

454
00:23:27,320 --> 00:23:29,639
Speaker 1: way out of the house, yeah, then so I'm just

455
00:23:29,680 --> 00:23:32,919
Speaker 1: gonna put him in my little concert kit. Yeah and

456
00:23:33,080 --> 00:23:34,960
Speaker 1: just keep them because this was not the show did

457
00:23:35,040 --> 00:23:35,920
Speaker 1: not have earplugs.

458
00:23:36,600 --> 00:23:40,000
Speaker 2: Oh I bet if people are crowdsurfing, you need earplugs.

459
00:23:40,320 --> 00:23:43,680
Speaker 1: They were so loud, but it was so good. And

460
00:23:43,840 --> 00:23:45,439
Speaker 1: I'm telling you, leak here and then get him in

461
00:23:45,480 --> 00:23:47,080
Speaker 1: my life. He's so fucking cute.

462
00:23:47,680 --> 00:23:48,879
Speaker 2: I gotta look this guy up.

463
00:23:49,160 --> 00:23:51,840
Speaker 1: Oh I I'm sure he's like married and has kids.

464
00:23:51,840 --> 00:23:53,040
Speaker 1: In the whole line. I don't care. Just get him

465
00:23:53,040 --> 00:23:56,680
Speaker 1: in my life. He's adorable. Yeah, and he's a maniac

466
00:23:56,760 --> 00:23:59,080
Speaker 1: and he is. They put on one of the best

467
00:23:59,080 --> 00:24:01,800
Speaker 1: shows I've seen in years. Just the energy of that

468
00:24:02,000 --> 00:24:04,760
Speaker 1: entire band. Yeah, unreal.

469
00:24:05,160 --> 00:24:08,440
Speaker 2: So the Walkman opened up for them, right the Walkman

470
00:24:08,480 --> 00:24:10,720
Speaker 2: opened Okay, now that I wasn't gonna talk about that,

471
00:24:10,800 --> 00:24:13,560
Speaker 2: because that's what you're about to say.

472
00:24:13,640 --> 00:24:19,880
Speaker 1: I love the Walkmen. They are definitely an early at Staple. Yeah,

473
00:24:20,359 --> 00:24:24,440
Speaker 1: absolutely love them. The difference in energy. I was talking

474
00:24:24,440 --> 00:24:25,879
Speaker 1: about this with my friend on the way home, and

475
00:24:25,920 --> 00:24:29,080
Speaker 1: I'm like, got there for the Walkman and the Walkmen.

476
00:24:29,080 --> 00:24:34,600
Speaker 1: We're bringing a very park slope dad energy. I see

477
00:24:35,040 --> 00:24:37,200
Speaker 1: like a cardigan. One of them was wearing a cardigan

478
00:24:37,800 --> 00:24:39,040
Speaker 1: buttoned up on stage.

479
00:24:39,560 --> 00:24:42,760
Speaker 2: They've always been that, they've always dressed like nineteen fifties

480
00:24:43,080 --> 00:24:43,920
Speaker 2: tent preachers.

481
00:24:44,160 --> 00:24:47,280
Speaker 1: Yeah, you're not wrong at all, and that energy is

482
00:24:47,320 --> 00:24:49,399
Speaker 1: still there. But then like it was very it was

483
00:24:49,480 --> 00:24:51,760
Speaker 1: just a different There were great openers. I'm glad I

484
00:24:51,800 --> 00:24:54,359
Speaker 1: got to see them. Yeah, but it was very like

485
00:24:55,359 --> 00:24:56,600
Speaker 1: Dad's trying it tonight.

486
00:24:57,040 --> 00:24:59,639
Speaker 2: Yeah. Energy, well, and that's what I But that's why

487
00:24:59,680 --> 00:25:01,840
Speaker 2: I always loved about them is that they looked like

488
00:25:01,960 --> 00:25:06,919
Speaker 2: nineteen fifties tent revival preachers. But then the music that

489
00:25:06,960 --> 00:25:11,440
Speaker 2: they played was very reverbing, loud, and yeah, so are

490
00:25:11,480 --> 00:25:14,720
Speaker 2: you saying that now they're just now they're just playing

491
00:25:14,840 --> 00:25:18,760
Speaker 2: softer music that they're No, the music is matching the outfits.

492
00:25:19,080 --> 00:25:23,560
Speaker 1: The music is still tight, and they sounded amazing. They

493
00:25:23,640 --> 00:25:29,159
Speaker 1: sounded great. It was more just like like watching the

494
00:25:29,240 --> 00:25:32,920
Speaker 1: singer screeching more than singing, like straining more. It was

495
00:25:32,960 --> 00:25:36,600
Speaker 1: just a little more like strain. Yeah, I saw this

496
00:25:36,640 --> 00:25:39,560
Speaker 1: time like not a lot of bouncing around on the stage,

497
00:25:39,680 --> 00:25:41,960
Speaker 1: not a lot of like and then again you get

498
00:25:42,000 --> 00:25:44,560
Speaker 1: idols out there and they're fucking all over the place,

499
00:25:44,680 --> 00:25:45,360
Speaker 1: crazy men.

500
00:25:45,960 --> 00:25:49,520
Speaker 2: It's because they're British. I know they're fucking They don't

501
00:25:49,520 --> 00:25:52,119
Speaker 2: give fucked like they always trying to keep like people

502
00:25:52,119 --> 00:25:55,840
Speaker 2: are like, come on, like, didn't the leadstake of the

503
00:25:55,880 --> 00:26:01,119
Speaker 2: Pogues live for like one hundred years? Keith Richards, Like

504
00:26:01,359 --> 00:26:04,159
Speaker 2: those people are sturdy, Like they are sturdy and they

505
00:26:04,200 --> 00:26:07,480
Speaker 2: don't care. They'll like take a tooth out.

506
00:26:08,520 --> 00:26:12,360
Speaker 1: Keith Richards is still going. He's preserved. He's been pickled

507
00:26:12,560 --> 00:26:16,720
Speaker 1: preserved at this point. Shane McGowan lived for easily forty years,

508
00:26:16,760 --> 00:26:20,720
Speaker 1: longer than anyone ever thought he would, right, Like who's.

509
00:26:20,520 --> 00:26:22,560
Speaker 2: The guy from the Fall, Marky Smith? He lives a

510
00:26:22,560 --> 00:26:26,000
Speaker 2: long time too, Like these are people that like like

511
00:26:26,000 --> 00:26:31,720
Speaker 2: like consume dozens of beers through missing teeth, you know,

512
00:26:32,000 --> 00:26:36,520
Speaker 2: in their sixties and seventies, still rocking, like they don't

513
00:26:36,560 --> 00:26:38,439
Speaker 2: give a fuck. That's why I'm like, yo, that that

514
00:26:38,480 --> 00:26:40,679
Speaker 2: makes total sense to me, Like it makes sense that

515
00:26:40,720 --> 00:26:42,080
Speaker 2: they would be going nuts.

516
00:26:42,119 --> 00:26:45,560
Speaker 1: But don't don't fuck with that. Those those island folks,

517
00:26:47,840 --> 00:26:51,600
Speaker 1: those like tough the rough Seas. If the rough Seas

518
00:26:51,600 --> 00:26:57,000
Speaker 1: are amongst you, you cannot be fucked with. Fucking builders

519
00:26:57,040 --> 00:26:59,760
Speaker 1: and paint like that is a tough stock of person

520
00:27:00,400 --> 00:27:05,680
Speaker 1: for sure. Also weirdly juxtapose with the softest type of

521
00:27:05,720 --> 00:27:07,159
Speaker 1: people I've ever met in my life, which is the

522
00:27:07,160 --> 00:27:12,320
Speaker 1: fucking proletariat. Goddamn the softest, like most inbred king queen

523
00:27:12,400 --> 00:27:17,000
Speaker 1: shit matriar. Like just the weirdest juxtaposition of all time.

524
00:27:17,000 --> 00:27:19,520
Speaker 1: I'm like, all of your subjects are the hardest motherfuckers

525
00:27:19,560 --> 00:27:21,960
Speaker 1: in the land. Yeah, and you're going to like a

526
00:27:22,000 --> 00:27:27,320
Speaker 1: gold coach ten feet down the road with your brittle

527
00:27:27,359 --> 00:27:36,119
Speaker 1: bird bone disease like Avian. But yeah, do not listen.

528
00:27:36,640 --> 00:27:39,040
Speaker 1: It does not have to be Lee Kiernan get a

529
00:27:39,040 --> 00:27:42,000
Speaker 1: British Man in my life this year, but before twenty

530
00:27:42,040 --> 00:27:44,399
Speaker 1: twenty five is over, I will have a British Man

531
00:27:44,440 --> 00:27:45,080
Speaker 1: in my life again.

532
00:27:45,800 --> 00:27:50,280
Speaker 2: Oh, I'm definitely in favor of that for you.

533
00:27:50,880 --> 00:27:54,000
Speaker 1: Like, just it has to happen.

534
00:27:54,080 --> 00:27:54,840
Speaker 2: It just has.

535
00:27:54,960 --> 00:27:59,719
Speaker 1: It's meant to fucking be. I'm gonna stop denying nature.

536
00:28:01,320 --> 00:28:03,240
Speaker 2: Yeah, listen, I put out a call for a shitty

537
00:28:03,240 --> 00:28:06,720
Speaker 2: little vampire that these aren't. I think you can find

538
00:28:06,720 --> 00:28:11,480
Speaker 2: a British person like that is less specific than what

539
00:28:11,640 --> 00:28:15,240
Speaker 2: I asked for, which is that I wanted a creative

540
00:28:15,280 --> 00:28:23,520
Speaker 2: partnership with an undead fucking freak. Oh my good, So

541
00:28:25,200 --> 00:28:26,200
Speaker 2: we can get this done.

542
00:28:26,240 --> 00:28:27,720
Speaker 1: Don't worry. I think we can get this done. But

543
00:28:27,760 --> 00:28:32,080
Speaker 1: that I'm setting my sights anew, even though I've been

544
00:28:32,160 --> 00:28:36,040
Speaker 1: resisting for years because my therapist has told me it

545
00:28:36,160 --> 00:28:42,360
Speaker 1: is not healthy for me to yearn for someone who

546
00:28:42,440 --> 00:28:46,600
Speaker 1: lives thousands of miles away, that I should be focusing

547
00:28:46,600 --> 00:28:48,920
Speaker 1: on intimacy. And guess what, I don't want to do

548
00:28:48,960 --> 00:28:51,080
Speaker 1: that anymore. I want a British man in my life.

549
00:28:51,720 --> 00:28:53,640
Speaker 2: Yeah, you should manifest that shit.

550
00:28:54,000 --> 00:28:56,080
Speaker 1: Perhaps I've manifested a bunch of other shit in my

551
00:28:56,120 --> 00:28:57,080
Speaker 1: life recently, why not?

552
00:28:58,000 --> 00:29:00,320
Speaker 2: Yeah, that's what I'm saying. I think it's easy. You're

553
00:29:00,440 --> 00:29:03,880
Speaker 2: impossible to manifest a person that lives in another country,

554
00:29:04,080 --> 00:29:05,640
Speaker 2: many many miles away.

555
00:29:06,200 --> 00:29:07,600
Speaker 1: She got me out here thinking that I should be

556
00:29:07,640 --> 00:29:10,400
Speaker 1: looking for someone down the road for intimacy shit, and

557
00:29:10,440 --> 00:29:12,920
Speaker 1: I'm like, no, there's nothing more intimate to me than

558
00:29:12,920 --> 00:29:16,680
Speaker 1: getting on a plane and going to see someone whose

559
00:29:16,760 --> 00:29:19,720
Speaker 1: blood is made of fucking tinfoil.

560
00:29:20,360 --> 00:29:24,320
Speaker 2: Listen, they haven't had seventy five seasons of ninety day

561
00:29:24,320 --> 00:29:29,320
Speaker 2: fiance for nothing. Has this happens all the time, like

562
00:29:31,120 --> 00:29:36,640
Speaker 2: we live in a connected world. Absolutely, don't worry about it.

563
00:29:36,680 --> 00:29:38,360
Speaker 2: We'll find you one. We'll find you one.

564
00:29:38,680 --> 00:29:42,360
Speaker 1: But I am absolutely, for the first time in a

565
00:29:42,480 --> 00:29:48,320
Speaker 1: very long time, just flat out ignoring my therapist advice. Well,

566
00:29:48,600 --> 00:29:52,080
Speaker 1: I need a maniac. I need a little British maniac

567
00:29:52,200 --> 00:29:53,160
Speaker 1: in my life.

568
00:29:53,720 --> 00:29:56,600
Speaker 2: And somebody that will get in the pit with you, yes,

569
00:29:56,720 --> 00:29:58,640
Speaker 2: and knock out a few teeth and then you go home.

570
00:30:00,240 --> 00:30:02,280
Speaker 1: Keep your teeth. I spent so much money putting teeth

571
00:30:02,320 --> 00:30:04,880
Speaker 1: back in my head. Keep your teeth. But getting that

572
00:30:04,920 --> 00:30:05,520
Speaker 1: pit with me.

573
00:30:06,200 --> 00:30:09,120
Speaker 2: Oh God, I'm gonna cry if we keep going like

574
00:30:09,240 --> 00:30:12,720
Speaker 2: this is actually very heartwarming to hear as your friend.

575
00:30:14,080 --> 00:30:17,440
Speaker 1: Thank you. You know what else is very heartwarming? Not

576
00:30:17,640 --> 00:30:18,520
Speaker 1: our movies this week.

577
00:30:18,840 --> 00:30:22,080
Speaker 2: I was gonna say, nope, ah, not this week.

578
00:30:27,640 --> 00:30:29,720
Speaker 1: Well, let's get into our fucking movies. Do you want

579
00:30:29,720 --> 00:30:30,680
Speaker 1: to tell them what the theme is?

580
00:30:31,360 --> 00:30:37,320
Speaker 2: I do so. This week our theme is sisters are

581
00:30:37,400 --> 00:30:39,960
Speaker 2: doing it for themselves.

582
00:30:42,360 --> 00:30:44,160
Speaker 1: And by it we mean murder.

583
00:30:48,320 --> 00:30:53,280
Speaker 2: They are doing their fucked up lives for themselves is

584
00:30:53,320 --> 00:30:57,280
Speaker 2: what this week is about. Oh, let me tell you

585
00:30:57,320 --> 00:31:01,080
Speaker 2: something right now. I have not seen your movie since

586
00:31:01,080 --> 00:31:08,360
Speaker 2: it came out, and I fucking loved it more than

587
00:31:08,400 --> 00:31:10,840
Speaker 2: I did back in whenever it came out one year?

588
00:31:11,000 --> 00:31:13,600
Speaker 1: Was that two years ago?

589
00:31:13,720 --> 00:31:19,320
Speaker 2: This is Christ? Yeah Jesus right, Yeah, I know my

590
00:31:19,440 --> 00:31:21,880
Speaker 2: movie came out the year after. I can't even believe

591
00:31:21,920 --> 00:31:23,840
Speaker 2: these movies are as old as they are. I know,

592
00:31:24,840 --> 00:31:28,360
Speaker 2: this movie, like your movie this week, I feel like

593
00:31:28,480 --> 00:31:30,960
Speaker 2: is responsible for all the shit that we have now,

594
00:31:31,120 --> 00:31:35,200
Speaker 2: the euphorias, the fucking like this and that's the like.

595
00:31:35,520 --> 00:31:39,560
Speaker 2: I'm like, yo, that movie goes so hard and I

596
00:31:39,600 --> 00:31:43,760
Speaker 2: loved it absolutely more than I did back then, And

597
00:31:43,800 --> 00:31:45,920
Speaker 2: I think it's because I'm in a completely different stage

598
00:31:45,920 --> 00:31:48,680
Speaker 2: of life. Like back then in two thousand and three,

599
00:31:48,800 --> 00:31:52,240
Speaker 2: I was definitely rolling around maybe the floor of a pit.

