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Speaker 1: Film Spotting is presented by Regal Unlimited, the all you

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Speaker 1: Regal app or at the link in our description and

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Speaker 1: use code film spot twenty six to receive fifteen percent off.

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Speaker 2: What kind of a show you guys putting on here today?

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Speaker 2: You're not interested in art? Now? No, Look, we're going

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Speaker 2: to do this thing. We're going to have a conversation.

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Speaker 1: From Chicago. This is film Spotting.

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Speaker 3: I'm Josh Larson and I'm Adam Kempenard.

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Speaker 2: Sleep Rowled sleep Roll Cereal gets a sleep rold Something

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Speaker 2: on your neck?

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Speaker 3: Yeah right, I'm not falling for that one chance there

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Speaker 3: is something on your neck. Leach le je.

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Speaker 1: Rob Reiner's death in December head people reconsidering the director's

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Speaker 1: run of era and genre defining eighties films. This is

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Speaker 1: spinal Tap, The Princess Bride, When Harry met Sally. Reiner

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Speaker 1: was also behind the coming of age classics Stand By Me,

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Speaker 1: which returns to theaters this month for its fortieth anniversary.

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Speaker 2: Our review plus The Bride and Film Spotting Forty's Madness.

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Speaker 3: That and more ahead on Film Spotting.

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Speaker 2: Welcome to Film Spotting White Heat the nineteen forty nine

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Speaker 2: James Cagney Gangster Picture Top of the World ma versus

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Speaker 2: Disney's Bambie. That's the kind of craziness you can look

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Speaker 2: forward to later in the show when we get to

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Speaker 2: Round one of Film Spotting Madness. Josh, it is here,

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Speaker 2: you know.

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Speaker 1: Just before you cast that vote, Remember, James Cagney killed

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Speaker 1: Bambi's mother, so keep that in mind.

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Speaker 2: Apparently that's how it went down. We'll get into all

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Speaker 2: thirty two, well not quite all thirty two. We'll highlight

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Speaker 2: some of the thirty two first round matches of Film

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Speaker 2: Spotting Forty's Madness. But all thirty two are live right

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Speaker 2: now as you are listening to us, and you can

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Speaker 2: go cast your vote at film Spotting dot net, slash Madness,

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Speaker 2: or just go to film Spotting Madness dot com. The

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Speaker 2: bracket contest is live. You can jump ahead if you

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Speaker 2: want participate right now. It's fine multitask while you're listening

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Speaker 2: or watching, or you can just wait. You can wait

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Speaker 2: until we get to that part of the show. That's

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Speaker 2: fine too. We'll also get to your thoughts, josh on

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Speaker 2: Maggie Jillenhal's The Bride. You did finally catch up with it?

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Speaker 2: A failure at the box office. It seems that nevertheless

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Speaker 2: may have some artistic merit worth celebrating a.

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Speaker 1: Failure at the box office. That explains why I was

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Speaker 1: one of I think three, No, there might have been

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Speaker 1: five people, and I may have been laughing the loudest.

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Speaker 1: So okay, yeah, I'll get into I'll get into why

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Speaker 1: a little bit later.

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Speaker 2: It earns its exclamation point at the end of the title.

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Speaker 3: Is that what you're saying?

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Speaker 1: That is absolutely true?

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Speaker 3: Okay? No false?

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Speaker 1: Savage tisement bear.

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Speaker 2: A quick reminder, Film Spotting is now available as a

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Speaker 2: video podcast. Yes, you can watch us on YouTube YouTube

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Speaker 2: dot com slash film spotting, and you can find all

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Speaker 2: of our episodes at film spotting dot net slash episodes.

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Speaker 3: But first, stand by me. It's middle age. Oh man,

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Speaker 3: wait you hear this?

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Speaker 2: What does it matter?

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Speaker 3: You guys want to go see it?

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Speaker 2: D body. On December sixteenth, twenty twenty five, The New

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Speaker 2: York Times published an essay by Stephen King in which

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Speaker 2: the famed author details how in a Beverly Hills Hotel

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Speaker 2: room in the fall of eighty five. He thinks Rob

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Speaker 2: Reiner showed him the body. Yes, the studio made the

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Speaker 2: call later to change the title. The name of King's

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Speaker 2: novella was too horror sounding, not enough coming of age. While,

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Speaker 2: of course most of the details don't line up exactly.

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Speaker 2: King describes The Body as the only nakedly autobiographical story

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Speaker 2: I've ever done in Rob's hands. Says it all rang true.

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Speaker 2: The funny parts they really drew laughs. The dramatic parts

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Speaker 2: hit hard. I had felt just that torn between the

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Speaker 2: writing life and the lives of my friends who were

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Speaker 2: living for the moment and not going anywhere in particular

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Speaker 2: except maybe Vietnam. I chose writing, but it was a

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Speaker 2: near thing, which brings us back to the title of

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Speaker 2: the essay, Why I hugged Rob Reiner After watching stand

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Speaker 2: by Me. King was so moved that, despite being quote

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Speaker 2: not ordinarily a hugging man, unquote, that's what he did,

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Speaker 2: still under the film spell. After that awkward moment, King

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Speaker 2: found the nearest bathroom to collect himself, and here's where

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Speaker 2: he hits us with a line that reminds us that

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Speaker 2: he's the grown up Gordy la chance, even if the

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Speaker 2: writer's line in the body is slightly different than and

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Speaker 2: arguably not quite as good as the writer's final line.

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Speaker 2: And stand by me, nostalgia can be danger when it's

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Speaker 2: up close. I don't exactly know what I mean by that,

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Speaker 2: but it feels true. Josh Columbia Pictures perfectly time this

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Speaker 2: film set at the end of summer for release at

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Speaker 2: the end of summer eighty six. For us, the timing

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Speaker 2: was even more providential. You were twelve going on thirteen,

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Speaker 2: same as Gordie, and I was just a bit shy

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Speaker 2: of that. We didn't grow up in Oregon in the

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Speaker 2: late fifties, but there are parts of our childhoods up

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Speaker 2: there on screen, just like kings. I don't think of

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Speaker 2: you as ordinarily much of a hugger either, but if

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Speaker 2: you could embrace Rhiner for something after this, revisit a scene,

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Speaker 2: a line, a moment, an idea, something that ring true,

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Speaker 2: what would it be as you absorbed the nostalgia, what

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Speaker 2: felt dangerous up close?

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Speaker 1: Trying to be more of a hugger as I age, Adam.

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Speaker 1: So we'll see how I do.

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Speaker 3: So I'm right, I do with that.