600
00:31:52,400 --> 00:31:54,040
Speaker 2: I wasn't in it. I was just rolling around the

601
00:31:54,040 --> 00:31:57,360
Speaker 2: floor getting kicked in the face, like all dirty.

602
00:31:57,960 --> 00:31:59,680
Speaker 1: That was my life, kinballed around.

603
00:32:00,080 --> 00:32:05,120
Speaker 2: Yeah yeah yeah. But like now that I'm older and

604
00:32:05,160 --> 00:32:06,920
Speaker 2: I look back on this stuff, I'm just like, man,

605
00:32:06,960 --> 00:32:10,000
Speaker 2: what a fucking great movie. That is so good for

606
00:32:10,080 --> 00:32:10,920
Speaker 2: you for picking it.

607
00:32:11,400 --> 00:32:14,600
Speaker 1: Uh, I'm so glad to bring it back into prominence

608
00:32:14,640 --> 00:32:17,480
Speaker 1: in some way because it is such a fucking solidly

609
00:32:17,560 --> 00:32:20,600
Speaker 1: good movie. Yeah, and same with yours. I have watched

610
00:32:20,640 --> 00:32:25,760
Speaker 1: yours more recently than I've watched mine. Yeah, because it's

611
00:32:25,760 --> 00:32:27,360
Speaker 1: one of those movies where I just when you think

612
00:32:27,360 --> 00:32:28,600
Speaker 1: of it, you're like, yeah, I got to get back

613
00:32:28,640 --> 00:32:30,400
Speaker 1: into that. I got to see what that's all about.

614
00:32:30,480 --> 00:32:36,000
Speaker 1: And I am constantly blown away. Charlie's theron is unreal

615
00:32:36,880 --> 00:32:39,120
Speaker 1: in this movie because after I watched your movie, I

616
00:32:39,120 --> 00:32:40,560
Speaker 1: went and watched a bunch of I just you know,

617
00:32:40,680 --> 00:32:42,520
Speaker 1: kind of went down the whole little bit and I

618
00:32:42,520 --> 00:32:46,479
Speaker 1: watched a bunch of videos and a documentary about you know,

619
00:32:46,520 --> 00:32:48,800
Speaker 1: the subject, the woman that she plays, and I was

620
00:32:48,920 --> 00:32:53,880
Speaker 1: just like, damn, she really like she was already she

621
00:32:53,960 --> 00:32:57,800
Speaker 1: transformed herself physically, yes, but even the way she moved

622
00:32:57,880 --> 00:33:01,200
Speaker 1: and stood and talked, and it was just unreal to

623
00:33:01,320 --> 00:33:03,960
Speaker 1: watch the real person after watching her in this movie

624
00:33:04,000 --> 00:33:05,520
Speaker 1: and not being able to see a difference.

625
00:33:06,320 --> 00:33:12,800
Speaker 2: Yeah, No, I she channeled something or someone in this

626
00:33:12,960 --> 00:33:19,000
Speaker 2: movie that is completely undeniable. Like you're just like where, like,

627
00:33:21,520 --> 00:33:24,160
Speaker 2: I don't know who it is in her life that

628
00:33:24,200 --> 00:33:27,160
Speaker 2: she was like, I gotta like be that person, but

629
00:33:27,880 --> 00:33:31,960
Speaker 2: the nuances of that person are so incredible, Like it

630
00:33:32,040 --> 00:33:35,880
Speaker 2: couldn't have easily easily been a fucking.

631
00:33:35,720 --> 00:33:42,240
Speaker 1: Joke, right, Oh, totally. But didn't her mother kill her father? Yeah?

632
00:33:42,400 --> 00:33:47,840
Speaker 2: I just literally found that out, Like I did not

633
00:33:48,240 --> 00:33:49,440
Speaker 2: know that at all.

634
00:33:49,520 --> 00:33:52,920
Speaker 1: Yeah, it was like a really abusive self defense situation.

635
00:33:53,320 --> 00:33:57,760
Speaker 1: But and you know, traumatic obviously to her. Yeah, but happened.

636
00:33:58,480 --> 00:34:01,719
Speaker 2: Well, And like I I mean, when you know that,

637
00:34:02,640 --> 00:34:06,840
Speaker 2: and considering what Monster is about and the and the

638
00:34:06,960 --> 00:34:11,279
Speaker 2: character that she plays, I mean, very very close to

639
00:34:11,320 --> 00:34:15,480
Speaker 2: what she experienced, right, absolutely, so it makes all the

640
00:34:15,520 --> 00:34:20,319
Speaker 2: sense in the world that she was like she transformed,

641
00:34:20,760 --> 00:34:23,040
Speaker 2: you know in a way that I feel like, I mean,

642
00:34:23,080 --> 00:34:28,440
Speaker 2: she won the Oscar for this role, totally deserved and like,

643
00:34:29,360 --> 00:34:33,520
Speaker 2: but the ways in which this character, like I said,

644
00:34:33,640 --> 00:34:36,200
Speaker 2: could have been just like a fucking joke. I mean

645
00:34:36,200 --> 00:34:38,600
Speaker 2: you see this all the time and all these biopics

646
00:34:38,640 --> 00:34:41,480
Speaker 2: of of of you know, either in true crime or like,

647
00:34:41,520 --> 00:34:43,799
Speaker 2: you know whatever. Like I'm right now, I'm watching the

648
00:34:44,000 --> 00:34:46,960
Speaker 2: uh Ryan Murphy show about the Menendez brothers, you know,

649
00:34:47,840 --> 00:34:50,160
Speaker 2: which is like, that's a whole other subject. That is

650
00:34:50,200 --> 00:34:53,480
Speaker 2: a whole other subject. I swear we could do an

651
00:34:53,600 --> 00:34:54,640
Speaker 2: entire podcast.

652
00:34:54,239 --> 00:34:56,600
Speaker 1: About We could do it all fucking season of a

653
00:34:56,680 --> 00:35:00,080
Speaker 1: podcast about it. But yes, I'm also watching it and

654
00:35:00,080 --> 00:35:01,080
Speaker 1: it is very different.

655
00:35:01,520 --> 00:35:05,600
Speaker 2: Yeah, Yeah, and so you're like, obviously there are choices

656
00:35:05,880 --> 00:35:09,080
Speaker 2: when you know you're making a piece of uh you know,

657
00:35:09,360 --> 00:35:12,400
Speaker 2: a piece of TV or piece of movies about real people.

658
00:35:12,719 --> 00:35:12,879
Speaker 1: Right.

659
00:35:13,280 --> 00:35:16,759
Speaker 2: So that's the thing is that for like Unflappables, like

660
00:35:16,800 --> 00:35:19,440
Speaker 2: she did an incredible job. Every time I watch it

661
00:35:19,440 --> 00:35:22,160
Speaker 2: and I'm like, yo, she is someone else, Like that's

662
00:35:22,160 --> 00:35:24,560
Speaker 2: not Charlie Storone. That is somebody else. And I'm like,

663
00:35:25,040 --> 00:35:26,920
Speaker 2: it's kind of amazing to watch.

664
00:35:27,320 --> 00:35:30,680
Speaker 1: And you know what's really it's wildly unfair of me. Possibly,

665
00:35:30,800 --> 00:35:35,640
Speaker 1: but because she was so fucking intensely good in this

666
00:35:35,920 --> 00:35:39,080
Speaker 1: movie and in general, I really just love Charlie's Thearon

667
00:35:39,280 --> 00:35:42,600
Speaker 1: me too. I just love her. I just think, again,

668
00:35:42,680 --> 00:35:44,440
Speaker 1: get a British man in my life and let me

669
00:35:44,440 --> 00:35:46,680
Speaker 1: be friends with Charlie Staron. That's all I ask me too.

670
00:35:47,120 --> 00:35:50,280
Speaker 1: She's so fucking great. But because she's so fucking great

671
00:35:50,480 --> 00:35:55,080
Speaker 1: in that role, by comparison, I feel like Christina Ricci

672
00:35:56,440 --> 00:36:00,480
Speaker 1: was awful. We will talk about it.

673
00:36:00,800 --> 00:36:03,319
Speaker 2: Oh, we are going to talk about it.

674
00:36:03,360 --> 00:36:05,879
Speaker 1: Well, you're girls, job on him?

675
00:36:07,480 --> 00:36:12,240
Speaker 2: Okay. So my movie for the theme sisters are doing

676
00:36:12,280 --> 00:36:20,520
Speaker 2: it for themselves is from three What the Fuck? Two

677
00:36:20,520 --> 00:36:23,800
Speaker 2: thousand and three it was written and directed by Patty Jenkins,

678
00:36:23,840 --> 00:36:26,520
Speaker 2: and it's called Monster What I always wanted to be

679
00:36:27,040 --> 00:36:31,400
Speaker 2: President in the United States. So let me talk a

680
00:36:31,440 --> 00:36:34,920
Speaker 2: little bit about Patty Jenkins. Actually, yeah, you know what's weird.

681
00:36:35,680 --> 00:36:40,239
Speaker 2: Both are movies this week directed by women. Absolutely, I

682
00:36:40,280 --> 00:36:47,840
Speaker 2: wonder why that's amazing. Maybe maybe women should be directing

683
00:36:47,880 --> 00:36:51,799
Speaker 2: movies about women and their lives. Oh you think, yeah,

684
00:36:51,920 --> 00:36:52,520
Speaker 2: that should happen.

685
00:36:52,640 --> 00:36:55,560
Speaker 1: What that would look like more often constantly if it

686
00:36:55,560 --> 00:36:59,960
Speaker 1: took over the industry.

687
00:36:58,760 --> 00:37:03,640
Speaker 2: For interesting art would be created. So Patty Jenkins, you know,

688
00:37:04,000 --> 00:37:07,120
Speaker 2: she's the if you don't know her, she's the director

689
00:37:07,160 --> 00:37:09,279
Speaker 2: of the two Wonder Woman movies. I mean, that's the

690
00:37:09,280 --> 00:37:11,600
Speaker 2: most famous stuff she's done. She actually hasn't done a

691
00:37:11,680 --> 00:37:14,879
Speaker 2: ton of featur length films, but she started her career

692
00:37:14,920 --> 00:37:16,840
Speaker 2: as a camera operator and then she went to the

693
00:37:16,880 --> 00:37:21,000
Speaker 2: AFI to become a director. And I was reading this

694
00:37:21,239 --> 00:37:25,439
Speaker 2: article that was in Bust magazine a long time ago.

695
00:37:25,600 --> 00:37:29,040
Speaker 2: I feel like it was probably maybe ten years ago,

696
00:37:29,080 --> 00:37:33,279
Speaker 2: maybe maybe even earlier. I had to find it, you know,

697
00:37:33,440 --> 00:37:37,839
Speaker 2: on the wayback machine on the Internet archive, but basically

698
00:37:38,320 --> 00:37:41,440
Speaker 2: it said that, you know, after she graduated from the AFI,

699
00:37:42,120 --> 00:37:46,520
Speaker 2: Patty Jenkins met this independent producer guy and he had

700
00:37:46,600 --> 00:37:49,800
Speaker 2: made some kind of like low budget serial killer movies

701
00:37:50,080 --> 00:37:54,279
Speaker 2: in his career, and she mentioned to him, you know what,

702
00:37:54,400 --> 00:37:57,440
Speaker 2: you should make a movie about this woman, Eileen Warnos.

703
00:37:58,200 --> 00:38:02,080
Speaker 2: You know, because I gotta say, I think Patty Jenkins

704
00:38:02,120 --> 00:38:03,879
Speaker 2: might be like a little bit of a murder reno

705
00:38:04,040 --> 00:38:06,839
Speaker 2: just from what I've read. She likes your crime. And

706
00:38:07,560 --> 00:38:09,680
Speaker 2: she was at the time, was like, yeah, you know,

707
00:38:10,400 --> 00:38:12,839
Speaker 2: I'm fascinated by this woman Eileen Warnos who's in jail,

708
00:38:13,040 --> 00:38:15,239
Speaker 2: and I just have always been bothered by the way

709
00:38:15,280 --> 00:38:18,120
Speaker 2: that her story was presented. And the guy was like,

710
00:38:18,160 --> 00:38:20,400
Speaker 2: you know what, you should write a script about it,

711
00:38:20,440 --> 00:38:24,080
Speaker 2: because you're you know, you're new in Hollywood, and you know,

712
00:38:24,120 --> 00:38:26,680
Speaker 2: you should just write write a thing to get made.

713
00:38:27,040 --> 00:38:31,759
Speaker 2: So she did, and while Patty Jenkins was working on

714
00:38:31,800 --> 00:38:35,080
Speaker 2: the script, she actually wrote to Eileen Wars while she

715
00:38:35,160 --> 00:38:37,319
Speaker 2: was in jail and she was on death row, and

716
00:38:37,520 --> 00:38:40,320
Speaker 2: of course, you know, Eileen Warnos was kind of like, hmmm,

717
00:38:40,440 --> 00:38:42,480
Speaker 2: who's this person that's writing about me? Like this is

718
00:38:42,560 --> 00:38:46,400
Speaker 2: kind of weird, very weary, but then eventually they developed

719
00:38:46,480 --> 00:38:52,040
Speaker 2: a rapport and then the night before Eileen's execution, she

720
00:38:52,080 --> 00:38:57,319
Speaker 2: actually left Patty Jenkins all of her personal letters, and

721
00:38:57,600 --> 00:38:59,759
Speaker 2: I think Patty was really touched by that and said,

722
00:38:59,800 --> 00:39:02,680
Speaker 2: you know what, I feel this responsibility to like actually

723
00:39:02,680 --> 00:39:05,080
Speaker 2: direct this movie now, not just write it, but direct it,

724
00:39:05,120 --> 00:39:09,680
Speaker 2: because you know, like this, I bonded with this woman

725
00:39:09,800 --> 00:39:12,680
Speaker 2: that I'm writing about, and it just seems like the

726
00:39:12,719 --> 00:39:16,680
Speaker 2: right thing to do. So I kind of like that story.

727
00:39:17,120 --> 00:39:19,160
Speaker 1: Yeah, it's very organic, very organic.

728
00:39:19,480 --> 00:39:23,120
Speaker 2: Yeah, And to your early point about Charlie's throne, like,

729
00:39:23,560 --> 00:39:26,560
Speaker 2: so I will say this, I mean, I love her

730
00:39:26,600 --> 00:39:28,399
Speaker 2: so much. We just talked about this. I talked about

731
00:39:28,400 --> 00:39:32,840
Speaker 2: her at length in the Fury Road episode. It's funny

732
00:39:32,880 --> 00:39:37,240
Speaker 2: because I normally think that I do not turn towards

733
00:39:38,080 --> 00:39:44,480
Speaker 2: famous people like that, Like, I mean, she's an incredible, beautiful,

734
00:39:45,719 --> 00:39:51,680
Speaker 2: blonde Hollywood actress, right, I typically don't go towards that, right,

735
00:39:51,760 --> 00:39:55,799
Speaker 2: I like character directors and things of that nature. But

736
00:39:55,840 --> 00:39:57,919
Speaker 2: for some reason, I just always have really loved her.

737
00:39:58,120 --> 00:39:59,640
Speaker 2: And I think it's because she's more of an action

738
00:39:59,719 --> 00:40:02,080
Speaker 2: star and she kind of takes a lot of risks,

739
00:40:02,239 --> 00:40:05,400
Speaker 2: like with movies like this, and she was one of

740
00:40:05,400 --> 00:40:08,840
Speaker 2: the producers of the movie, and she really fought for

741
00:40:08,920 --> 00:40:10,880
Speaker 2: it to be made, and she was really like a

742
00:40:10,960 --> 00:40:13,440
Speaker 2: champion of the film, which I think is really great,

743
00:40:13,600 --> 00:40:16,359
Speaker 2: And now that I know more about her background, her

744
00:40:16,719 --> 00:40:18,960
Speaker 2: actual life story, it totally makes sense.