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Speaker 1: Yeah, you know, Reiner. He seems like a filmmaker you

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Speaker 1: could hug for whatever that's worth, you know, when you

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Speaker 1: think about just his public personality as screen persona. Of

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Speaker 1: course some of these beloved films that he gave us,

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Speaker 1: and I'm glad we have a chance to remember him

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Speaker 1: with this deep dive into stand By Me. As far

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Speaker 1: as the movie itself, I think what held up was

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Speaker 1: the sense of camaraderie among those four friends, and I

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Speaker 1: would credit Reiner's handling of the cast and their interactions

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Speaker 1: with each other more than say the writing or perhaps

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Speaker 1: the direction of the tone. I was a little disappointed.

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Speaker 1: I would say that this wasn't the pure nostalgia hit

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Speaker 1: for me stand By Me. On this viewing, which is

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Speaker 1: probably the first I've seen in oh probably decades, I

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Speaker 1: think scenes here and there. I'm sure I watched it

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Speaker 1: multiple times when I was closer to the age of

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Speaker 1: its release, but this has been the first and a

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Speaker 1: long time. So it was the real nostalgia test, right

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Speaker 1: it was going Was this going to be et back

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Speaker 1: to the future or was this going to be I'm

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Speaker 1: sorry to report goonies, you know, And it took a

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Speaker 1: bit of a gooni's downgrade, which we can maybe get into.

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Speaker 1: Part of that was the tone. It's very broad some

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Speaker 1: moments of how these characters react to each other, yet

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Speaker 1: there's something in the air in their camaraderie and the

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Speaker 1: way the actors look at each other or wait for

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Speaker 1: each other to say something or tease each other. It's

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Speaker 1: more in the in the in the relationships and the

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Speaker 1: performances than in the writing. And I think we need

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Speaker 1: to give Ryan or credit for that as well, for

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Speaker 1: creating that atmosphere where these young actors, all of them

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Speaker 1: give I think, incredibly strong performances. And then I'm sure

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Speaker 1: we'll spend time on River Phoenix, who's just doing something

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Speaker 1: completely at a different level. And in this adult revisit

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Speaker 1: was the thing that impressed me the most was River Phoenix.

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Speaker 1: But altogether as a group, it was a nostalgic adam

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Speaker 1: because it does capture the air of hanging out with

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Speaker 1: other guys at that age doing something slightly dangerous. Because

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Speaker 1: this is a movie, it becomes really dangerous, but in

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Speaker 1: your mind you think is movie dangerous at that age?

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Speaker 1: The levels of one upmanship at play, the hierarchy that

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Speaker 1: is firmly in place, but always at that age being

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Speaker 1: poked at who has what standing and how that shifts.

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Speaker 1: These are all things that the movie captures really well

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Speaker 1: and that hold up, and that made me nostalgic, not

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Speaker 1: only for that first experience of watching Stand by Me,

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Speaker 1: but also of being that age and hanging out with

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Speaker 1: guys like this and doing stupid stuff.

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Speaker 2: Stupid stuff indeed, and I think camaraderie and relationships is

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Speaker 2: probably where you have to start. That was my reaction

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Speaker 2: as well. And it is cliche to think about what

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Speaker 2: really resonates and go to that final line, but it

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Speaker 2: sets up the other moments in the film that really

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Speaker 2: resonated with me this time, that final line being I

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Speaker 2: never had any friends later on like the ones I

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Speaker 2: had when I was twelve. Jesus does Anybody? Apparently what

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Speaker 2: I was referencing earlier. Apparently in the novella, the last

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Speaker 2: line is the same up until Jesus did You. So

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Speaker 2: we could have a side conversation about which line is better.

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Speaker 2: Of course, we're used to Jesus does Anybody? And it's

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Speaker 2: hard to consider any other line because that one just

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Speaker 2: works so well. I mentioned last week on the show

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Speaker 2: when we were teasing this, that I feel very fortunate

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Speaker 2: that I have a lot of the same friends I

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Speaker 2: had when I was twelve. I'm hanging out with one

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Speaker 2: of them later today, and I feel very fortunate about that.

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Speaker 2: If someone ever makes or if I ever write a memoir,

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Speaker 2: Josh and I'm telling the stories of the stupid things

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Speaker 2: we did when we were twelve years old, like these kids.

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Speaker 2: This guy I'm hanging out with later, he's one of

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Speaker 2: the crew. You know, he'll be in there. And I

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Speaker 2: do feel fortunate about that. But the thing is, the

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Speaker 2: key word there is, or the key part of the phrase,

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Speaker 2: is like the ones I had when I was twelve.

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Speaker 2: Even if they're the same friends, they'll never be the

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Speaker 2: same as those friendships were, those bonds were when you

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Speaker 2: were twelve. You can never recreate that now we try.

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Speaker 2: You know, I've mentioned this before. When my band gets

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Speaker 2: together and he's one of the people in the band,

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Speaker 2: and we started the summer when we were twelve, just

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Speaker 2: like these kids the summer they were twelve. When we

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Speaker 2: get together, the performance is an excuse just to get

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Speaker 2: together and reminisce about the summers when we were eleven, twelve,

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Speaker 2: and thirteen. Right, So that nostalgia aspect is very, very potent.

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Speaker 3: So that that last.

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Speaker 2: Line does kind of create the umbrella or the lens

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Speaker 2: through which you see this entire film, the moments that

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Speaker 2: then the individual moments. Josh, that then really hit me

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Speaker 2: this time, and I'm sure hit a lot of other

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Speaker 2: people as well. It's a really emotional bit when you

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Speaker 2: get to it, especially the first time you see this song.

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Speaker 2: I remember sitting in the theater and feeling it is

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Speaker 2: when we hear when they return to Castle Rock after

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Speaker 2: this adventure, and we hear then we hear the narrator say,

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Speaker 2: as time went on, we saw less and less of

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Speaker 2: Teddy and Vern, until eventually they became just two more

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Speaker 2: faces in the halls.

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Speaker 3: That happens.

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Speaker 2: Sometimes friends come in and out of your life, like

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Speaker 2: bus boys in a restaurant. So we just saw these

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Speaker 2: four guys go through something that you would think would

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Speaker 2: bond them forever, and just as viewers, even as twelve

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Speaker 2: year old kids, as viewers watching a movie, it's hard.

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Speaker 2: It's hard to imagine them then going their separate ways

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Speaker 2: and within a short time, perhaps a year, a couple

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Speaker 2: of years, four years, whatever it is, going through junior

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Speaker 2: high in high school, them just seeing Vern in the

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Speaker 2: hallway and passing him and not feeling it, not being

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Speaker 2: the same relationship it is right now, that's just as

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Speaker 2: viewers now that I look back on it, Josh, I

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Speaker 2: could also consider, I wonder if I was sitting in

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Speaker 2: the theater through that prism of being a twelve year

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Speaker 2: old and thinking, wait, is this what's pending for me?