745
00:40:19,680 --> 00:40:19,839
Speaker 1: Right.

746
00:40:20,719 --> 00:40:25,719
Speaker 2: So, like I said, you know, she was amazing in

747
00:40:25,760 --> 00:40:27,799
Speaker 2: this film. She won the Oscar for it in two

748
00:40:27,800 --> 00:40:31,760
Speaker 2: thousand and four, So you know that, I don't want

749
00:40:31,800 --> 00:40:36,120
Speaker 2: to necessarily go into like the actual life of Eileen

750
00:40:36,120 --> 00:40:38,120
Speaker 2: Warner's and the crime because there's just so much out

751
00:40:38,200 --> 00:40:41,560
Speaker 2: there about it, and quite honestly, like we're not a

752
00:40:41,560 --> 00:40:45,520
Speaker 2: true crime podcast, so I'm not doing that. I have

753
00:40:45,680 --> 00:40:47,799
Speaker 2: seen a lot of other documentaries about her. I don't

754
00:40:47,800 --> 00:40:50,640
Speaker 2: know if y'all remember that Nick Broomfield documentary. I mean

755
00:40:50,719 --> 00:40:55,200
Speaker 2: that was really popular amongst you know, people that I knew,

756
00:40:55,239 --> 00:40:57,160
Speaker 2: like film people that I knew when it came out.

757
00:40:57,680 --> 00:40:59,640
Speaker 2: Actually that came out the same year as Monsters, So

758
00:41:00,280 --> 00:41:03,239
Speaker 2: Nick Broomfield, Wow, we got That's a whole other subject

759
00:41:03,480 --> 00:41:05,000
Speaker 2: like that again, a whole other pod.

760
00:41:05,000 --> 00:41:07,040
Speaker 1: I don't know much about him. I remember that that

761
00:41:07,080 --> 00:41:10,560
Speaker 1: I watched the documentary again after I watched the film,

762
00:41:10,560 --> 00:41:12,719
Speaker 1: this time for the pod, and I do not know

763
00:41:12,840 --> 00:41:15,839
Speaker 1: anything about him, but I have thoughts on that documentary.

764
00:41:16,239 --> 00:41:22,279
Speaker 2: He's a very contentious documentarian. He's provocative. He's he made

765
00:41:22,360 --> 00:41:26,759
Speaker 2: Curtain Courtney Okay, which is like the documentary that you

766
00:41:26,840 --> 00:41:31,160
Speaker 2: Know What to Do. It says something about somebody and

767
00:41:31,280 --> 00:41:34,319
Speaker 2: presents a side of that story that a lot of

768
00:41:34,320 --> 00:41:37,720
Speaker 2: people have issues with, right right, some people who don't

769
00:41:37,800 --> 00:41:40,000
Speaker 2: actually have issues with it. But it's like, you know,

770
00:41:40,719 --> 00:41:44,160
Speaker 2: his provocative. He's provocative and he makes you know, very

771
00:41:45,000 --> 00:41:48,839
Speaker 2: you know, bold documentaries and has done so for many,

772
00:41:48,880 --> 00:41:52,319
Speaker 2: many years. So yeah, that documentary exists. There's like a

773
00:41:52,360 --> 00:41:54,920
Speaker 2: couple other ones. So yeah, I mean, there is no

774
00:41:55,719 --> 00:41:58,680
Speaker 2: you can find information about Eileen. I will say that

775
00:41:59,400 --> 00:42:03,720
Speaker 2: you know, she was controversial, I think generally speaking because

776
00:42:04,800 --> 00:42:09,880
Speaker 2: of her crimes and her trauma. You cannot deny that

777
00:42:10,080 --> 00:42:14,359
Speaker 2: there was trauma in her life and that maybe there

778
00:42:14,360 --> 00:42:19,279
Speaker 2: were certain factors that led to what happened to her

779
00:42:19,320 --> 00:42:21,560
Speaker 2: and how she lived her life.

780
00:42:21,640 --> 00:42:23,399
Speaker 1: Right. Well, that to me is one of the more

781
00:42:23,440 --> 00:42:27,759
Speaker 1: interesting conversations about Eileen Warreno's like not just that she

782
00:42:28,040 --> 00:42:33,200
Speaker 1: was America's first female serial killer that we know of, right,

783
00:42:33,719 --> 00:42:37,520
Speaker 1: but that the narrative of what is the importance of

784
00:42:37,600 --> 00:42:43,080
Speaker 1: mental health when you're looking to execute someone or when

785
00:42:43,120 --> 00:42:47,759
Speaker 1: you're looking to punish someone for a crime, and kind

786
00:42:47,760 --> 00:42:51,000
Speaker 1: of what duty do you have to address or acknowledge

787
00:42:51,160 --> 00:42:54,320
Speaker 1: that their mental health is suffering or that they need

788
00:42:55,080 --> 00:42:59,120
Speaker 1: They clearly have issues that contributed to the crimes they

789
00:42:59,120 --> 00:43:02,239
Speaker 1: committed as an excuse, but just it brings up an

790
00:43:02,320 --> 00:43:07,719
Speaker 1: interesting for me, an interesting narrative about what do we

791
00:43:07,800 --> 00:43:12,720
Speaker 1: do in those extreme situations or those intent And that's honestly,

792
00:43:12,760 --> 00:43:16,560
Speaker 1: it's become part of what I see is more of

793
00:43:16,600 --> 00:43:21,760
Speaker 1: a standard discussion now, yep, discussion practice now when talking

794
00:43:21,800 --> 00:43:26,880
Speaker 1: about prisoner form, abolition and prisoner's rights, is that mental

795
00:43:26,880 --> 00:43:29,080
Speaker 1: health has entered the conversation in a way that it

796
00:43:29,160 --> 00:43:31,800
Speaker 1: absolutely did not when I when I lead more nos

797
00:43:31,920 --> 00:43:35,160
Speaker 1: was you know, being tried and convicted for her crimes.

798
00:43:35,080 --> 00:43:37,560
Speaker 2: One hundred percent. I totally agree with you on that.

799
00:43:38,239 --> 00:43:40,959
Speaker 2: I think that, yeah, this situation happened in an era

800
00:43:41,120 --> 00:43:46,600
Speaker 2: where there wasn't there weren't people who thought that that

801
00:43:46,680 --> 00:43:49,160
Speaker 2: people who committed crimes or that went to Jill were

802
00:43:49,200 --> 00:43:52,920
Speaker 2: human beings honestly, So it's like, you know, it doesn't

803
00:43:52,960 --> 00:43:57,120
Speaker 2: surprise me the way that things had turned out, unfortunately,

804
00:43:57,360 --> 00:44:00,560
Speaker 2: do you know what I mean? Yeah, And I feel like, yeah,

805
00:44:00,760 --> 00:44:06,440
Speaker 2: it's so complicated, Like isn't like, isn't this world so

806
00:44:06,640 --> 00:44:10,680
Speaker 2: complicated generally that like it's hard for me now being

807
00:44:10,719 --> 00:44:12,879
Speaker 2: the age that I'm at to be like super black

808
00:44:12,880 --> 00:44:14,919
Speaker 2: and white about stuff like this, Like I just can't

809
00:44:15,000 --> 00:44:17,840
Speaker 2: do it. Like I'm just like there, you know, I

810
00:44:19,160 --> 00:44:22,520
Speaker 2: don't know, Like I you see and hear about the

811
00:44:22,520 --> 00:44:25,920
Speaker 2: things that she experienced, and you're just like, I mean.

812
00:44:27,600 --> 00:44:31,920
Speaker 1: No care, no care, no attention. At any point in

813
00:44:31,960 --> 00:44:35,680
Speaker 1: her life there was something so extreme. And again we're

814
00:44:35,680 --> 00:44:38,800
Speaker 1: not a true crime podcast, but examples that I think

815
00:44:39,200 --> 00:44:41,960
Speaker 1: we're not in the film, but that but that I

816
00:44:42,040 --> 00:44:45,000
Speaker 1: know about her life from watching other things about her life,

817
00:44:46,000 --> 00:44:48,959
Speaker 1: just the fact that in the film, and this maybe

818
00:44:48,960 --> 00:44:50,920
Speaker 1: comes from the fact that Patty Jenkins had access to

819
00:44:50,920 --> 00:44:54,040
Speaker 1: those letters, which I didn't know. There's kind of occasionally

820
00:44:54,080 --> 00:44:59,439
Speaker 1: this this voiceover from the character from Aileen Wore knows

821
00:44:59,440 --> 00:45:03,360
Speaker 1: about her life and filling in kind of gaps very casually.

822
00:45:03,520 --> 00:45:07,640
Speaker 1: At one point, she says, I was around thirteen. Yeah,

823
00:45:07,680 --> 00:45:09,560
Speaker 1: it must have been thirteen, because it's right after I

824
00:45:09,600 --> 00:45:13,000
Speaker 1: gave baby up for adoption. And you're like, are you

825
00:45:13,120 --> 00:45:16,399
Speaker 1: fucking kidding me? That is pure child abuse? Yeah, that

826
00:45:16,440 --> 00:45:21,200
Speaker 1: she was sexually assaulted, got pregnant, had the baby, gave

827
00:45:21,239 --> 00:45:23,240
Speaker 1: it up for adoption by the time she was thirteen,

828
00:45:23,960 --> 00:45:27,759
Speaker 1: and because of that, at thirteen years old, she was

829
00:45:27,840 --> 00:45:30,440
Speaker 1: kicked out of her house and lived in the woods

830
00:45:30,480 --> 00:45:34,759
Speaker 1: in Michigan in the cold for two fucking years. Yeah, Like,

831
00:45:34,920 --> 00:45:37,839
Speaker 1: come on, you can't ignore that part of the conversation

832
00:45:38,600 --> 00:45:42,239
Speaker 1: in considering how someone becomes this kind of person, this

833
00:45:42,400 --> 00:45:45,279
Speaker 1: ferul this like pushed to the brink. Yeah, and that's

834
00:45:45,320 --> 00:45:48,520
Speaker 1: only one example of what happened to her in her life, right.

835
00:45:48,400 --> 00:45:52,040
Speaker 2: And what I also think too to that point, and

836
00:45:52,080 --> 00:45:54,400
Speaker 2: it is something that the I feel like this movie

837
00:45:55,600 --> 00:46:02,480
Speaker 2: really hones in on is the desk of poor people. Yes,

838
00:46:02,719 --> 00:46:05,480
Speaker 2: and people who have little to no skills in the

839
00:46:05,560 --> 00:46:08,880
Speaker 2: job market and or in capitalism. Let's just put it

840
00:46:09,000 --> 00:46:17,240
Speaker 2: generally right that that is a factor and how people,

841
00:46:18,200 --> 00:46:21,280
Speaker 2: you know, where they end up in terms of something

842
00:46:21,320 --> 00:46:23,960
Speaker 2: like this, you know, and and that is I think

843
00:46:24,040 --> 00:46:26,000
Speaker 2: too what the movie, Like I said, the movie does

844
00:46:26,000 --> 00:46:30,400
Speaker 2: a really good job of bringing that point up because

845
00:46:31,239 --> 00:46:36,359
Speaker 2: Eileen Warnos was a sex worker because of those conditions

846
00:46:36,719 --> 00:46:39,600
Speaker 2: that she faced in her life, like her economic situations,

847
00:46:39,600 --> 00:46:42,319
Speaker 2: her mental health, like things like that. You know, Uh,

848
00:46:43,440 --> 00:46:45,839
Speaker 2: you know, it was like a perfect storm where bad

849
00:46:45,880 --> 00:46:47,960
Speaker 2: things could have happened for her and then you know

850
00:46:48,000 --> 00:46:51,840
Speaker 2: her reactions to those things is you know what the

851
00:46:51,880 --> 00:46:53,760
Speaker 2: movie's about, ultimately.

852
00:46:53,320 --> 00:46:56,279
Speaker 1: Absolutely and it walks such a I think that this

853
00:46:56,360 --> 00:47:00,719
Speaker 1: movie I loved rewatching it again because like it gives

854
00:47:00,760 --> 00:47:03,160
Speaker 1: me a different emotional response because, like you said, I

855
00:47:03,160 --> 00:47:05,120
Speaker 1: think as I get older and pay attention to more

856
00:47:05,160 --> 00:47:07,759
Speaker 1: things and things become less black and white. I do

857
00:47:07,840 --> 00:47:11,759
Speaker 1: think the movie does an incredible job and this is

858
00:47:11,840 --> 00:47:15,680
Speaker 1: difficult to do, but it does an incredible job of

859
00:47:15,719 --> 00:47:23,400
Speaker 1: moving you through sympathy, empathy, and just being disgusted yeah

860
00:47:23,440 --> 00:47:27,400
Speaker 1: by what you're seeing yep. And it's there are moments

861
00:47:27,400 --> 00:47:29,239
Speaker 1: where you feel all three things at the same time.

862
00:47:30,000 --> 00:47:30,880
Speaker 1: Yea for Eileen.

863
00:47:31,600 --> 00:47:34,160
Speaker 2: Yeah, it's very It's very textured in that way, which

864
00:47:34,200 --> 00:47:37,800
Speaker 2: is what I don't know good art should be doing.

865
00:47:37,960 --> 00:47:41,640
Speaker 2: It should very you know, very textured and with a

866
00:47:41,640 --> 00:47:45,640
Speaker 2: lot of different angles, right, And what I really like

867
00:47:45,640 --> 00:47:47,640
Speaker 2: about this movie so like I don't know about a

868
00:47:47,680 --> 00:47:50,160
Speaker 2: one sense synopsis, I will just say to you that

869
00:47:51,239 --> 00:47:54,920
Speaker 2: this movie is generally about the life of Eileen Warno's

870
00:47:55,040 --> 00:47:58,200
Speaker 2: when she left Michigan, she moves to Florida. She's a

871
00:47:58,239 --> 00:48:01,920
Speaker 2: sex worker. She's calling herself at this moment, and she

872
00:48:02,080 --> 00:48:06,560
Speaker 2: meets somebody. She meets a woman named Selby at a

873
00:48:06,600 --> 00:48:08,919
Speaker 2: gay bar very early on in the movie. Selby's played

874
00:48:08,920 --> 00:48:13,560
Speaker 2: by Christina Ricci. Now, this woman was not a real person.

875
00:48:14,320 --> 00:48:17,759
Speaker 2: It was kind of a inspired by person, somebody who

876
00:48:17,840 --> 00:48:21,880
Speaker 2: was actually in Eileen Warnos's life at one point. To me,

877
00:48:23,440 --> 00:48:26,040
Speaker 2: this is what makes this movie super fascinating is that

878
00:48:26,080 --> 00:48:31,239
Speaker 2: it's about the relationship and it's about like her as

879
00:48:31,280 --> 00:48:35,759
Speaker 2: a person, Eileen Warnos as a person interacting with this

880
00:48:36,040 --> 00:48:39,439
Speaker 2: love that she has. And then again like kind of

881
00:48:39,640 --> 00:48:44,440
Speaker 2: the outside forces of her economic scenario and her you know,

882
00:48:44,520 --> 00:48:47,279
Speaker 2: in her the line of work that she's in, you know,

883
00:48:47,520 --> 00:48:51,520
Speaker 2: coming in and out of this relationship. Right because at

884
00:48:51,560 --> 00:48:55,040
Speaker 2: the beginning of the film, like the Christina Ricci character Selby,

885
00:48:55,600 --> 00:48:59,000
Speaker 2: she's essentially closeted, if I'm not mistaken, Like she's no

886
00:48:59,120 --> 00:49:02,200
Speaker 2: completely living at her family's house, who are completely like

887
00:49:02,200 --> 00:49:05,880
Speaker 2: in denial of who she is. You know, they're religious,

888
00:49:05,920 --> 00:49:09,520
Speaker 2: so her whole thing is totally screwed up because of religion. Like,

889
00:49:09,960 --> 00:49:12,360
Speaker 2: you know, this is to me, I feel like a

890
00:49:12,480 --> 00:49:16,160
Speaker 2: very Southern tale, like in that way. But at the

891
00:49:16,200 --> 00:49:18,640
Speaker 2: same time, you know, Selby's kind of obsessed with like

892
00:49:18,800 --> 00:49:22,399
Speaker 2: romance and love. She's got kind of this like innocence.

893
00:49:23,960 --> 00:49:27,960
Speaker 2: She's kind of reserved and mousey and this kind of stuff. Now,

894
00:49:28,880 --> 00:49:31,160
Speaker 2: we got to talk about Christina Ricci in terms of

895
00:49:31,160 --> 00:49:36,000
Speaker 2: playing his character, right, because I've read several different opinions

896
00:49:36,040 --> 00:49:36,319
Speaker 2: on it.

897
00:49:36,680 --> 00:49:40,960
Speaker 1: Okay, I mean, you know, I don't think it was good.

898
00:49:41,120 --> 00:49:42,920
Speaker 1: I do not think she and I don't think it's

899
00:49:42,960 --> 00:49:45,399
Speaker 1: because Christina Ricci is a bad actress. I like her

900
00:49:45,760 --> 00:49:49,200
Speaker 1: so much and so many things. This for some reason,

901
00:49:49,280 --> 00:49:51,879
Speaker 1: maybe because it wasn't based on a real character when

902
00:49:51,960 --> 00:49:54,200
Speaker 1: so many of the other people in the movie were.

903
00:49:54,840 --> 00:49:57,080
Speaker 1: I think it was probably left to her to decide

904
00:49:57,160 --> 00:49:59,800
Speaker 1: or left to the production to decide, like who should

905
00:49:59,800 --> 00:50:03,719
Speaker 1: this character be? And they kind of aired on the

906
00:50:03,760 --> 00:50:07,560
Speaker 1: side of making her to me a little bit too selfish,

907
00:50:07,680 --> 00:50:08,920
Speaker 1: braddy and childlike.

908
00:50:09,360 --> 00:50:11,799
Speaker 2: Yes, I have to I think I agree with that.

909
00:50:12,040 --> 00:50:14,000
Speaker 1: Yeah, So there were so many times where I'm like,

910
00:50:14,360 --> 00:50:16,920
Speaker 1: and again, it does enhance the love story and looking

911
00:50:16,960 --> 00:50:21,680
Speaker 1: at Eileen Wrenos and Eileen trying to figure out how

912
00:50:21,680 --> 00:50:24,360
Speaker 1: to be a person in love, let alone be in

913
00:50:24,360 --> 00:50:26,560
Speaker 1: love with a woman, which she'd never would never happen

914
00:50:26,560 --> 00:50:30,080
Speaker 1: to her before, and then also being a caretaker, which

915
00:50:30,080 --> 00:50:31,040
Speaker 1: she'd never done before.

916
00:50:31,600 --> 00:50:32,520
Speaker 2: So I think it.

917
00:50:32,640 --> 00:50:36,160
Speaker 1: Served the purpose of amplifying the Aileen Warno's character, But

918
00:50:36,320 --> 00:50:38,800
Speaker 1: I was so annoyed with the Ville.

919
00:50:40,360 --> 00:50:46,440
Speaker 2: Yeah there, I swear. I go back and forth between

920
00:50:47,120 --> 00:50:52,800
Speaker 2: whether or not I think it's cringey or kind of good.

921
00:50:53,040 --> 00:50:55,440
Speaker 2: Like I'm like, is this good? Is this good? Is

922
00:50:55,440 --> 00:50:57,960
Speaker 2: it good that she is the most annoying person on

923
00:50:58,000 --> 00:51:03,160
Speaker 2: the planet? You know, I can't tell? And then and

924
00:51:03,160 --> 00:51:08,279
Speaker 2: then other times I'm like, but like, well, you know

925
00:51:08,320 --> 00:51:11,080
Speaker 2: what I mean, like like this is too weird for me,

926
00:51:11,320 --> 00:51:12,920
Speaker 2: Like it just felt weird to me. And so I

927
00:51:12,920 --> 00:51:14,839
Speaker 2: don't know. I go back and forth about it all

928
00:51:14,880 --> 00:51:17,479
Speaker 2: the time, but I totally see And I got to say,

929
00:51:17,520 --> 00:51:21,600
Speaker 2: like many people I have named that as a criticism

930
00:51:21,640 --> 00:51:25,319
Speaker 2: of the film, if anything, is that that character right,

931
00:51:25,800 --> 00:51:28,239
Speaker 2: and that Christina Ricci may not have played it as

932
00:51:28,280 --> 00:51:32,040
Speaker 2: well as she's capable of in other films, So like, yeah,

933
00:51:32,360 --> 00:51:35,080
Speaker 2: you know, I I totally hear you on this.

934
00:51:36,120 --> 00:51:38,680
Speaker 1: And it's strange too, because it does kind of at

935
00:51:38,719 --> 00:51:42,720
Speaker 1: times pull you out of the action in a frustrating way.

936
00:51:43,719 --> 00:51:48,560
Speaker 1: But again does its job of amplifying what Eileen may

937
00:51:48,600 --> 00:51:50,719
Speaker 1: have been thinking of in that moment or struggling with,

938
00:51:50,760 --> 00:51:52,759
Speaker 1: because it pulls you out of the action enough when

939
00:51:53,040 --> 00:51:55,360
Speaker 1: as a person who does not have the same mental

940
00:51:55,360 --> 00:51:58,799
Speaker 1: health issues Eileen had, it's very clear to be like,

941
00:51:58,960 --> 00:52:02,040
Speaker 1: this is a freeloader. This is someone who doesn't care

942
00:52:02,040 --> 00:52:03,920
Speaker 1: about you. This is someone who might care about you,

943
00:52:03,960 --> 00:52:05,840
Speaker 1: but is doing it in a way that is harming you.

944
00:52:06,600 --> 00:52:09,120
Speaker 1: Get away. So it does serve that purpose of us

945
00:52:09,239 --> 00:52:12,880
Speaker 1: kind of again creating some empathy for Eileen. But it's

946
00:52:13,120 --> 00:52:16,240
Speaker 1: just so hard to watch certain scenes.

947
00:52:16,320 --> 00:52:20,080
Speaker 2: Right and and and this being true at the same

948
00:52:20,160 --> 00:52:24,880
Speaker 2: time as like, there is a moment where you're like,

949
00:52:25,840 --> 00:52:30,640
Speaker 2: you understand, I think as a viewer that Selby is

950
00:52:30,680 --> 00:52:35,920
Speaker 2: not Lee, And and maybe thinks Lee is this like

951
00:52:35,920 --> 00:52:38,480
Speaker 2: like her hero in a way that she's everything that

952
00:52:38,520 --> 00:52:44,319
Speaker 2: she's not. Like Lee is brash, loud, you know, truly herself,

953
00:52:45,680 --> 00:52:49,719
Speaker 2: you know, and lives life in a way that she

954
00:52:49,840 --> 00:52:53,400
Speaker 2: does it like Selby is this, like like she's fucking

955
00:52:53,760 --> 00:52:59,040
Speaker 2: sitting in her shitty white wicker bedroom at her aunt's house,

956
00:52:59,480 --> 00:53:02,560
Speaker 2: like wishing that she could find romance, you know.

957
00:53:02,480 --> 00:53:02,839
Speaker 1: What I mean.

958
00:53:02,840 --> 00:53:03,400
Speaker 2: But she's not.

959
00:53:04,520 --> 00:53:05,680
Speaker 1: She's not active at all.

960
00:53:05,840 --> 00:53:08,759
Speaker 2: She's not active. And Lee is like the personification of

961
00:53:08,800 --> 00:53:12,080
Speaker 2: like a fucking power lesbian that she wants to be,

962
00:53:12,200 --> 00:53:14,719
Speaker 2: you know, she's like being like and so in that

963
00:53:14,760 --> 00:53:17,560
Speaker 2: way you're like, oh, she's like enamorative Lee because she

964
00:53:17,719 --> 00:53:19,360
Speaker 2: you know, Lee is everything she isn't. But at the

965
00:53:19,360 --> 00:53:22,040
Speaker 2: same time, there's that question too of the economics of

966
00:53:22,080 --> 00:53:25,560
Speaker 2: their relationship where it's like, that's why Lee continues to

967
00:53:25,640 --> 00:53:28,799
Speaker 2: do sex work because she feels the pressure of like

968
00:53:29,239 --> 00:53:31,440
Speaker 2: funding their relationship.

969
00:53:31,040 --> 00:53:36,000
Speaker 1: Right absolutely, And it's one of the most powerful scenes.

970
00:53:36,200 --> 00:53:41,560
Speaker 1: Has nothing to do with the crime to me that happens.

971
00:53:41,880 --> 00:53:46,040
Speaker 1: There's this stretch where you're watching Aleen trying kind of

972
00:53:46,040 --> 00:53:48,839
Speaker 1: trying to go straight. She's trying to apply for jobs. Oh,

973
00:53:48,960 --> 00:53:51,919
Speaker 1: she's being really honest with people about Look, I don't

974
00:53:51,960 --> 00:53:54,319
Speaker 1: have a lot of experience. I don't have you know, yes,

975
00:53:54,400 --> 00:53:56,680
Speaker 1: I have a felony on my record. Like just watching

976
00:53:56,719 --> 00:54:00,080
Speaker 1: her struggle and be met with different kinds of resists.

977
00:54:00,320 --> 00:54:02,840
Speaker 1: So sometimes people are kind, but they're like, what, we

978
00:54:02,880 --> 00:54:05,480
Speaker 1: also can't hire you. Sometimes people just want to push

979
00:54:05,480 --> 00:54:07,880
Speaker 1: her through the system, like all right, all you're going

980
00:54:07,920 --> 00:54:09,640
Speaker 1: to get is factory work, and we don't have factory

981
00:54:09,640 --> 00:54:11,120
Speaker 1: work right now because you have fell me on your

982
00:54:11,160 --> 00:54:13,960
Speaker 1: record not listening to her. Then you have people the

983
00:54:13,960 --> 00:54:18,120
Speaker 1: one guy who's just outright fucking cruel to her. And

984
00:54:18,320 --> 00:54:22,880
Speaker 1: just so it's not lost on the viewer, shouldn't be

985
00:54:22,920 --> 00:54:28,520
Speaker 1: lost on the viewer that yes, people have things happen

986
00:54:28,560 --> 00:54:30,960
Speaker 1: in their life that put them in a disadvantage. We

987
00:54:31,080 --> 00:54:33,120
Speaker 1: do not make it easy for them to crawl out

988
00:54:33,160 --> 00:54:36,799
Speaker 1: of that. Yeah, And so watching someone struggle with that

989
00:54:37,040 --> 00:54:39,520
Speaker 1: in this movie, and then again seeing her push to

990
00:54:39,560 --> 00:54:44,399
Speaker 1: a point where she really has no options other than

991
00:54:44,440 --> 00:54:48,640
Speaker 1: to return to sex work, right And I mean obviously

992
00:54:48,719 --> 00:54:51,200
Speaker 1: she did have a choice whether or not to murder people,

993
00:54:51,280 --> 00:54:54,600
Speaker 1: but she but to watch her be pushed from her

994
00:54:54,680 --> 00:54:57,720
Speaker 1: just trying to find someone to give her a small

995
00:54:57,960 --> 00:55:01,560
Speaker 1: chance and then not getting it, it just it was

996
00:55:01,680 --> 00:55:03,440
Speaker 1: it's heartbreaking to me. That's one of the more more

997
00:55:03,520 --> 00:55:04,760
Speaker 1: powerful scenes in the film.

998
00:55:05,000 --> 00:55:08,760
Speaker 2: Oh, it's absolutely. I mean when she you know, basically

999
00:55:08,760 --> 00:55:11,040
Speaker 2: has to go put on her job interview outfit, which

1000
00:55:11,080 --> 00:55:13,000
Speaker 2: is the only thing that she can come up with,

1001
00:55:13,120 --> 00:55:15,799
Speaker 2: you know, and then she has to like you know,

1002
00:55:15,920 --> 00:55:20,200
Speaker 2: basically like talk to men like that, Like she has

1003
00:55:20,280 --> 00:55:22,640
Speaker 2: to essentially beg for a job and a guy treats

1004
00:55:22,640 --> 00:55:24,319
Speaker 2: her like shit. I mean, this is what I mean.

1005
00:55:24,360 --> 00:55:27,080
Speaker 2: It's very textured in terms of like what she is

1006
00:55:27,120 --> 00:55:30,880
Speaker 2: experiencing with these men, right Because then I think the

1007
00:55:30,920 --> 00:55:32,680
Speaker 2: most famous, one of the most famous scenes is an

1008
00:55:32,680 --> 00:55:35,960
Speaker 2: incredibly violent sequence where you know, she's on a job

1009
00:55:36,000 --> 00:55:41,440
Speaker 2: and she is basically viciously attacked by this absolute psychopath

1010
00:55:42,760 --> 00:55:49,600
Speaker 2: client that she has, and she snaps and you're just like, Okay, well,

1011
00:55:51,000 --> 00:55:53,279
Speaker 2: can you blame her? That's kind of the feeling that

1012
00:55:53,320 --> 00:55:55,359
Speaker 2: I had when I watched that part, as like, yeah,

1013
00:55:55,400 --> 00:55:58,160
Speaker 2: can you blame her for anything else that's happening right now?

1014
00:55:58,320 --> 00:56:02,440
Speaker 2: After this? Like it's very like I said, it's a

1015
00:56:02,560 --> 00:56:05,000
Speaker 2: very kind of complicated film in that way, her life

1016
00:56:05,480 --> 00:56:07,800
Speaker 2: in reality was very complicated, and I know people have

1017
00:56:07,840 --> 00:56:10,120
Speaker 2: a lot of opinions about it, so let's just put

1018
00:56:10,120 --> 00:56:13,000
Speaker 2: that out there, like at the end of the day, though,

1019
00:56:14,080 --> 00:56:17,279
Speaker 2: like this, I think the reason why I picked this

1020
00:56:17,320 --> 00:56:20,440
Speaker 2: movie for the theme is because we are talking about, like,

1021
00:56:20,760 --> 00:56:24,280
Speaker 2: you know, women, and the first of all, this movie

1022
00:56:24,719 --> 00:56:26,560
Speaker 2: had to have been made by a woman. It probably

1023
00:56:26,560 --> 00:56:28,400
Speaker 2: had to have been made about Patty Jenkins because she

1024
00:56:28,440 --> 00:56:30,919
Speaker 2: had such a close relationship at the end of it

1025
00:56:30,960 --> 00:56:35,440
Speaker 2: with Eileen, And I mean it is basically like Charlie's

1026
00:56:35,719 --> 00:56:38,600
Speaker 2: like it's like her signature role, like she'll never be

1027
00:56:38,719 --> 00:56:41,439
Speaker 2: forgotten for this, and I think it hits so many

1028
00:56:41,600 --> 00:56:46,239
Speaker 2: notes really well. I absolutely fucking love this movie. Like

1029
00:56:46,320 --> 00:56:49,120
Speaker 2: every time I see it, I like it a little more.