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Speaker 2: Is this true? Is this narrator's wisdom, which is what

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Speaker 2: it certainly feels like. And we can talk about this

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Speaker 2: as it comes from, as it comes from Richard Dreyfus

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Speaker 2: and the way he's intoning it.

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Speaker 3: Is this true?

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Speaker 2: Is this knowledge that I will someday have to face

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Speaker 2: And these guys that I feel so tight with, are

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Speaker 2: we going to end up just like vern and Teddy

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Speaker 2: and these guys separating as we go through junior high

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Speaker 2: and we go through high school and go on into adulthood.

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Speaker 2: And the sadness of that, That part, and the last

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Speaker 2: one I'll give you is maybe what is overall the

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Speaker 2: most magical scene in the film, which is the campfire,

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Speaker 2: the campfire moment that first night where they all hang

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Speaker 2: out together. And here it's a line again in the

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Speaker 2: narration where he says, we talked into the night, the

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Speaker 2: kind of talk that seemed important until you discover girls,

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Speaker 2: which is a great line. It nails it perfectly. That's

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Speaker 2: exactly what it is for young boys. But then we

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Speaker 2: see some of that, and we hear some of that,

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Speaker 2: and I'd have to spend more time, Josh, thinking about

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Speaker 2: what our versions of those conversations, debating what goofy really

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Speaker 2: is and things like that, like what were our mid

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Speaker 2: nineteen eighties parallels. But we had them, We of course

244
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Speaker 2: had them, and we had we had those types of

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Speaker 2: conversations in those exact same types of moments. We were

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Speaker 2: just on the cusp of true adolescence, of going into

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Speaker 2: young adulthood, and we had those kind of completely superficial

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Speaker 2: conversations that in the moment seemed like the most important

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Speaker 2: thing in the world.

250
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Speaker 1: Yeah, I mean, the equivalent to Mighty Mouse versus Superman

251
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Speaker 1: might have been with my friends. I mean, we're gonna

252
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Speaker 1: we're gonna sidetrack and blow people's minds here. But Indiana

253
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Speaker 1: Jones or Han Solo, who would win? I mean, if

254
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Speaker 1: it had to come down to it, that's a good

255
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Speaker 1: that's a good sleepovernight conversation. You don't need anything else

256
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Speaker 1: but that. While we're on the subject, of what it

257
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Speaker 1: was like to watch this at the time and be

258
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Speaker 1: influenced by it, affected by it. One thing I was

259
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Speaker 1: curious about rewatching this and hearing all of these phrases

260
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Speaker 1: that these guys throw back and forth to each other

261
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Speaker 1: as kids. Were these invented for the movie or are

262
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Speaker 1: these actually nineteen fifty nine phrases? So I'm thinking of

263
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Speaker 1: it's so funny, I forgot to laugh. Suck my fast one,

264
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Speaker 1: candy ass.

265
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Speaker 3: Your ass is grass?

266
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Speaker 2: I mean, no, that's these that seems like fifties all

267
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Speaker 2: leitay to me.

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Speaker 1: They took over recess is all I can tell you

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Speaker 1: is after stand By Me, like these things were thrown

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Speaker 1: around and particularly I remember you know the skin it

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Speaker 1: you know where you oh, one guy puts his land

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Speaker 1: out in the other Yeah, he just kind of slides

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Speaker 1: his hand over it. Yes, I was doing that with

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Speaker 1: friends after this movie.

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Speaker 2: That might have been the biggest thing we stole from

276
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Speaker 2: stand By Me. And just I want to say, boss

277
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Speaker 2: was the word that Verne says a lot. It's so boss,

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Speaker 2: It's so boss. That's when we took And the other

279
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Speaker 2: thing he says that I don't know it had to

280
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Speaker 2: be because King says you know, he took it from

281
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Speaker 2: his life. I'm guessing this is verifiable and true. But

282
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Speaker 2: the thing Vern and Vern only says a lot is sincerely, sincerely.

283
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Speaker 2: I'd love to know whether or not there were really

284
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Speaker 2: kids running around in the fifties so earnestly saying no, sincerely.

285
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Speaker 1: Maybe yeah, yeah, yeah. So that was that was definitely

286
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Speaker 1: a nostalgia hit with that. And I think the other

287
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Speaker 1: thing is that it started explaining to me, you know,

288
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Speaker 1: when we've talked to music and growing up with music.

289
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Speaker 1: On this show, I mentioned this odd thing that middle

290
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Speaker 1: schools where I got into oldies, so at that point

291
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Speaker 1: it would have been like fifties and sixties music. I

292
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Speaker 1: always attributed it to my my best friend at the

293
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Speaker 1: times older brother, who was obsessed with the Beatles and

294
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Speaker 1: had you know, the double album best of Cassette tracks,

295
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Speaker 1: and we listened to those over and over, and I

296
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Speaker 1: thought that was why I was listening to you know,

297
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Speaker 1: Magic one O four point three with Dick BEYONDI here

298
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Speaker 1: in Chicago. It was probably stand by me as well.

299
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Speaker 1: Just all of these classics that our walled wall in

300
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Speaker 1: this movie must have fed that interest. And so I

301
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Speaker 1: feel a little less weird now about being obsessed with

302
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Speaker 1: oldies as a middle schooler, now that I've located one

303
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Speaker 1: of the other reasons. So yeah, just nostalgia. It's an

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Speaker 1: interesting as a nostalgia piece, you know, for different eras

305
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Speaker 1: in different ways. So we have, you know, oldies fuelling

306
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Speaker 1: kids in the eighties fuelling this story that's set in

307
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Speaker 1: the fifties, and the lingo, you know, being passed on

308
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Speaker 1: to another generation. It's like, stand by me, was this jump,

309
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Speaker 1: this bounce from one generation over to the next that

310
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Speaker 1: should have never been using any of this lingo.

311
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Speaker 3: You know.

312
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Speaker 2: I've mentioned this a couple times on the show over

313
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Speaker 2: the past year, and I even said at one point

314
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Speaker 2: that I didn't realize until now that I'm fifty that

315
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Speaker 2: looking back, and that of course i'm a parent, that

316
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Speaker 2: in the eighties we were really living our parents' childhoods.

317
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Speaker 3: And that's the case. We were in some ways.

318
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Speaker 2: We didn't know it at the time, but we were

319
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Speaker 2: living a boomer's childhood because we were enacting all of

320
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Speaker 2: these fifties rights and we were listening to their music.