1030
00:56:49,200 --> 00:56:52,399
Speaker 2: Even I feel like, who, like whatever, like I said,

1031
00:56:52,400 --> 00:56:56,160
Speaker 2: whatever instincts or whatever that Charlie's channeling while she's in

1032
00:56:56,200 --> 00:56:58,600
Speaker 2: this character. I mean, you just like literally can't think

1033
00:56:59,520 --> 00:57:02,439
Speaker 2: that she is not that person. I'm just like, how

1034
00:57:02,560 --> 00:57:04,720
Speaker 2: is it? How is she doing it? It's it's really

1035
00:57:05,080 --> 00:57:09,040
Speaker 2: an incredible transformation. That's just not me saying it because

1036
00:57:09,120 --> 00:57:11,319
Speaker 2: she won an Oscar for it. That's like, no, what

1037
00:57:11,360 --> 00:57:14,279
Speaker 2: I actually think. And like, yeah, I mean I love

1038
00:57:14,360 --> 00:57:17,880
Speaker 2: movies like this because they're complicated, because you know, the

1039
00:57:18,000 --> 00:57:21,640
Speaker 2: crime is complicated, the women are complicated.

1040
00:57:21,680 --> 00:57:25,040
Speaker 1: I mean, it's just what you and like you said,

1041
00:57:25,080 --> 00:57:28,080
Speaker 1: it's it's what art is supposed to do. Yeah, and

1042
00:57:29,840 --> 00:57:33,160
Speaker 1: what it's supposed to it's supposed to evoke strong emotions,

1043
00:57:33,280 --> 00:57:36,439
Speaker 1: you know, it's not just meant to be a passive thing.

1044
00:57:37,760 --> 00:57:40,080
Speaker 1: So I just I love and even though the movie

1045
00:57:40,120 --> 00:57:42,800
Speaker 1: is violent, violent, violent, violent in so many scenes like

1046
00:57:42,840 --> 00:57:45,240
Speaker 1: that scene you were just talking about. I fast forward

1047
00:57:45,280 --> 00:57:47,120
Speaker 1: through it every time. I can't watch it.

1048
00:57:47,120 --> 00:57:49,320
Speaker 2: It's hard, and it's gotten to the point where, I mean,

1049
00:57:49,560 --> 00:57:51,800
Speaker 2: I feel bad for saying this about Is his name

1050
00:57:51,880 --> 00:57:56,160
Speaker 2: Lead Turgan, Yeah, yeah, the actor, because he's been in

1051
00:57:56,240 --> 00:57:58,720
Speaker 2: so many things. I mean, so many things are not this.

1052
00:57:59,160 --> 00:58:02,080
Speaker 2: But I mean it's like when you see him, you're like, god,

1053
00:58:02,160 --> 00:58:06,640
Speaker 2: he is so intensely bad. They were just like, he's

1054
00:58:06,640 --> 00:58:08,600
Speaker 2: not that person. He's not that person exactly.

1055
00:58:08,720 --> 00:58:10,720
Speaker 1: It's the talk yourself bad, Like, no, he's just playing

1056
00:58:10,720 --> 00:58:14,120
Speaker 1: a boyfriend right now. Ye, it's so good in that role.

1057
00:58:14,440 --> 00:58:17,000
Speaker 1: But it is. It's hard to take. It's hard to watch.

1058
00:58:17,440 --> 00:58:21,320
Speaker 1: But I appreciate this movie more and more, especially because,

1059
00:58:21,360 --> 00:58:23,200
Speaker 1: like you said, they could have made it just something

1060
00:58:23,280 --> 00:58:26,919
Speaker 1: that was a vanity project. It could have been a joke,

1061
00:58:27,480 --> 00:58:29,920
Speaker 1: and I think they did. They told a real story

1062
00:58:30,440 --> 00:58:32,439
Speaker 1: and gave and gave a real point of view, even

1063
00:58:32,480 --> 00:58:37,440
Speaker 1: if that point of view was that, yes, this is

1064
00:58:37,480 --> 00:58:42,280
Speaker 1: a monster, but consider how she became a monster. I

1065
00:58:42,400 --> 00:58:44,200
Speaker 1: like that it had a point of view. It wasn't

1066
00:58:44,240 --> 00:58:48,160
Speaker 1: just a beat by beat news story kind of situation.

1067
00:58:48,320 --> 00:58:51,520
Speaker 1: It wasn't trying to excuse her behavior. It just kind

1068
00:58:51,520 --> 00:58:53,680
Speaker 1: of lets It's one of those movies that let's the

1069
00:58:53,680 --> 00:58:56,040
Speaker 1: audience decide how to feel, yeah.

1070
00:58:55,840 --> 00:58:58,680
Speaker 2: And then it hones it on this like interpersonal relationship

1071
00:58:58,680 --> 00:59:01,720
Speaker 2: that she had yea that I think told a lot

1072
00:59:01,800 --> 00:59:05,600
Speaker 2: about like her circumstance and the ways that she lived

1073
00:59:05,600 --> 00:59:06,200
Speaker 2: her life.

1074
00:59:07,480 --> 00:59:09,280
Speaker 1: Beautiful. It's a beautiful movie, me.

1075
00:59:09,440 --> 00:59:11,600
Speaker 2: I totally agree.

1076
00:59:16,200 --> 00:59:19,560
Speaker 1: So my film for our theme, sisters are Doing It

1077
00:59:19,600 --> 00:59:23,880
Speaker 1: for Themselves was released in two thousand and two. The

1078
00:59:23,880 --> 00:59:27,720
Speaker 1: screenplays by Leanna Dognini and Lynn Ramsey. It was directed

1079
00:59:27,720 --> 00:59:31,920
Speaker 1: by Lynn Ramsey. My movie is Morvern Collar Well I

1080
00:59:32,000 --> 00:59:34,520
Speaker 1: do books myself. It's got a lot to offer me.

1081
00:59:35,600 --> 00:59:40,920
Speaker 1: I fucking love this movie. I fucking love Lynn Ramsey.

1082
00:59:40,880 --> 00:59:41,080
Speaker 2: Yeah.

1083
00:59:41,120 --> 00:59:44,680
Speaker 1: First first found Lynn Ramsey through Rat Catcher, which came

1084
00:59:44,720 --> 00:59:48,120
Speaker 1: out in nineteen ninety nine, but she's also gone on

1085
00:59:48,200 --> 00:59:50,600
Speaker 1: to do We Need to Talk About Kevin from twenty

1086
00:59:50,640 --> 00:59:53,680
Speaker 1: eleven You Will Never Really Here, and she's working on

1087
00:59:53,720 --> 00:59:57,040
Speaker 1: a pretty intense, cool movie right now, it seems from

1088
00:59:57,200 --> 01:00:01,760
Speaker 1: what I've read. But Lynn Ramsey is an incredible director.

1089
01:00:02,200 --> 01:00:08,280
Speaker 1: She's originally from Glasgow, Scotland, and is just so thoughtful

1090
01:00:08,400 --> 01:00:14,440
Speaker 1: and beautiful and has a real organic way into storytelling

1091
01:00:15,400 --> 01:00:20,040
Speaker 1: that to me, completely catches you off guard. And I

1092
01:00:20,160 --> 01:00:22,000
Speaker 1: like when she kind of starts from a place in

1093
01:00:22,000 --> 01:00:25,560
Speaker 1: this film, especially, she starts from a place of not

1094
01:00:25,640 --> 01:00:29,000
Speaker 1: wanting you to know what's going on, so she's instantly,

1095
01:00:30,040 --> 01:00:33,920
Speaker 1: instantly puts you off kilter with this film. My one

1096
01:00:33,960 --> 01:00:38,240
Speaker 1: sentence synopsis of Marven Koller is, after her partner dies

1097
01:00:38,280 --> 01:00:41,480
Speaker 1: by suicide, a young woman puts her name on his

1098
01:00:41,840 --> 01:00:45,520
Speaker 1: last novel, submits it to a publisher, and changes her

1099
01:00:45,560 --> 01:00:51,120
Speaker 1: life perfect. So again the beginning of this movie, and

1100
01:00:51,160 --> 01:00:54,600
Speaker 1: I highly recommend watching as many Lynn Ramsey movies as

1101
01:00:54,600 --> 01:00:58,080
Speaker 1: you can. She is an incredible director. This might be

1102
01:00:58,120 --> 01:01:00,640
Speaker 1: one of my favorites of her film films, even though

1103
01:01:00,680 --> 01:01:03,840
Speaker 1: again I really love Ratcatcher, but this might be probably

1104
01:01:03,880 --> 01:01:07,400
Speaker 1: my favorite of her films. And in the beginning of

1105
01:01:07,440 --> 01:01:10,560
Speaker 1: the movie, you have no fucking idea what's going on

1106
01:01:10,600 --> 01:01:13,800
Speaker 1: for about twenty minutes, yeah, which is a brave thing

1107
01:01:13,840 --> 01:01:18,000
Speaker 1: to do nowadays, even back then, like even back a

1108
01:01:18,040 --> 01:01:20,800
Speaker 1: brave thing to do to be like, I ain't gonna

1109
01:01:20,800 --> 01:01:24,240
Speaker 1: tell you what's happening here. So there's two people laying

1110
01:01:24,240 --> 01:01:27,320
Speaker 1: on a floor in a small apartment, you know, small,

1111
01:01:27,360 --> 01:01:30,920
Speaker 1: sparse apartment. One of them seems to be clearly dead,

1112
01:01:31,000 --> 01:01:35,360
Speaker 1: but when you first zoom into these shots, it's possible

1113
01:01:35,400 --> 01:01:38,680
Speaker 1: that both of them are dead. And then Morvern caller

1114
01:01:38,840 --> 01:01:44,280
Speaker 1: starts moving. So then after we realize, okay, one person

1115
01:01:44,400 --> 01:01:47,439
Speaker 1: is alive, now we're not sure how this guy died.

1116
01:01:47,480 --> 01:01:50,880
Speaker 1: Does she kill him? What's going on? Like that is

1117
01:01:50,960 --> 01:01:54,760
Speaker 1: left in a very ubiquitous state for at least seven minutes.

1118
01:01:55,160 --> 01:01:57,200
Speaker 2: Yeah, yeah, exactly.

1119
01:01:56,880 --> 01:02:01,760
Speaker 1: As she's just walking around the apartment kind of like

1120
01:02:02,080 --> 01:02:05,120
Speaker 1: kind of realizing that this guy is dead, and you're,

1121
01:02:05,120 --> 01:02:07,280
Speaker 1: again you're coming in on the moment of action in

1122
01:02:07,320 --> 01:02:09,520
Speaker 1: a way that you're like, all right, did she was

1123
01:02:09,520 --> 01:02:11,440
Speaker 1: there a fight? Did she kill him? What's happening? What's

1124
01:02:11,480 --> 01:02:14,280
Speaker 1: going on? Is she now trying to reckon with her

1125
01:02:14,280 --> 01:02:16,720
Speaker 1: own actions or is she in shock? Like it's just

1126
01:02:17,560 --> 01:02:20,600
Speaker 1: such an intense way to enter a film. And I

1127
01:02:20,640 --> 01:02:24,000
Speaker 1: appreciate Lynn Ramsey as a writer and Leanna Dugnini as

1128
01:02:24,040 --> 01:02:27,800
Speaker 1: a writer for putting us into the moment of action

1129
01:02:28,480 --> 01:02:33,400
Speaker 1: in this way, because then we do eventually see again

1130
01:02:33,760 --> 01:02:38,640
Speaker 1: minutes later that there is a suicide note that has

1131
01:02:38,680 --> 01:02:44,000
Speaker 1: been left on a computer, and so the title character,

1132
01:02:44,080 --> 01:02:48,000
Speaker 1: Moran Caller, is played by Samantha Morton, who's incredible in

1133
01:02:48,040 --> 01:02:52,960
Speaker 1: this role, so good, absolutely wonderful in this role. And

1134
01:02:53,480 --> 01:02:59,920
Speaker 1: she's looking at this note and what she does directly

1135
01:03:00,120 --> 01:03:05,920
Speaker 1: after is so interesting. So now we're a little bit

1136
01:03:05,960 --> 01:03:09,480
Speaker 1: more placed in the film where this is her partner,

1137
01:03:10,240 --> 01:03:13,720
Speaker 1: this is her husband. He has committed suicide. So now

1138
01:03:13,720 --> 01:03:16,120
Speaker 1: we're kind of with her, right and there's a little

1139
01:03:16,120 --> 01:03:20,080
Speaker 1: bit of sympathy that's garnered in this moment, realizing she's

1140
01:03:20,080 --> 01:03:24,640
Speaker 1: probably in shock. But what she does directly after this

1141
01:03:24,760 --> 01:03:27,160
Speaker 1: moment and for like the next I don't know thirty

1142
01:03:27,200 --> 01:03:31,720
Speaker 1: minutes in the film will challenge your sympathy and will

1143
01:03:31,840 --> 01:03:36,120
Speaker 1: challenge that thought more than you ever thought it could,

1144
01:03:36,680 --> 01:03:38,960
Speaker 1: which is again to me, the beauty of this film

1145
01:03:39,400 --> 01:03:44,480
Speaker 1: is you start off confused, you finally reach a moment

1146
01:03:44,520 --> 01:03:46,960
Speaker 1: of relief where you feel like, I know what's happening.

1147
01:03:47,080 --> 01:03:50,120
Speaker 1: She is shocked, she is sad, and then you watch

1148
01:03:50,120 --> 01:03:55,160
Speaker 1: her make a series of decisions that are so fucking wild. Yeah,

1149
01:03:55,200 --> 01:03:58,960
Speaker 1: and it will challenge that sympathetic muscle or that sympathetic

1150
01:03:59,160 --> 01:04:06,080
Speaker 1: urge every step of the way. So right after she

1151
01:04:06,920 --> 01:04:09,960
Speaker 1: reads the suicide note, she just walks down to a

1152
01:04:09,960 --> 01:04:13,920
Speaker 1: train station. And it's also a very quiet film, so

1153
01:04:14,240 --> 01:04:17,840
Speaker 1: there's no sound. There's no talking in this film for

1154
01:04:17,880 --> 01:04:22,320
Speaker 1: like the first ten minutes. Yeah, so again you're really

1155
01:04:22,400 --> 01:04:25,200
Speaker 1: left on your own in a way, and we're not

1156
01:04:25,240 --> 01:04:28,720
Speaker 1: even sure where in the world this is happening, right,

1157
01:04:28,800 --> 01:04:31,760
Speaker 1: And then Morvern starts talking into the phone the phone ring.

1158
01:04:31,840 --> 01:04:34,120
Speaker 1: She's like, near this phone bank at the train station.

1159
01:04:34,160 --> 01:04:36,080
Speaker 1: The phone ring. She picks it up. We hear a

1160
01:04:36,080 --> 01:04:39,040
Speaker 1: Scottish accent. They're like, okay, she's in Scotland. And then

1161
01:04:39,040 --> 01:04:41,520
Speaker 1: she has this one sided conversation where you learn that

1162
01:04:41,560 --> 01:04:45,640
Speaker 1: it's also Christmas time, and she talks to the person

1163
01:04:45,680 --> 01:04:48,160
Speaker 1: on the phone. She doesn't seem to break down, she

1164
01:04:48,200 --> 01:04:52,080
Speaker 1: doesn't seem at all put out. Hanks up the phone,

1165
01:04:52,120 --> 01:04:56,880
Speaker 1: goes back to the apartment. She opens her Christmas presence,

1166
01:04:58,480 --> 01:05:00,720
Speaker 1: one of them, which is a first. These are all

1167
01:05:00,800 --> 01:05:02,920
Speaker 1: Christmas presents from her dead husband, who is still on

1168
01:05:02,960 --> 01:05:06,320
Speaker 1: the floor, and it's like a new leather jacket, a lighter,

1169
01:05:06,440 --> 01:05:09,480
Speaker 1: a mixtape, all items that become crucial to the rest

1170
01:05:09,480 --> 01:05:14,640
Speaker 1: of the film. Then she takes a bath and puts

1171
01:05:14,680 --> 01:05:17,680
Speaker 1: on makeup and paints her nails and goes out to

1172
01:05:17,840 --> 01:05:20,360
Speaker 1: the pub. So you're starting to wonder, is this shock

1173
01:05:20,640 --> 01:05:23,360
Speaker 1: or indecision or is it something else happening here?