321
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Speaker 2: And that's because that's what dominated for a lot of

322
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Speaker 2: reasons that we won't get into now, that's what dominated

323
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Speaker 2: the time. Boomer culture dominated the time, and so I was,

324
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Speaker 2: of course thinking about that, Josh, as I watched this film,

325
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Speaker 2: and I was trying to think about where this movie

326
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Speaker 2: fit into that scheme, where it fit into this discussion,

327
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Speaker 2: because you can't separate it from this eighties industry of nostalgia,

328
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Speaker 2: this boomer, as we're saying, this boomer longing to return

329
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Speaker 2: to the simpler, innocent.

330
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Speaker 3: Days of the fifties. And it was a hit.

331
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Speaker 2: It was a critical and commercial success. It was made

332
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Speaker 2: on a very low budget, so it made even though

333
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Speaker 2: at the time it seems modest, it made a lot

334
00:19:17,725 --> 00:19:23,605
Speaker 2: of money, and it was so comforting to boomers. I'll

335
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Speaker 2: give you a story that I heard just yesterday. Someone

336
00:19:25,845 --> 00:19:28,085
Speaker 2: told me, someone close to me, told me this story

337
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Speaker 2: that their mom, who was someone who was very prudent,

338
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Speaker 2: very pious. You know, there was no swearing in the

339
00:19:35,965 --> 00:19:41,165
Speaker 2: house church every Sunday. And this may have been familiar

340
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Speaker 2: to you, Josh. You know, no going to rated our

341
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Speaker 2: movies ever, that kind of thing, and Stand by.

342
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Speaker 3: Me was rated r Yeah. Yeah.

343
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Speaker 2: They the parents went and saw stand By Me and

344
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Speaker 2: then came home and said, I want the kids to

345
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Speaker 2: go see this movie. It's okay, you can go see it.

346
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Speaker 2: So I heard that before I rewatched the film, and

347
00:20:03,485 --> 00:20:06,725
Speaker 2: I'm watching it and I know this, I know this parent,

348
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Speaker 2: and I'm thinking, wow, I kind of can't believe that

349
00:20:10,245 --> 00:20:13,765
Speaker 2: they were okay with some of these conversations and some

350
00:20:13,845 --> 00:20:16,885
Speaker 2: of the activities that occur in it. But that's how

351
00:20:17,045 --> 00:20:20,285
Speaker 2: that's how powerful the nostalgia was. And this this parent,

352
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Speaker 2: it's the mother. And I bring that up because this

353
00:20:23,765 --> 00:20:26,925
Speaker 2: is a very boy film. You know, this is the

354
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Speaker 2: boy in the Prince's Bride who wants thinks he wants,

355
00:20:30,245 --> 00:20:32,845
Speaker 2: you know, the swashbuckling and all that stuff, not the

356
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Speaker 2: kissing stuff. These are boys doing boy things, right, singing

357
00:20:36,765 --> 00:20:40,245
Speaker 2: army songs and and you know, all all of those

358
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Speaker 2: types of activities and and and they're certainly they're they're

359
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Speaker 2: already starting to think about girls and talk about girls, uh,

360
00:20:47,125 --> 00:20:50,085
Speaker 2: in a in a sexual way. And even this this

361
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Speaker 2: mother saw so much of her experience from growing up

362
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Speaker 2: in the fifties in this film and wanted her kids

363
00:20:59,885 --> 00:21:05,045
Speaker 2: to experience that as well. That that's that's something really important. It'snificant,

364
00:21:05,085 --> 00:21:07,325
Speaker 2: and it could very well have been been that. I mean,

365
00:21:07,925 --> 00:21:10,765
Speaker 2: we're I'm psycho analyzing a stranger here, So this is

366
00:21:10,805 --> 00:21:13,365
Speaker 2: all speculation. It could have been a nostalgia hit. That

367
00:21:13,405 --> 00:21:15,445
Speaker 2: makes a lot of sense to me. I think to

368
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Speaker 2: the movie's credit, maybe you know this mom saw something

369
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Speaker 2: that I think is unique to it as a nostalgia picture,

370
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Speaker 2: which is it's not entirely glossing over the realities of

371
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Speaker 2: the difficulties of that era. Whether you know there references

372
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Speaker 2: these are troubled families that we meet. War is a

373
00:21:43,725 --> 00:21:48,925
Speaker 2: troubling thing in the past and looking ahead. In this film,

374
00:21:49,645 --> 00:21:53,445
Speaker 2: it's honest about that America at war. This is a

375
00:21:53,485 --> 00:21:58,325
Speaker 2: movie that recognizes the cost of that. So I think

376
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Speaker 2: that it in its own way both fuels nostalgia for

377
00:22:02,565 --> 00:22:06,885
Speaker 2: an earlier era and complicates that earlier era that is

378
00:22:07,005 --> 00:22:09,445
Speaker 2: rare for this this period that we're talking about, for

379
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Speaker 2: the eighties, for some of these boomers or on the

380
00:22:11,325 --> 00:22:14,845
Speaker 2: same page, Josh, Yes, that's that's what I think stands

381
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Speaker 2: out to me about this film, And that's that's at

382
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Speaker 2: least my initial hypothesis about this movie and one of

383
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Speaker 2: the reasons why it's still it still stands stands up

384
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Speaker 2: or or you know, it stands up to the test

385
00:22:27,125 --> 00:22:32,085
Speaker 2: of time. It feels different to me for the reason

386
00:22:32,325 --> 00:22:35,325
Speaker 2: or the reasons that you're saying. It's it's that it's

387
00:22:35,365 --> 00:22:39,285
Speaker 2: not just that it's so insulated and how intimate the

388
00:22:39,325 --> 00:22:41,805
Speaker 2: movie is, right, or that's a big part of it.

389
00:22:41,805 --> 00:22:44,765
Speaker 2: It's not just focused on one town that we we

390
00:22:44,925 --> 00:22:48,445
Speaker 2: really barely see or one year, but it's it's one weekend,

391
00:22:48,685 --> 00:22:54,445
Speaker 2: and it's so intensely attuned to these four boys, right,

392
00:22:54,565 --> 00:22:58,765
Speaker 2: and their experience and and often what's what's going on

393
00:22:58,925 --> 00:23:02,925
Speaker 2: internally and how that's manifesting in their behavior. And it

394
00:23:03,005 --> 00:23:09,085
Speaker 2: isn't suggestive or as suggestive about what this period as

395
00:23:09,125 --> 00:23:12,205
Speaker 2: a whole may or may not have been like. Even

396
00:23:12,245 --> 00:23:14,965
Speaker 2: though there are those illusions, those are direct, those direct

397
00:23:14,965 --> 00:23:17,885
Speaker 2: allusions to some of the troubling things that you mentioned.