1174
01:05:23,880 --> 01:05:24,200
Speaker 2: Right?

1175
01:05:25,680 --> 01:05:28,280
Speaker 1: Right? So then she takes at right as she's right

1176
01:05:28,320 --> 01:05:29,920
Speaker 1: before she goes out to the pub, she takes the

1177
01:05:29,920 --> 01:05:33,000
Speaker 1: money out of her dead husband's pocket and just leaves

1178
01:05:33,080 --> 01:05:36,960
Speaker 1: him there. So again, is this anger? Is she pissed

1179
01:05:36,960 --> 01:05:38,720
Speaker 1: off that he killed himself? If she pissed off that

1180
01:05:38,760 --> 01:05:41,760
Speaker 1: he did it at Christmas? Like, what is happening here? Is?

1181
01:05:42,160 --> 01:05:43,640
Speaker 2: You know, there was a part of me that wondered

1182
01:05:43,680 --> 01:05:48,920
Speaker 2: this time if she like she just like didn't want

1183
01:05:48,960 --> 01:05:53,000
Speaker 2: to admit that he was gone, and then she kind

1184
01:05:53,000 --> 01:05:56,560
Speaker 2: of wanted to just keep the body around, right, you know,

1185
01:05:56,800 --> 01:06:01,040
Speaker 2: because she felt like some kind of weird comfort from that.

1186
01:06:01,080 --> 01:06:04,400
Speaker 2: I mean, it's very complicated, as you can imagine.

1187
01:06:04,040 --> 01:06:07,840
Speaker 1: It's very strange. And then again, because of these actions,

1188
01:06:07,880 --> 01:06:10,800
Speaker 1: you're wondering, did she kill him and make it look

1189
01:06:10,880 --> 01:06:15,640
Speaker 1: like a suicide exactly? Like you're still going back and forth,

1190
01:06:15,680 --> 01:06:19,840
Speaker 1: like nothing is set in stone with this inciting incident.

1191
01:06:20,960 --> 01:06:22,600
Speaker 1: So she goes out to the pub, where we meet

1192
01:06:23,000 --> 01:06:25,400
Speaker 1: another person who's going to become crucial to the film,

1193
01:06:25,560 --> 01:06:29,040
Speaker 1: her friend Lana who she works with at a grocery store.

1194
01:06:29,240 --> 01:06:32,840
Speaker 1: They're both store clerks, and Lana's played by Kathleen McDermott.

1195
01:06:33,720 --> 01:06:36,720
Speaker 1: And she just meets up and asks, you know, hey,

1196
01:06:36,720 --> 01:06:39,760
Speaker 1: where's your husband? And Morvern says he's not coming. He's

1197
01:06:39,760 --> 01:06:42,200
Speaker 1: being weird tonight, and she's like wearing her new jacket,

1198
01:06:42,200 --> 01:06:45,960
Speaker 1: flicking her new lighter, listening to her mixtape. So she

1199
01:06:46,040 --> 01:06:49,240
Speaker 1: goes out and has a night. She does drugs, she's drinking.

1200
01:06:49,880 --> 01:06:53,120
Speaker 1: She keeps telling everyone whenever anyone asks where her husband is,

1201
01:06:53,160 --> 01:06:55,360
Speaker 1: she says he's at home in the kitchen, which is

1202
01:06:55,400 --> 01:07:00,600
Speaker 1: not a lie but leaves out crucial info. Yeah, she's

1203
01:07:00,680 --> 01:07:03,000
Speaker 1: also flirting a little bit with guys at a pub,

1204
01:07:03,360 --> 01:07:05,400
Speaker 1: and then she goes to this house party and it's

1205
01:07:05,400 --> 01:07:07,880
Speaker 1: a wild house party and there's a bonfire, and there's

1206
01:07:07,880 --> 01:07:10,280
Speaker 1: an indication that she has like a threesome with Lana

1207
01:07:10,320 --> 01:07:13,600
Speaker 1: and one of the guys at the party, And so

1208
01:07:14,160 --> 01:07:17,600
Speaker 1: again we're thrown into this action of like, what is

1209
01:07:17,640 --> 01:07:19,800
Speaker 1: going to happen? Is the whole movie going to be

1210
01:07:19,840 --> 01:07:22,400
Speaker 1: about her trying to figure out what to do with

1211
01:07:22,440 --> 01:07:25,920
Speaker 1: the body? Right? Is that the emotional crux of the

1212
01:07:25,920 --> 01:07:27,560
Speaker 1: film is what is she when is she going to

1213
01:07:28,200 --> 01:07:30,800
Speaker 1: deal with the fact that her husband is dead in

1214
01:07:30,840 --> 01:07:35,000
Speaker 1: their bodies and his body's in their apartment. And there

1215
01:07:35,040 --> 01:07:37,680
Speaker 1: are some moments that again kind of give us a

1216
01:07:37,680 --> 01:07:40,680
Speaker 1: little bit of backstory into Morvern. But like, what I

1217
01:07:40,760 --> 01:07:43,200
Speaker 1: love about this character is also is that it's easy

1218
01:07:43,240 --> 01:07:46,080
Speaker 1: for us to be put right into the middle of

1219
01:07:46,080 --> 01:07:47,800
Speaker 1: the action with her because we don't really know much

1220
01:07:47,800 --> 01:07:50,920
Speaker 1: about her backstory and we never really will. So we

1221
01:07:51,000 --> 01:07:52,840
Speaker 1: know that she had a foster mother at some point

1222
01:07:52,880 --> 01:07:55,400
Speaker 1: because she points out to Lana where her foster mother

1223
01:07:55,520 --> 01:07:58,480
Speaker 1: is buried, but we don't know much about her childhood

1224
01:07:58,560 --> 01:08:00,680
Speaker 1: or her life, which are a crucial things, as we

1225
01:08:00,760 --> 01:08:04,520
Speaker 1: learn in watching Monster, which are crucial things to understanding

1226
01:08:05,480 --> 01:08:07,400
Speaker 1: how someone becomes the kind of person who would leave

1227
01:08:07,400 --> 01:08:09,720
Speaker 1: a dead body in an apartment for a long time.

1228
01:08:09,880 --> 01:08:11,200
Speaker 2: That's right, that's right.

1229
01:08:11,240 --> 01:08:13,280
Speaker 1: And we don't ever get to know those things. So

1230
01:08:13,320 --> 01:08:15,120
Speaker 1: she leaves with Lana. There's a scene where she's at

1231
01:08:15,160 --> 01:08:17,800
Speaker 1: Lana's grandmother's house and they take a bath together. They're

1232
01:08:17,800 --> 01:08:21,880
Speaker 1: having a foot cigarette moment. Yeah, there's lots lots of

1233
01:08:21,960 --> 01:08:24,559
Speaker 1: bathing in this movie, right, Like lots of bathing and

1234
01:08:24,600 --> 01:08:26,920
Speaker 1: lots of imagery of bugs. So there's like an a

1235
01:08:27,000 --> 01:08:33,040
Speaker 1: dirt and cleanliness subtext of this film. Very good observation, right,

1236
01:08:33,240 --> 01:08:36,240
Speaker 1: And then she finally tells Lana that something bad has happened,

1237
01:08:36,240 --> 01:08:38,360
Speaker 1: but she doesn't actually tell her the truth. All she

1238
01:08:38,400 --> 01:08:42,400
Speaker 1: says is that her husband left her, like it's gone,

1239
01:08:42,520 --> 01:08:46,040
Speaker 1: he's gone for good and it's bad. And his body

1240
01:08:46,479 --> 01:08:48,679
Speaker 1: we go back to the apartment, his body is still

1241
01:08:48,760 --> 01:08:52,320
Speaker 1: on the floor under the blinking Christmas tree lights while

1242
01:08:52,360 --> 01:08:56,920
Speaker 1: she's listening to this mixtape smoking cigarette. Seems to be

1243
01:08:56,960 --> 01:09:00,280
Speaker 1: having kind of a good time. And one thing about

1244
01:09:00,280 --> 01:09:02,200
Speaker 1: this part of the film is again you have no

1245
01:09:02,240 --> 01:09:04,360
Speaker 1: idea what her childhood was like, but you also have

1246
01:09:04,439 --> 01:09:07,400
Speaker 1: no idea what her emotional life is, so you have

1247
01:09:07,439 --> 01:09:10,439
Speaker 1: no clue what she's thinking at any point and up

1248
01:09:10,439 --> 01:09:13,040
Speaker 1: to this point in the film. And you also have

1249
01:09:13,120 --> 01:09:15,519
Speaker 1: no idea what her marriage was like, like what was

1250
01:09:15,520 --> 01:09:19,840
Speaker 1: that relationship like? So it becomes very it's what I love.

1251
01:09:20,040 --> 01:09:21,720
Speaker 1: Something I also I love about this film is that

1252
01:09:21,760 --> 01:09:24,360
Speaker 1: it's a one sided film. But in a lot of

1253
01:09:24,520 --> 01:09:28,360
Speaker 1: films where they introduced an unreliable narrator, it's very clear

1254
01:09:28,400 --> 01:09:31,719
Speaker 1: that the narrator is unreliable. In this instance, I think

1255
01:09:32,400 --> 01:09:35,240
Speaker 1: you don't ever really know what's going on with the narrator, right,

1256
01:09:35,680 --> 01:09:38,240
Speaker 1: And that's a really hard thing to write and a

1257
01:09:38,400 --> 01:09:42,559
Speaker 1: very hard thing to elicit emotion from, right, But they

1258
01:09:42,640 --> 01:09:46,120
Speaker 1: managed to do it because it's not clear cut that

1259
01:09:46,320 --> 01:09:49,360
Speaker 1: Morvan Color is an unreliable narrator. It's a she is

1260
01:09:49,400 --> 01:09:52,240
Speaker 1: a complicated woman, right.

1261
01:09:52,800 --> 01:09:56,599
Speaker 2: That again, like I very similarly to my movie Maybe,

1262
01:09:56,760 --> 01:10:01,120
Speaker 2: is sort of like you're in a You're you're basically

1263
01:10:01,120 --> 01:10:07,440
Speaker 2: as a viewer sitting there wondering what are the actions

1264
01:10:07,479 --> 01:10:11,720
Speaker 2: that come from this traumatic scenario that she's been in,

1265
01:10:12,200 --> 01:10:16,160
Speaker 2: which is that she her dead boyfriend is in front

1266
01:10:16,160 --> 01:10:19,400
Speaker 2: of her, in her in their apartment, right, and that

1267
01:10:19,600 --> 01:10:21,160
Speaker 2: he possibly unlived himself.

1268
01:10:21,240 --> 01:10:21,400
Speaker 1: Right.

1269
01:10:21,560 --> 01:10:25,720
Speaker 2: So it's that feeling of like, yes, but by like

1270
01:10:25,760 --> 01:10:31,919
Speaker 2: maybe normal standards, the reaction of that is not matching

1271
01:10:33,200 --> 01:10:36,080
Speaker 2: with what's what you know she's doing for the rest

1272
01:10:36,080 --> 01:10:40,719
Speaker 2: of the film. But how is it informed informing those actions?

1273
01:10:40,960 --> 01:10:43,519
Speaker 2: And it's not a black and white like grief is

1274
01:10:43,560 --> 01:10:46,280
Speaker 2: not black and white either, right, So it's the thing

1275
01:10:46,320 --> 01:10:48,479
Speaker 2: where you're just like, I don't know. I think that

1276
01:10:48,479 --> 01:10:50,040
Speaker 2: that's what both of these movies do this week, is

1277
01:10:50,040 --> 01:10:53,599
Speaker 2: that they're sort of like saying, you know, what are

1278
01:10:53,600 --> 01:11:00,400
Speaker 2: the reactions of women face with unspeakable trauma or sorrow? Right?

1279
01:11:00,800 --> 01:11:03,280
Speaker 2: You know, how do we judge what they do after?

1280
01:11:03,720 --> 01:11:07,880
Speaker 1: You know, absolutely absolutely, because this is a really traumatic moment. Yeah,

1281
01:11:07,960 --> 01:11:10,120
Speaker 1: it's a very traumatic thing, no matter what we know

1282
01:11:10,280 --> 01:11:11,559
Speaker 1: or don't know about her life.

1283
01:11:12,080 --> 01:11:14,320
Speaker 2: And if she was the cause of it or not.

1284
01:11:14,439 --> 01:11:16,600
Speaker 2: I mean that's still up in the air. Obviously we

1285
01:11:16,680 --> 01:11:17,519
Speaker 2: talked about that.

1286
01:11:17,439 --> 01:11:19,479
Speaker 1: So like the cause of it, and that maybe she

1287
01:11:19,560 --> 01:11:20,360
Speaker 1: killed him or that.

1288
01:11:20,560 --> 01:11:23,280
Speaker 2: Yeah, or that like something, you know, something happened, maybe

1289
01:11:23,280 --> 01:11:25,360
Speaker 2: they got into a fight and was an accident. It's like,

1290
01:11:25,400 --> 01:11:28,080
Speaker 2: you know, it's unclear.

1291
01:11:28,240 --> 01:11:30,840
Speaker 1: And again, we will never know what his emotional life

1292
01:11:30,960 --> 01:11:32,840
Speaker 1: was or what he was thinking. And I think that

1293
01:11:32,960 --> 01:11:34,880
Speaker 1: is a This is one of the most brilliant ways

1294
01:11:34,920 --> 01:11:38,840
Speaker 1: that I've ever seen suicide depicted on film because it

1295
01:11:38,920 --> 01:11:41,559
Speaker 1: feels true, which is that you will never get to

1296
01:11:41,600 --> 01:11:44,880
Speaker 1: know why, what happened, what he was thinking. He is

1297
01:11:45,000 --> 01:11:49,040
Speaker 1: not even part of the equation. He's taking himself completely

1298
01:11:49,080 --> 01:11:51,120
Speaker 1: out of the equation, and you don't get to know that.

1299
01:11:51,240 --> 01:11:54,719
Speaker 1: So you really get to see that land on her. Yeah,

1300
01:11:54,760 --> 01:11:57,720
Speaker 1: the uncertainty and the cruelty of that act lands on

1301
01:11:57,800 --> 01:12:02,360
Speaker 1: her by the fact by it's brilliant. It's brilliant, and

1302
01:12:02,400 --> 01:12:04,599
Speaker 1: she kind of, you know, she's floating around this apartment,

1303
01:12:04,680 --> 01:12:07,679
Speaker 1: and there's a moment where she goes back to Lana's

1304
01:12:07,720 --> 01:12:10,679
Speaker 1: grandmother's house, even though Lanna isn't there. And it's weird

1305
01:12:10,720 --> 01:12:14,960
Speaker 1: because it's clear that she has no family to call

1306
01:12:15,400 --> 01:12:17,120
Speaker 1: in this moment, like it's clear she has no one

1307
01:12:17,120 --> 01:12:20,240
Speaker 1: else to go to. She doesn't tell the grandmother or anything,

1308
01:12:20,400 --> 01:12:22,640
Speaker 1: but she really kind of indulges in taking care of

1309
01:12:22,680 --> 01:12:26,439
Speaker 1: this woman, which I think is an interesting side to

1310
01:12:26,479 --> 01:12:28,760
Speaker 1: see of someone who up to this point has just

1311
01:12:28,800 --> 01:12:32,400
Speaker 1: been kind of cold, yeah, and not emotional at all,

1312
01:12:32,400 --> 01:12:33,760
Speaker 1: so that we're starting to see a little bit of

1313
01:12:33,760 --> 01:12:37,000
Speaker 1: a motion leak in. She goes back home again, we

1314
01:12:37,040 --> 01:12:39,160
Speaker 1: think she's finally gonna deal with this body, right, Nope,

1315
01:12:39,160 --> 01:12:42,600
Speaker 1: she makes a frozen pizza. She does clean up some

1316
01:12:42,720 --> 01:12:46,200
Speaker 1: of the blood with toilet paper, but then she is

1317
01:12:46,240 --> 01:12:49,439
Speaker 1: just leaping over his body while she's making a frozen pizza.

1318
01:12:49,520 --> 01:12:52,240
Speaker 1: So now you're thinking, has she completely disassociated from what

1319
01:12:52,360 --> 01:12:57,200
Speaker 1: is happening in this apartment. Then we're going to go

1320
01:12:57,280 --> 01:12:59,400
Speaker 1: back to the note and I'm going to read you

1321
01:12:59,479 --> 01:13:02,600
Speaker 1: the note, because I think the note also gives some

1322
01:13:02,680 --> 01:13:06,680
Speaker 1: indication as to why and what has happened. So in

1323
01:13:06,760 --> 01:13:11,559
Speaker 1: this note, her husband, James Gillespie says, sorry, Morvern, don't

1324
01:13:11,560 --> 01:13:14,519
Speaker 1: try to understand it just felt like the right thing

1325
01:13:14,600 --> 01:13:17,800
Speaker 1: to do. My novel is on the disc. Print it

1326
01:13:17,800 --> 01:13:20,240
Speaker 1: out and send it to the first publisher on this list.

1327
01:13:20,680 --> 01:13:23,360
Speaker 1: If they will not take it, try the next one down.

1328
01:13:23,880 --> 01:13:27,160
Speaker 1: I wrote it for you. I love you, Be brave.

1329
01:13:27,920 --> 01:13:30,680
Speaker 1: I left money in the bank for the funeral. The

1330
01:13:30,720 --> 01:13:33,639
Speaker 1: card is in the drawer. You know the code keep

1331
01:13:33,680 --> 01:13:38,840
Speaker 1: the music for yourself. So remember she read this note

1332
01:13:38,880 --> 01:13:40,840
Speaker 1: early on. We've seen her already read this note. So

1333
01:13:40,880 --> 01:13:42,800
Speaker 1: when she goes back to the note after we've seen

1334
01:13:42,840 --> 01:13:45,479
Speaker 1: all these actions that she's taken and moving through her

1335
01:13:45,479 --> 01:13:48,880
Speaker 1: life and trying to maintain some normalcy, she's kind of

1336
01:13:48,880 --> 01:13:52,559
Speaker 1: following his instructions, not in the way that I think

1337
01:13:52,600 --> 01:13:55,680
Speaker 1: he thought she would, but she really is trying to

1338
01:13:55,720 --> 01:13:58,240
Speaker 1: be brave, I think, and go out in the world

1339
01:13:58,400 --> 01:14:01,559
Speaker 1: and not deal with this and figure out what she's

1340
01:14:01,600 --> 01:14:05,880
Speaker 1: gonna do. But the important things to note about this

1341
01:14:06,000 --> 01:14:07,880
Speaker 1: letter is that he has left her a lot of money,

1342
01:14:08,040 --> 01:14:10,080
Speaker 1: or there's a lot of money for them, you know,

1343
01:14:10,120 --> 01:14:12,559
Speaker 1: for their situation, it seems to be a lot of money.

1344
01:14:13,320 --> 01:14:17,000
Speaker 1: It's about like four thousand pounds. He's already planned for

1345
01:14:17,040 --> 01:14:23,439
Speaker 1: his own funeral, and he's given her this book to sell.

1346
01:14:25,520 --> 01:14:29,000
Speaker 1: So this is why what happens next becomes crucial. And

1347
01:14:29,040 --> 01:14:30,639
Speaker 1: I'm not going to give away too much more after

1348
01:14:30,680 --> 01:14:33,000
Speaker 1: this point, but I will tell you that she does

1349
01:14:33,040 --> 01:14:36,040
Speaker 1: deal with the body and the way that she deals

1350
01:14:36,080 --> 01:14:38,320
Speaker 1: with it. After she's been you know, kind of half

1351
01:14:38,360 --> 01:14:40,960
Speaker 1: ass cleaning up and half ass bring air freshener around,

1352
01:14:41,960 --> 01:14:46,920
Speaker 1: she takes the money out of the bank. She books

1353
01:14:47,000 --> 01:14:50,120
Speaker 1: a vacation for herself and Lana at a resort in Spain,

1354
01:14:51,400 --> 01:14:56,519
Speaker 1: tells Lana don't worry about the money, goes home. James's

1355
01:14:56,520 --> 01:15:01,640
Speaker 1: body is now in the bathtub, and more of proceeds

1356
01:15:01,720 --> 01:15:05,120
Speaker 1: to put on sunglasses, tape a walkman to her body,

1357
01:15:05,640 --> 01:15:09,519
Speaker 1: and starts to cut up his body. And then she

1358
01:15:09,520 --> 01:15:12,320
Speaker 1: puts his body in a bag, hikes to a desolate

1359
01:15:12,360 --> 01:15:16,040
Speaker 1: area and buries him using only a trowel, I might add,

1360
01:15:17,720 --> 01:15:25,080
Speaker 1: and then goes on holiday with Lana. Then she goes home,

1361
01:15:25,320 --> 01:15:30,679
Speaker 1: prints out his book, erases his name, puts her name

1362
01:15:32,200 --> 01:15:35,759
Speaker 1: as the writer of the book as the author prints

1363
01:15:35,800 --> 01:15:38,320
Speaker 1: it out mails it to the first publisher on the list.

1364
01:15:40,360 --> 01:15:41,760
Speaker 1: So at this point in the movie, you're like, is

1365
01:15:41,800 --> 01:15:44,760
Speaker 1: she evil? Is she deranged? What is she thinking? There

1366
01:15:44,760 --> 01:15:47,280
Speaker 1: are moments where her handshake and her legs shake it

1367
01:15:47,320 --> 01:15:52,120
Speaker 1: odd moments. There's again that subtext of cleanliness and dirt

1368
01:15:52,280 --> 01:15:55,960
Speaker 1: and worms. And after this, all she sort of focused

1369
01:15:56,000 --> 01:16:00,880
Speaker 1: on is her own happiness. So it's a very strange

1370
01:16:01,040 --> 01:16:04,200
Speaker 1: and the Spain portion of the film is interesting in

1371
01:16:04,240 --> 01:16:07,480
Speaker 1: its own right. There's so much to discuss there. Yeah,

1372
01:16:07,720 --> 01:16:10,080
Speaker 1: you know, Lana kind of comes over and you know,

1373
01:16:10,080 --> 01:16:12,800
Speaker 1: they're listening to music and preparing for the trip and

1374
01:16:12,840 --> 01:16:16,719
Speaker 1: doing drugs, and Lana reveals that she actually slept with James,

1375
01:16:16,760 --> 01:16:18,760
Speaker 1: so she's like, you know, they don't even know if

1376
01:16:18,760 --> 01:16:20,519
Speaker 1: they're going to go on the trip at one point,

1377
01:16:21,200 --> 01:16:24,200
Speaker 1: and you know, Morvern gets a letter from the publisher

1378
01:16:24,240 --> 01:16:25,840
Speaker 1: saying they want to publish the book, so they end

1379
01:16:25,920 --> 01:16:28,679
Speaker 1: up going on the trip. But this but the Spain

1380
01:16:28,720 --> 01:16:31,520
Speaker 1: part is just basically her kind of trying to rectify

1381
01:16:31,880 --> 01:16:34,000
Speaker 1: I'm on vacation with a friend of mine who slept

1382
01:16:34,000 --> 01:16:37,200
Speaker 1: with my husband who's killed himself. Nobody knows he's killed himself.

1383
01:16:37,240 --> 01:16:39,240
Speaker 1: I've dispose of his body so no one will ever

1384
01:16:39,280 --> 01:16:43,040
Speaker 1: know that he killed himself. I've stolen his money, I've

1385
01:16:43,080 --> 01:16:47,559
Speaker 1: stolen his novel that is going to be published, and

1386
01:16:47,960 --> 01:16:50,160
Speaker 1: now I'm just in Spain. So it's just a very

1387
01:16:50,200 --> 01:16:53,559
Speaker 1: interesting mix of her like partying and meeting guys and

1388
01:16:53,680 --> 01:16:56,439
Speaker 1: clubbing and drinking and doing drugs and you know, getting

1389
01:16:56,640 --> 01:16:59,400
Speaker 1: suck at a town with a festival and losing luggage

1390
01:16:59,479 --> 01:17:02,280
Speaker 1: and getting lost in the middle of nowhere and meeting

1391
01:17:02,360 --> 01:17:05,200
Speaker 1: the publishers. But in between all of these moments where

1392
01:17:05,200 --> 01:17:07,720
Speaker 1: you're watching her kind of come to life, because we've

1393
01:17:07,720 --> 01:17:10,960
Speaker 1: seen her in such a stunted, weird position throughout the film,

1394
01:17:11,479 --> 01:17:13,639
Speaker 1: you're watching her come to life. But all you can

1395
01:17:13,680 --> 01:17:18,879
Speaker 1: really think of is how deceptively she decided, how deception

1396
01:17:19,080 --> 01:17:25,280
Speaker 1: was the key to her changing her life, and like

1397
01:17:25,520 --> 01:17:28,559
Speaker 1: looking at the options a young woman has in the

1398
01:17:28,560 --> 01:17:31,840
Speaker 1: world in the weirdest possible way, like I would never think, oh, Like,

1399
01:17:31,840 --> 01:17:33,599
Speaker 1: what is the young woman's options in the world. If

1400
01:17:33,600 --> 01:17:35,519
Speaker 1: she's working at a supermarket and wants to get by

1401
01:17:35,760 --> 01:17:37,920
Speaker 1: that her husband commits suicide, she steals his money and

1402
01:17:37,920 --> 01:17:41,680
Speaker 1: takes his novel, Like would never think that, But it

1403
01:17:41,720 --> 01:17:44,800
Speaker 1: is again because of the subject matter and the way

1404
01:17:44,840 --> 01:17:47,519
Speaker 1: into the film and how we are introduced to this character,

1405
01:17:48,560 --> 01:17:51,920
Speaker 1: it presents a very complicated emotional landscape. As you're watching,

1406
01:17:52,080 --> 01:17:53,760
Speaker 1: you don't know if you should root for her. You

1407
01:17:53,800 --> 01:17:57,040
Speaker 1: don't know if you're expecting her to be caught and

1408
01:17:57,080 --> 01:17:58,840
Speaker 1: if you want her to be caught. You don't know

1409
01:17:58,960 --> 01:18:02,160
Speaker 1: if you kind of love that she had the balls

1410
01:18:02,240 --> 01:18:05,120
Speaker 1: to do this, or if it's fucking strange that she

1411
01:18:05,520 --> 01:18:07,600
Speaker 1: So this is these are the actions she decided to

1412
01:18:07,640 --> 01:18:10,760
Speaker 1: take because she's totally out of step with society, like

1413
01:18:10,840 --> 01:18:13,200
Speaker 1: this is again, what's wild about watching her in Spain

1414
01:18:13,360 --> 01:18:15,760
Speaker 1: is like you're watching someone who has just gone through

1415
01:18:15,760 --> 01:18:20,040
Speaker 1: a traumatic event, put themselves through a traumatic event, committed

1416
01:18:20,160 --> 01:18:25,200
Speaker 1: crimes multiple but is also now trying to rejoin society

1417
01:18:25,720 --> 01:18:28,920
Speaker 1: after this series of events that she's been part of.

1418
01:18:29,080 --> 01:18:33,880
Speaker 1: So it's a very interesting, strange movie about a woman

1419
01:18:33,920 --> 01:18:37,679
Speaker 1: who's taken shit into her own hands, yeah, and trying

1420
01:18:37,720 --> 01:18:44,160
Speaker 1: to jumpstart her life herself or maybe even destroy her

1421
01:18:44,200 --> 01:18:45,120
Speaker 1: life and herself.

1422
01:18:45,640 --> 01:18:48,960
Speaker 2: Yeah, yeah, there's I mean, listen, I feel like every

1423
01:18:49,880 --> 01:18:52,439
Speaker 2: I cannot help but think that this movie. I mean,

1424
01:18:52,479 --> 01:18:56,280
Speaker 2: trust me, there have been movies in the past and

1425
01:18:56,439 --> 01:19:01,880
Speaker 2: all throughout film history really, especially in the seventies on

1426
01:19:02,880 --> 01:19:08,040
Speaker 2: where you have a scenario in which a woman is

1427
01:19:08,120 --> 01:19:15,760
Speaker 2: reacting dispassionately towards some pain or trauma she's experiencing. Right,

1428
01:19:17,439 --> 01:19:20,880
Speaker 2: I mean, it's kind of like a Wanda Barbara Lodin

1429
01:19:21,080 --> 01:19:23,840
Speaker 2: type of scenario. Like, I mean you start from there

1430
01:19:23,840 --> 01:19:26,000
Speaker 2: and there, you know, you go to you know, I

1431
01:19:26,040 --> 01:19:31,560
Speaker 2: don't know, ordinary people. You know, there's many female characters

1432
01:19:32,160 --> 01:19:35,640
Speaker 2: in films that have reacted like this, where it's this,

1433
01:19:36,000 --> 01:19:38,800
Speaker 2: like something bad happened to her, and like there is

1434
01:19:38,840 --> 01:19:42,000
Speaker 2: no this is the way she reacts. She reacts in

1435
01:19:42,080 --> 01:19:43,960
Speaker 2: questionable ways towards her own pain.

1436
01:19:44,680 --> 01:19:45,000
Speaker 1: Right.

1437
01:19:45,720 --> 01:19:47,679
Speaker 2: The thing I think is really interesting about this film

1438
01:19:47,720 --> 01:19:53,240
Speaker 2: is that it's so stylistically important that I feel like

1439
01:19:53,720 --> 01:19:57,240
Speaker 2: it set the table for what we sort of see now.

1440
01:19:57,280 --> 01:20:00,800
Speaker 2: And I keep using euphoria sort of like a a comparison.

1441
01:20:00,840 --> 01:20:03,200
Speaker 2: I don't really know, but like now we see this

1442
01:20:03,280 --> 01:20:06,880
Speaker 2: a lot where you see female characters who are not

1443
01:20:07,160 --> 01:20:12,800
Speaker 2: who are dissociated from their lives in some way, you know,

1444
01:20:13,680 --> 01:20:17,760
Speaker 2: mostly due to pain, trauma, whatever. And then it's sort

1445
01:20:17,800 --> 01:20:21,920
Speaker 2: of like this beautiful Like there's a lot of like

1446
01:20:22,080 --> 01:20:24,240
Speaker 2: audio tricks that are being used in this film, and

1447
01:20:24,240 --> 01:20:26,439
Speaker 2: I know, like lim Ramsay's kind of known for that,

1448
01:20:26,880 --> 01:20:28,920
Speaker 2: but I keep looking at this movie going, oh man,

1449
01:20:28,960 --> 01:20:30,960
Speaker 2: this is like everything that happens right now. This is

1450
01:20:31,000 --> 01:20:34,840
Speaker 2: like every you know, Netflix show about young people is that.

1451
01:20:34,880 --> 01:20:37,439
Speaker 2: This is the way. It's like people taking drugs and

1452
01:20:37,520 --> 01:20:40,439
Speaker 2: partying in spite of like horrible things that are happening

1453
01:20:40,439 --> 01:20:42,880
Speaker 2: to them in their everyday lives exactly.

1454
01:20:43,760 --> 01:20:46,800
Speaker 1: And this was the this was the first time I

1455
01:20:46,840 --> 01:20:53,400
Speaker 1: had seen that in a way that centered women, especially exactly. Yeah,

1456
01:20:54,120 --> 01:20:58,160
Speaker 1: and watching her be really brazen about her sexuality and

1457
01:20:58,240 --> 01:21:02,200
Speaker 1: sex in general, like watching her kind of just be

1458
01:21:02,320 --> 01:21:05,479
Speaker 1: a little bit feral, be a little bit you know,

1459
01:21:05,800 --> 01:21:11,000
Speaker 1: purely moved by emotion and desire in the midst of

1460
01:21:11,040 --> 01:21:13,400
Speaker 1: this trauma. Was It's fascinating to watch.