398
00:23:18,005 --> 00:23:20,325
Speaker 2: But there's something else that I at least want to

399
00:23:20,325 --> 00:23:23,005
Speaker 2: throw out there, and that's that so many of those

400
00:23:23,085 --> 00:23:29,045
Speaker 2: eighties films that this was their milieu or what their

401
00:23:29,045 --> 00:23:32,325
Speaker 2: stock in trade was nostalgia. So many of these films

402
00:23:32,365 --> 00:23:35,885
Speaker 2: function too, to borrow a phrase from Terence Mann and

403
00:23:35,885 --> 00:23:38,965
Speaker 2: feel the dreams, to remind us of all that was

404
00:23:39,005 --> 00:23:41,445
Speaker 2: once good and could be again.

405
00:23:42,725 --> 00:23:43,285
Speaker 3: We can do it.

406
00:23:43,365 --> 00:23:47,285
Speaker 2: America, Our country was once great, that was the model.

407
00:23:47,645 --> 00:23:52,885
Speaker 2: An illusion. We can make it great again, also an illusion.

408
00:23:53,325 --> 00:23:56,845
Speaker 2: And look, Stephen King even says in the New York

409
00:23:56,925 --> 00:24:01,525
Speaker 2: Times article in the first paragraph, he's describing the setting, saying,

410
00:24:01,525 --> 00:24:03,205
Speaker 2: you know, I think it was fall of eighty five

411
00:24:03,565 --> 00:24:05,685
Speaker 2: Beverly Hills Hotel room. He says he can hear a

412
00:24:05,765 --> 00:24:08,845
Speaker 2: rock and roll band playing somewhere in the distance, and

413
00:24:08,845 --> 00:24:11,645
Speaker 2: he says that band was pure eighties. The movie allowed

414
00:24:11,685 --> 00:24:15,845
Speaker 2: me entry to another more innocent time nineteen fifty nine.

415
00:24:15,925 --> 00:24:16,645
Speaker 3: Now, whether or not.

416
00:24:17,045 --> 00:24:19,965
Speaker 2: He's being a little coy, he knows we all think

417
00:24:20,005 --> 00:24:22,125
Speaker 2: of it that way. Maybe he's winking at us a

418
00:24:22,165 --> 00:24:25,965
Speaker 2: little bit, or maybe he's being completely sincere Josh. And

419
00:24:26,005 --> 00:24:28,805
Speaker 2: that's how we sees it, as it was a more

420
00:24:28,805 --> 00:24:31,845
Speaker 2: innocent time. That would make sense. It was his childhood,

421
00:24:31,885 --> 00:24:34,005
Speaker 2: and it would make sense considering the movie we see

422
00:24:34,045 --> 00:24:37,685
Speaker 2: on screen taken from his book. So even he sees it,

423
00:24:37,805 --> 00:24:40,885
Speaker 2: you know, as as a more innocent time. But there's

424
00:24:40,965 --> 00:24:45,285
Speaker 2: just no triumphant spirit here. There's no victory. There's there's

425
00:24:45,325 --> 00:24:48,605
Speaker 2: a melancholy about this film that isn't just at the end,

426
00:24:48,885 --> 00:24:53,805
Speaker 2: that runs through the entire movie. Whatever whatever this once was,

427
00:24:54,365 --> 00:24:58,685
Speaker 2: that we see in stand By Me. It's not coming back,

428
00:24:59,125 --> 00:25:01,765
Speaker 2: it's not mourning in America. This this feels like a

429
00:25:01,845 --> 00:25:06,485
Speaker 2: eulogy by the end. You have to die, Chris. Why

430
00:25:06,525 --> 00:25:09,285
Speaker 2: did did he have to die? Why?

431
00:25:11,925 --> 00:25:12,405
Speaker 3: I don't know.

432
00:25:14,925 --> 00:25:15,685
Speaker 2: Should have been me?

433
00:25:16,205 --> 00:25:19,045
Speaker 3: Don't say that it should be don't say that.

434
00:25:19,165 --> 00:25:19,325
Speaker 2: Man.

435
00:25:20,045 --> 00:25:22,085
Speaker 1: Yeah, I think there's a more to it. There's a

436
00:25:22,125 --> 00:25:26,445
Speaker 1: wistful Maybe a better way to describe its nostalgia, its

437
00:25:26,525 --> 00:25:29,005
Speaker 1: brand of nostalgia is that it's more of a wistfulness

438
00:25:29,685 --> 00:25:34,365
Speaker 1: than pure nostalgia. Hit and again, to go go back

439
00:25:34,365 --> 00:25:36,245
Speaker 1: to this, you know this mother who wanted her kids

440
00:25:36,285 --> 00:25:39,365
Speaker 1: to see it when it came out. You know, maybe

441
00:25:39,365 --> 00:25:42,885
Speaker 1: she's picking up on that more realistic sense of the

442
00:25:42,925 --> 00:25:47,125
Speaker 1: American past, because you know, women at that time were

443
00:25:47,165 --> 00:25:49,765
Speaker 1: shut out of the good old days in ways that

444
00:25:49,805 --> 00:25:52,405
Speaker 1: men weren't. And so maybe there's someone who has a

445
00:25:52,405 --> 00:25:55,565
Speaker 1: more clear eyed memory of it and appreciates the clear

446
00:25:55,605 --> 00:25:58,925
Speaker 1: eyed memory that that stand By Me offers. And I

447
00:25:58,965 --> 00:26:01,565
Speaker 1: also wanted to throw in in terms of what someone

448
00:26:01,725 --> 00:26:05,765
Speaker 1: like this person might have been thinking about is as

449
00:26:05,965 --> 00:26:09,125
Speaker 1: a mother of boys, this is a unique depiction of

450
00:26:09,165 --> 00:26:12,805
Speaker 1: boys at this age that in today's terms we would

451
00:26:12,885 --> 00:26:17,365
Speaker 1: say you would not describe these kids as toxic males

452
00:26:18,005 --> 00:26:24,765
Speaker 1: in waiting. The amount of of honest emotion shared between

453
00:26:24,845 --> 00:26:28,205
Speaker 1: these boys. Also, you know, the sort of stuff that

454
00:26:28,325 --> 00:26:32,605
Speaker 1: could build into what I would call locker room toxicity

455
00:26:32,605 --> 00:26:35,005
Speaker 1: when they get older, is that the teasing could turn

456
00:26:35,605 --> 00:26:39,205
Speaker 1: you know, sour and get into bullying it. It could

457
00:26:39,205 --> 00:26:42,005
Speaker 1: maybe go that way. Yes, the fact that these kids

458
00:26:42,045 --> 00:26:46,325
Speaker 1: have such heart heart honest conversations between each other, some

459
00:26:46,365 --> 00:26:49,005
Speaker 1: more than others. But you think of Chris and Gordy