1461
01:21:14,160 --> 01:21:17,439
Speaker 2: Oh yeah, absolutely, I mean, oh my god, the fucking

1462
01:21:17,520 --> 01:21:21,320
Speaker 2: part where I mean, listen, I love this song so much,

1463
01:21:21,520 --> 01:21:23,400
Speaker 2: but the part where she's like walking to the grocery

1464
01:21:23,400 --> 01:21:26,640
Speaker 2: store to fucking some velvet morning, I was just like, Jesus, oh,

1465
01:21:27,160 --> 01:21:30,080
Speaker 2: this is like hitting me everywhere, like that is my

1466
01:21:30,160 --> 01:21:34,880
Speaker 2: ship right there. And the soundtrack is absolutely top notch.

1467
01:21:34,960 --> 01:21:37,960
Speaker 2: In my incredible man, it's like, oh, you're gonna put

1468
01:21:38,000 --> 01:21:44,000
Speaker 2: like Boards of Canada and broadcast in a movie like

1469
01:21:44,080 --> 01:21:46,960
Speaker 2: throwing some fucking stereo lab. There you go. I will

1470
01:21:47,040 --> 01:21:50,680
Speaker 2: like this film, no doubt. But like that's you know,

1471
01:21:50,800 --> 01:21:53,320
Speaker 2: part of it is that she's listening to this mixtape

1472
01:21:54,600 --> 01:21:58,320
Speaker 2: that was left by her dead husband. So there's reasons

1473
01:21:58,360 --> 01:22:01,680
Speaker 2: why the music is playing, and it comes important to

1474
01:22:02,200 --> 01:22:04,000
Speaker 2: what's happening, and.

1475
01:22:03,960 --> 01:22:06,920
Speaker 1: The fact that she's using his soundtrack to fuel her

1476
01:22:07,040 --> 01:22:13,640
Speaker 1: current life and decisions and his thoughtful, loving songs that

1477
01:22:13,680 --> 01:22:16,000
Speaker 1: he because you know, again, the mixtape is a lost

1478
01:22:16,120 --> 01:22:19,120
Speaker 1: art and if you've made or received a mixtape, you

1479
01:22:19,160 --> 01:22:21,280
Speaker 1: know how important it is to make one and to

1480
01:22:21,720 --> 01:22:24,439
Speaker 1: be along the flow. You're along with the flow of

1481
01:22:24,439 --> 01:22:27,400
Speaker 1: the emotions of the person who made it. So as

1482
01:22:27,400 --> 01:22:30,120
Speaker 1: she's making these decisions, you're watching her do these weird

1483
01:22:30,160 --> 01:22:33,360
Speaker 1: actions and listening to this soundtrack that was created in

1484
01:22:33,439 --> 01:22:36,160
Speaker 1: love but also created by someone who knew they were

1485
01:22:36,160 --> 01:22:38,160
Speaker 1: going to take their own life right.

1486
01:22:38,400 --> 01:22:40,280
Speaker 2: And like the last song, which I won't give away

1487
01:22:40,280 --> 01:22:42,040
Speaker 2: just because I don't know, I feel like I is

1488
01:22:42,120 --> 01:22:42,920
Speaker 2: so important.

1489
01:22:43,280 --> 01:22:45,080
Speaker 1: Oh good God.

1490
01:22:45,840 --> 01:22:49,759
Speaker 2: Like it's just wraps it up so amazingly truly.

1491
01:22:50,160 --> 01:22:54,640
Speaker 1: Yeah, it's truly incredible, and I think it's it's I

1492
01:22:54,680 --> 01:22:57,440
Speaker 1: don't see it being discussed enough or a lot anymore

1493
01:22:57,520 --> 01:22:59,879
Speaker 1: because it's you know, over twenty years old. But yeah,

1494
01:23:00,200 --> 01:23:03,280
Speaker 1: it still feels fresh, it still feels interesting. It's still

1495
01:23:03,280 --> 01:23:07,400
Speaker 1: one of the most unique protagonists, if you can call

1496
01:23:07,439 --> 01:23:11,719
Speaker 1: her a protagonist that I've seen. And again, Samantha Morton

1497
01:23:11,840 --> 01:23:15,679
Speaker 1: is absolutely fucking amazing in this movie. And Lynn Ramsay

1498
01:23:15,880 --> 01:23:18,519
Speaker 1: just knocked it out of the park. That it's an

1499
01:23:18,520 --> 01:23:22,799
Speaker 1: evocative film. And again, as we talked about with Monster,

1500
01:23:22,880 --> 01:23:25,160
Speaker 1: the way that most art should do, it makes it

1501
01:23:25,200 --> 01:23:27,480
Speaker 1: really runs you through the fucking gamut of emotions.

1502
01:23:27,720 --> 01:23:33,000
Speaker 2: Yeah, totally very complicated, but like also like you gotta

1503
01:23:33,080 --> 01:23:35,080
Speaker 2: like you just gotta let it wash over you, because

1504
01:23:35,080 --> 01:23:38,440
Speaker 2: if you're looking for like a real straight up narrative structure,

1505
01:23:38,720 --> 01:23:40,920
Speaker 2: like you know, if you're looking for something really formalless,

1506
01:23:40,920 --> 01:23:44,120
Speaker 2: it's not happening. Like this is like an experience, right,

1507
01:23:44,240 --> 01:23:50,240
Speaker 2: It's very emotional. The audio is, you know, very strange

1508
01:23:50,280 --> 01:23:54,479
Speaker 2: for some people, you know, but I think it's great.

1509
01:23:54,800 --> 01:23:57,920
Speaker 2: So I'm so happy that I saw this again. I

1510
01:23:57,920 --> 01:23:59,960
Speaker 2: say that every week. It sounds like it's bullshit, but

1511
01:24:00,080 --> 01:24:03,800
Speaker 2: I really truly love doing this podcast because it means

1512
01:24:03,800 --> 01:24:05,920
Speaker 2: I get to rewatch stuff that I haven't seen in forever.

1513
01:24:06,360 --> 01:24:08,920
Speaker 1: Yeah, so you and me both, I love it, and

1514
01:24:08,960 --> 01:24:11,519
Speaker 1: I think that you know, obviously I picked the theme

1515
01:24:12,840 --> 01:24:16,000
Speaker 1: and gave it kind of a jokey Yeah, a joke.

1516
01:24:16,160 --> 01:24:17,800
Speaker 1: We have a kind of a jokey theme for what

1517
01:24:17,920 --> 01:24:20,759
Speaker 1: is honestly a very serious couple of very serious movies,

1518
01:24:21,360 --> 01:24:24,920
Speaker 1: of course, But I also really like the and want

1519
01:24:24,960 --> 01:24:26,639
Speaker 1: to kind of just pick your brain for a minute

1520
01:24:26,720 --> 01:24:30,280
Speaker 1: about what does it mean to have these films or

1521
01:24:30,280 --> 01:24:32,599
Speaker 1: how do we feel about watching these two films back

1522
01:24:32,640 --> 01:24:37,240
Speaker 1: to back that are about women and crime and death

1523
01:24:38,200 --> 01:24:40,839
Speaker 1: that isn't really presented in the way that we normally

1524
01:24:40,880 --> 01:24:41,959
Speaker 1: see those things presented.

1525
01:24:43,479 --> 01:24:46,120
Speaker 2: Yeah, I mean, listen, I this was sort of accidentally

1526
01:24:46,160 --> 01:24:49,160
Speaker 2: the best double double feature I think I've seen in

1527
01:24:49,200 --> 01:24:52,559
Speaker 2: a long time. Like they weren't made that far apart

1528
01:24:52,560 --> 01:24:54,439
Speaker 2: from each other, like two thousand and two, two thousand

1529
01:24:54,479 --> 01:24:57,080
Speaker 2: and three. Yeah, and when you think about it in

1530
01:24:57,160 --> 01:24:59,679
Speaker 2: the context of like what was going on at that time,

1531
01:24:59,760 --> 01:25:02,040
Speaker 2: like culturally, I mean, didn't we just talk about Woodstock

1532
01:25:02,120 --> 01:25:05,240
Speaker 2: ninety nine, like I always say, the like late nineties,

1533
01:25:05,240 --> 01:25:08,200
Speaker 2: early two thousands, was like a low point for feminism

1534
01:25:08,400 --> 01:25:11,880
Speaker 2: in our in our culture, like all of the you know,

1535
01:25:12,479 --> 01:25:16,240
Speaker 2: the music and the fucking weird shit that was happening

1536
01:25:16,280 --> 01:25:17,360
Speaker 2: back then, you know.

1537
01:25:17,479 --> 01:25:19,439
Speaker 1: But then we have these Then we have these two

1538
01:25:19,439 --> 01:25:24,840
Speaker 1: films that I think were potentially a changing of the

1539
01:25:24,960 --> 01:25:29,759
Speaker 1: tide about how we could look at and discuss women

1540
01:25:29,800 --> 01:25:30,439
Speaker 1: in a new way.

1541
01:25:31,160 --> 01:25:37,439
Speaker 2: Yeah, and it could have easily been different. I'll just

1542
01:25:37,479 --> 01:25:39,719
Speaker 2: say to that exact point, it could have been different

1543
01:25:39,760 --> 01:25:42,120
Speaker 2: if these movies were made by men. Let's just say that.

1544
01:25:42,479 --> 01:25:44,960
Speaker 2: Can you imagine if these movies were made by men

1545
01:25:45,200 --> 01:25:48,439
Speaker 2: in the era that they were being made, it would

1546
01:25:48,439 --> 01:25:48,840
Speaker 2: have been.

1547
01:25:48,720 --> 01:25:52,880
Speaker 1: Pure comedy, slasher bullshit, right.

1548
01:25:53,439 --> 01:25:56,759
Speaker 2: It would have been like, this is a fucked up woman,

1549
01:25:58,040 --> 01:26:01,840
Speaker 2: and like look how fuck up she is, and like

1550
01:26:03,240 --> 01:26:04,720
Speaker 2: she kills men.

1551
01:26:05,880 --> 01:26:08,840
Speaker 1: I want to give more. I want to give more

1552
01:26:08,880 --> 01:26:10,479
Speaker 1: credit to men and the hope that they wouldn't have

1553
01:26:10,520 --> 01:26:12,240
Speaker 1: done that. But I was alive during that era and

1554
01:26:12,280 --> 01:26:14,680
Speaker 1: watching movies during that era, and they absolutely would have.

1555
01:26:14,800 --> 01:26:18,160
Speaker 1: There was no grace for women back then until movies

1556
01:26:18,200 --> 01:26:19,000
Speaker 1: like this came along.

1557
01:26:19,640 --> 01:26:23,519
Speaker 2: No, I saw enough girls gone wild commercials back then

1558
01:26:23,560 --> 01:26:26,759
Speaker 2: to where I was like, Nah, wouldn't have been handled well,

1559
01:26:27,840 --> 01:26:32,000
Speaker 2: I just get that feeling. Get the feeling, but the

1560
01:26:32,080 --> 01:26:34,800
Speaker 2: fact that they were made by women and who were

1561
01:26:34,840 --> 01:26:37,920
Speaker 2: like great filmmakers. Man, I think it was the absolute

1562
01:26:38,000 --> 01:26:40,840
Speaker 2: difference in the early two thousands. Let's consume.

1563
01:26:41,000 --> 01:26:43,200
Speaker 1: Yeah, that's what brings in all the layering and all

1564
01:26:43,240 --> 01:26:45,759
Speaker 1: the emotion and all the things that we've been discussing about,

1565
01:26:45,760 --> 01:26:48,240
Speaker 1: these points that are so strange and new and interesting.

1566
01:26:48,360 --> 01:26:50,639
Speaker 1: That's where that comes from. Is this, you know, having

1567
01:26:50,680 --> 01:26:55,240
Speaker 1: the emotional input of women. I think they both these

1568
01:26:55,280 --> 01:26:58,600
Speaker 1: directors writers, they knocked it out of the park. It's great. Yeah,

1569
01:26:58,840 --> 01:26:59,880
Speaker 1: both fields are so great.

1570
01:27:00,600 --> 01:27:04,360
Speaker 2: Women are complicated and I love complicated women's stories. I

1571
01:27:04,439 --> 01:27:09,080
Speaker 2: like watching art about it. So hooray, good job this week.

1572
01:27:12,560 --> 01:27:14,920
Speaker 2: If you want to email us, we are at I

1573
01:27:14,960 --> 01:27:17,760
Speaker 2: Saw What You Did podotmail dot com. Please send us

1574
01:27:17,840 --> 01:27:21,080
Speaker 2: questions for bonus episodes, and please write to our peobox.

1575
01:27:21,640 --> 01:27:23,800
Speaker 1: We have one if you do, and you can find

1576
01:27:23,800 --> 01:27:25,679
Speaker 1: the address on our link tree, which is on most

1577
01:27:25,720 --> 01:27:27,960
Speaker 1: of our social media. You can find us on our

1578
01:27:27,960 --> 01:27:31,520
Speaker 1: social media at I sawpod, on Instagram, Blue Sky, and Twitter.

1579
01:27:32,240 --> 01:27:34,160
Speaker 1: You can also now leave us a voicemail to play

1580
01:27:34,160 --> 01:27:35,679
Speaker 1: on the show. All you have to do is record

1581
01:27:35,680 --> 01:27:38,000
Speaker 1: a voice memo on your phone and email it to

1582
01:27:38,040 --> 01:27:41,200
Speaker 1: you I Saw youddpototgmail dot com. Please make it sixty

1583
01:27:41,240 --> 01:27:44,719
Speaker 1: seconds or less and please record it in a quiet space.

1584
01:27:45,120 --> 01:27:49,120
Speaker 2: If you have merch needs, please go to exactly Right

1585
01:27:49,200 --> 01:27:51,800
Speaker 2: store dot com and.

1586
01:27:51,720 --> 01:27:55,599
Speaker 1: We have bonus episodes. New bonus episodes of our podcast

1587
01:27:55,720 --> 01:27:58,679
Speaker 1: drop on the main feed every third Thursday of the month.

1588
01:27:59,360 --> 01:28:01,639
Speaker 2: Danielle, what are the movies for next week?

1589
01:28:02,400 --> 01:28:05,200
Speaker 1: Our movies for next week are Fish Tank from two

1590
01:28:05,200 --> 01:28:07,960
Speaker 1: thousand and nine and Out of the Blue from nineteen

1591
01:28:08,080 --> 01:28:09,360
Speaker 1: eighty All.

1592
01:28:09,320 --> 01:28:12,680
Speaker 2: Right, well, as always, Danielle, A hocking pleasure doing this

1593
01:28:12,720 --> 01:28:19,479
Speaker 2: podcast with you the best, Bye bye.

1594
01:28:23,640 --> 01:28:26,360
Speaker 1: This has been an exactly Right production. Our senior producer

1595
01:28:26,400 --> 01:28:30,200
Speaker 1: is Casey O'Brien. Episode mixing and theme music by Tom Bryfogel,

1596
01:28:30,520 --> 01:28:34,240
Speaker 1: artwork by Garrett Ross. Our executive producers are Georgia Hartstart,

1597
01:28:34,280 --> 01:28:36,960
Speaker 1: Karen kil Gareff and Daniel Kramer. You can follow us

1598
01:28:36,960 --> 01:28:39,880
Speaker 1: on Instagram and Twitter at I Saw pod, and you

1599
01:28:39,920 --> 01:28:42,120
Speaker 1: can email us at I Saw what you did Pod

1600
01:28:42,240 --> 01:28:42,839
Speaker 1: at gmail.