460
00:26:49,045 --> 00:26:53,405
Speaker 1: in particular, and you know, Chris comforting Gordy, Gordy comforting

461
00:26:53,485 --> 00:26:57,045
Speaker 1: Chris at various points, and what they share this is

462
00:26:57,405 --> 00:27:01,285
Speaker 1: these are the kinds of kids that you would want

463
00:27:01,325 --> 00:27:06,244
Speaker 1: your boys at that age to see and know that

464
00:27:06,365 --> 00:27:09,005
Speaker 1: it would be okay for them to be that. Yes,

465
00:27:09,045 --> 00:27:12,845
Speaker 1: they can have fun causing trouble running around, but they

466
00:27:12,845 --> 00:27:15,685
Speaker 1: could also share their feelings with their friends. They could

467
00:27:15,765 --> 00:27:18,045
Speaker 1: talk about what's bothering them with their friends, and so

468
00:27:18,165 --> 00:27:21,405
Speaker 1: I could see as a mother, you know, whatever my

469
00:27:21,445 --> 00:27:24,645
Speaker 1: other concerns seeing a movie like this, and like, let's

470
00:27:24,685 --> 00:27:27,485
Speaker 1: get these kids in front of my kids for what's

471
00:27:27,605 --> 00:27:31,925
Speaker 1: possible in terms of emotionally relating with others. Because you

472
00:27:31,965 --> 00:27:34,525
Speaker 1: don't see that in a lot of other movies. So

473
00:27:35,245 --> 00:27:38,565
Speaker 1: I think that's something that is you know, again probably

474
00:27:38,685 --> 00:27:40,445
Speaker 1: to the credit of King in including that in the

475
00:27:40,485 --> 00:27:43,085
Speaker 1: original story and Ryan Or in making it kind of

476
00:27:43,085 --> 00:27:46,405
Speaker 1: where we started a point of emphasis in allowing this

477
00:27:46,485 --> 00:27:48,925
Speaker 1: young cast to have moments like that, and then these

478
00:27:48,965 --> 00:27:51,525
Speaker 1: young actors rising to the moment.

479
00:27:52,085 --> 00:27:54,965
Speaker 2: Yeah, and how how about that dinner scene where we

480
00:27:55,085 --> 00:27:58,445
Speaker 2: do glimpse what the gender dynamics are like in that

481
00:27:58,525 --> 00:28:02,325
Speaker 2: house where the father is saying, you know, don't interrupt

482
00:28:02,365 --> 00:28:03,125
Speaker 2: me when I'm.

483
00:28:03,005 --> 00:28:05,925
Speaker 3: Talking to us. Right there, you know, right there, it's right.

484
00:28:05,765 --> 00:28:10,525
Speaker 2: There on screen, and that is a very dysfunctional family unit.

485
00:28:10,605 --> 00:28:14,445
Speaker 2: And I definitely take your point. I think certainly Chris

486
00:28:14,485 --> 00:28:18,565
Speaker 2: and Gordie are more in tune with their sensitive sides,

487
00:28:18,845 --> 00:28:21,845
Speaker 2: and I might worry a little bit more about how

488
00:28:22,005 --> 00:28:25,845
Speaker 2: Teddy and Vern might turn out, especially pause of which

489
00:28:25,965 --> 00:28:28,885
Speaker 2: because yeah, because of the because of the bullying that

490
00:28:28,885 --> 00:28:32,645
Speaker 2: that they're already experiencing and are certainly going to experience

491
00:28:32,685 --> 00:28:34,645
Speaker 2: even more, they may feel the need to try to

492
00:28:34,685 --> 00:28:38,565
Speaker 2: assert themselves in life in a way that that may

493
00:28:38,605 --> 00:28:42,045
Speaker 2: not go well for themselves or for others. And and

494
00:28:42,125 --> 00:28:46,325
Speaker 2: also that that dialogue. I'm not going to suggest that

495
00:28:46,565 --> 00:28:49,005
Speaker 2: it's false. That's that's part of what makes the movie

496
00:28:49,085 --> 00:28:52,525
Speaker 2: so great. But when we're talking about what we see

497
00:28:52,565 --> 00:28:55,365
Speaker 2: in our own lives or when we think back on it,

498
00:28:55,565 --> 00:28:59,645
Speaker 2: what what resonates. I don't know that I can find

499
00:28:59,645 --> 00:29:02,445
Speaker 2: a corollary Josh in my life.

500
00:29:02,445 --> 00:29:02,605
Speaker 3: Now.

501
00:29:02,645 --> 00:29:05,925
Speaker 2: Fortunately, I can say at that time, I never had

502
00:29:07,005 --> 00:29:10,165
Speaker 2: a tragedy in my life, like a sibling dying. I

503
00:29:10,245 --> 00:29:14,685
Speaker 2: never had anything like the level of Gordy, So I

504
00:29:14,725 --> 00:29:18,245
Speaker 2: can't I can't directly relate. I don't know that I

505
00:29:18,365 --> 00:29:22,725
Speaker 2: remember a moment when I was twelve where any of

506
00:29:22,805 --> 00:29:28,125
Speaker 2: my group of friends shared something that personal with each other,

507
00:29:28,605 --> 00:29:31,245
Speaker 2: right where we really bared all, where we cried in

508
00:29:31,285 --> 00:29:33,685
Speaker 2: front of each other. I don't know that that ever happened.

509
00:29:34,125 --> 00:29:38,005
Speaker 2: It could have happened. I think it probably could have

510
00:29:38,045 --> 00:29:41,805
Speaker 2: because we were that close, but it didn't. And that's

511
00:29:42,125 --> 00:29:46,285
Speaker 2: one of those examples I think where this film feels

512
00:29:46,285 --> 00:29:50,045
Speaker 2: in the best way like a movie, and it feels

513
00:29:50,125 --> 00:29:53,845
Speaker 2: true to those characters. It feels heightened emotionally, and I

514
00:29:53,885 --> 00:29:56,685
Speaker 2: think actually this film, one of the things I noticed

515
00:29:56,725 --> 00:30:00,965
Speaker 2: watching it is that and considering other Stephen King things

516
00:30:01,005 --> 00:30:05,005
Speaker 2: that I've read and another adaptations that I've seen. What

517
00:30:05,125 --> 00:30:07,965
Speaker 2: I love about it in a way, honestly, one of

518
00:30:08,005 --> 00:30:10,605
Speaker 2: the things I really appreciate, Josh, is how it balances

519
00:30:11,125 --> 00:30:15,685
Speaker 2: how truthful, how rooted in real events. You know, it

520
00:30:15,805 --> 00:30:19,445
Speaker 2: seems like I can believe that someone who conceived this

521
00:30:19,845 --> 00:30:22,605
Speaker 2: based this off of things from their life.

522
00:30:22,645 --> 00:30:22,925
Speaker 3: I can.

523
00:30:23,005 --> 00:30:26,165
Speaker 2: I can believe all of that watching it, And at

524
00:30:26,165 --> 00:30:31,685
Speaker 2: the same time, a lot of it feels like fiction,

525
00:30:32,125 --> 00:30:34,365
Speaker 2: like the way we think of the fifties, like think

526
00:30:34,365 --> 00:30:38,605
Speaker 2: about the adventures. They get into the train dodge. The

527
00:30:38,645 --> 00:30:42,085
Speaker 2: train dodge scene is like something out of Indiana Jones. Yeah,

528
00:30:42,085 --> 00:30:46,085
Speaker 2: they have to they have to escape Chopper. Right, there's

529
00:30:46,125 --> 00:30:49,885
Speaker 2: a gun, there's a body when they when they go

530
00:30:50,125 --> 00:30:52,245
Speaker 2: into the fourth the Prince's bride is gonna come out

531
00:30:52,245 --> 00:30:55,445
Speaker 2: one year later when they go when they go into

532
00:30:55,485 --> 00:30:59,125
Speaker 2: the forest, they call it the Royal and they stop.

533
00:30:59,245 --> 00:31:02,845
Speaker 2: The four travelers stop and they look at the forest

534
00:31:02,845 --> 00:31:05,925
Speaker 2: and they go, you know, behold the Royal And it's ominous,

535
00:31:05,965 --> 00:31:07,525
Speaker 2: and they're like, are we really going to go in?

536
00:31:07,565 --> 00:31:09,965
Speaker 2: And Verne doesn't want to go in, And then what happens.

537
00:31:10,045 --> 00:31:14,285
Speaker 2: There's a swamp and it's treacherous, and there's leeches. You know,

538
00:31:14,365 --> 00:31:17,045
Speaker 2: it's like out of The Prince's Bride. It's the fire

539
00:31:17,125 --> 00:31:20,445
Speaker 2: Swamp from the Princess Bride and Josh, there's characters named

540
00:31:20,725 --> 00:31:24,685
Speaker 2: a an eyeball, and there's a game of Chicken on

541
00:31:24,725 --> 00:31:28,245
Speaker 2: the road that's actually really intense, you know. And I mean,

542
00:31:28,325 --> 00:31:29,765
Speaker 2: I don't know how many people grew up in the

543
00:31:29,805 --> 00:31:33,685
Speaker 2: fifties actually knowing anyone named Ace an eyeball. That's straight out,

544
00:31:33,725 --> 00:31:36,565
Speaker 2: you know, when Gordie calls him a cheap dime store

545
00:31:36,565 --> 00:31:39,205
Speaker 2: hood at the end, that's what he feels like, like

546
00:31:39,245 --> 00:31:42,285
Speaker 2: a cheap dimestore hood, sure out of a pulp novel.

547
00:31:42,325 --> 00:31:43,205
Speaker 3: From the time.

548
00:31:43,325 --> 00:31:47,965
Speaker 2: So it feels both exactly like a fifties that really

549
00:31:48,005 --> 00:31:51,645
Speaker 2: existed and also a fifties that only existed.

550
00:31:51,205 --> 00:31:53,245
Speaker 3: In fiction and in our imaginations.

551
00:31:53,685 --> 00:31:56,005
Speaker 1: Yeah, And I think maybe it's it's the balancing act

552
00:31:56,085 --> 00:31:58,045
Speaker 1: there that I was talking about earlier in terms of

553
00:31:58,085 --> 00:32:02,725
Speaker 1: tone management, where we do get that heightened, broad almost juvenilia,

554
00:32:02,845 --> 00:32:06,045
Speaker 1: and then we get this very mature adult perspective. I

555
00:32:06,045 --> 00:32:09,405
Speaker 1: think Princess Bride actually Reiner threads that needle a little

556
00:32:09,445 --> 00:32:14,885
Speaker 1: bit better in making a storybook movie for adults that

557
00:32:15,605 --> 00:32:17,845
Speaker 1: is consistent to its own self all the way through.

558
00:32:18,645 --> 00:32:20,445
Speaker 1: I agree with you what you said about you know,

559
00:32:20,485 --> 00:32:23,845
Speaker 1: as close as you are with those friends at that age,

560
00:32:23,885 --> 00:32:26,325
Speaker 1: you don't know if you would have those conversations. I

561
00:32:26,445 --> 00:32:29,405
Speaker 1: don't think I did. I think in that sense the

562
00:32:29,445 --> 00:32:34,565
Speaker 1: movie is aspirational in ways, but not unrealistic. I'm sure

563
00:32:34,605 --> 00:32:37,245
Speaker 1: other people probably could say that they had those conversations

564
00:32:37,725 --> 00:32:41,685
Speaker 1: at that age, and so yeah, there's an aspirational element

565
00:32:41,725 --> 00:32:44,805
Speaker 1: to it. The reason it works in the movie for me,

566
00:32:45,325 --> 00:32:48,725
Speaker 1: I think goes back to those performances. So I don't

567
00:32:48,725 --> 00:32:51,085
Speaker 1: know if we've mentioned yet Will whe eaten by name

568
00:32:51,205 --> 00:32:54,485
Speaker 1: as Gordie River Phoenix. I know I mentioned as Chris,

569
00:32:54,485 --> 00:32:57,565
Speaker 1: but yeah, Corey Feldman as Teddy and then Jerry O'Connell

570
00:32:57,605 --> 00:33:00,845
Speaker 1: as Vern. I do think they're all doing excellent work.

571
00:33:01,005 --> 00:33:05,725
Speaker 1: But to see River Phoenix here, the word that came

572
00:33:05,765 --> 00:33:10,845
Speaker 1: to mind watching him is that he's incandescent in this role.

573
00:33:11,445 --> 00:33:13,805
Speaker 1: And somehow this goes back to what I was saying

574
00:33:13,845 --> 00:33:18,285
Speaker 1: about it being believable. You never feel like, even though

575
00:33:18,285 --> 00:33:21,765
Speaker 1: you recognize your brain you're processing the act, he recognizes

576
00:33:21,805 --> 00:33:24,885
Speaker 1: he's working at another level. You never feel like he's

577
00:33:24,925 --> 00:33:29,005
Speaker 1: anything but this real kid. So he has this incandescence

578
00:33:29,205 --> 00:33:34,765
Speaker 1: and this ultimate believability. And for me, a lot of it.

579
00:33:35,245 --> 00:33:37,885
Speaker 1: Some of it is in the line readings and the conversations,

580
00:33:38,285 --> 00:33:41,645
Speaker 1: a lot of it is just in how Phoenix moves.

581
00:33:41,885 --> 00:33:46,765
Speaker 1: If you watch Chris carefully, every motion he makes is

582
00:33:46,805 --> 00:33:50,765
Speaker 1: an impulsive. One part of that is by character. Chris is,

583
00:33:51,325 --> 00:33:54,485
Speaker 1: you know, probably the boldest of them, right, and so

584
00:33:54,645 --> 00:33:57,845
Speaker 1: it's he knows this character, he abused this character. It's

585
00:33:57,885 --> 00:34:00,845
Speaker 1: also how a lot of boys that age move. You know,

586
00:34:01,205 --> 00:34:04,965
Speaker 1: thinking sometimes comes a little bit after acting when you're

587
00:34:05,045 --> 00:34:07,765
Speaker 1: that age, no matter who you are. And that is

588
00:34:07,885 --> 00:34:12,245
Speaker 1: just how Phoenix embodies Chris, which gives him this rootedness

589
00:34:12,285 --> 00:34:15,565
Speaker 1: in a kid we maybe were or knew or have raised.

590
00:34:16,364 --> 00:34:22,765
Speaker 1: But then the level of interior a liveness that Phoenix

591
00:34:22,844 --> 00:34:26,965
Speaker 1: manages it is what also brings that incandescence. And you're like, man,

592
00:34:28,005 --> 00:34:30,605
Speaker 1: this guy was such a talent that you know talking

593
00:34:30,685 --> 00:34:33,485
Speaker 1: about morbidity in the back of our minds now is

594
00:34:33,525 --> 00:34:36,045
Speaker 1: that you know he died at the age of twenty

595
00:34:36,045 --> 00:34:39,125
Speaker 1: three and what nineteen ninety three, I mean, think about

596
00:34:39,125 --> 00:34:43,285
Speaker 1: how quickly that was after this which adds this adds

597
00:34:43,325 --> 00:34:45,205
Speaker 1: this metal layer to what I think the movie is

598
00:34:45,245 --> 00:34:47,285
Speaker 1: honestly already interested in is.

599
00:34:47,285 --> 00:34:50,845
Speaker 3: Like one hundred. That was a little bit of a surprise.

600
00:34:50,885 --> 00:34:53,685
Speaker 2: And I know that may seem silly to say when

601
00:34:53,805 --> 00:34:56,125
Speaker 2: the movie is based on a novella called The Body

602
00:34:56,325 --> 00:34:58,245
Speaker 2: and the entire premise of the film is is that

603
00:34:58,285 --> 00:35:00,725
Speaker 2: they're they're looking for a body.

604
00:35:00,965 --> 00:35:01,805
Speaker 3: But I was.

605
00:35:02,125 --> 00:35:04,844
Speaker 2: I was a little bit surprised, Josh by how much

606
00:35:05,525 --> 00:35:08,725
Speaker 2: death hangs over this film. And it really makes sense

607
00:35:08,765 --> 00:35:10,925
Speaker 2: when you think of this truly as a coming of

608
00:35:10,965 --> 00:35:13,925
Speaker 2: age film, not just as a hey, we're young kids,

609
00:35:14,405 --> 00:35:17,805
Speaker 2: it's our last kind of summer adventure before this transition

610
00:35:17,885 --> 00:35:18,765
Speaker 2: into junior high.

611
00:35:18,965 --> 00:35:20,205
Speaker 3: No, they're really.

612
00:35:19,965 --> 00:35:25,484
Speaker 2: Wrestling with the big existential subjects over this weekend, right

613
00:35:25,845 --> 00:35:30,485
Speaker 2: psychologically internally, but also externally as it comes out in

614
00:35:30,525 --> 00:35:35,045
Speaker 2: a lot of the conversations and the incidents and events

615
00:35:35,045 --> 00:35:40,045
Speaker 2: that happen with each other over the course of these

616
00:35:40,085 --> 00:35:46,645
Speaker 2: three days. So it is about morbidity, and that startled

617
00:35:46,645 --> 00:35:49,844
Speaker 2: me a little bit. But Phoenix then adds just that

618
00:35:49,925 --> 00:35:54,805
Speaker 2: meta layer. As you said, he has such incandescence a

619
00:35:54,805 --> 00:35:59,525
Speaker 2: great word, He has such a regal quality about him,

620
00:35:59,565 --> 00:36:03,325
Speaker 2: and I think it comes down to why I say

621
00:36:03,365 --> 00:36:07,405
Speaker 2: regal is. There is something about especially in those dramatic scenes,

622
00:36:07,965 --> 00:36:13,245
Speaker 2: the way he holds himself. There's just an emotional maturity.

623
00:36:13,445 --> 00:36:16,405
Speaker 2: And I wondered if actually he was older than all

624
00:36:16,405 --> 00:36:18,725
Speaker 2: the other boys, and I didn't look up all their ages.

625
00:36:19,125 --> 00:36:20,085
Speaker 3: He was fourteen.

626
00:36:21,005 --> 00:36:23,325
Speaker 2: Will Wheaton was fourteen as well, So it's not just

627
00:36:23,365 --> 00:36:26,805
Speaker 2: that he's like more mature age wise than than the

628
00:36:26,845 --> 00:36:30,565
Speaker 2: other kids. Believability is the word you use.

629
00:36:30,685 --> 00:36:31,405
Speaker 3: And I think.

630
00:36:32,885 --> 00:36:36,685
Speaker 2: That believability and that maturity comes back to the fact

631
00:36:36,725 --> 00:36:39,565
Speaker 2: that the I believe that the character, not just River

632
00:36:39,725 --> 00:36:43,045
Speaker 2: Phoenix the actor. I believe that the character has earned

633
00:36:43,085 --> 00:36:48,485
Speaker 2: that maturity based on what Chris Chambers has witnessed in

634
00:36:48,525 --> 00:36:51,085
Speaker 2: his life through yes, what he's been through, what he

635
00:36:51,125 --> 00:36:56,245
Speaker 2: has experienced, and and it's enough that he he has

636
00:36:56,685 --> 00:37:00,205
Speaker 2: he has a certain composure about him that the other

637
00:37:00,325 --> 00:37:03,085
Speaker 2: kids don't have. And and you wonder, now some of

638
00:37:03,125 --> 00:37:07,245
Speaker 2: it that that regal quality. You say, well, well that

639
00:37:07,365 --> 00:37:12,205
Speaker 2: is that is just that's the character. That's how it's written. Yes,

640
00:37:12,325 --> 00:37:16,165
Speaker 2: to an extent, but how many how many young actors

641
00:37:16,605 --> 00:37:18,805
Speaker 2: could play it the way Phoenix.

642
00:37:18,445 --> 00:37:23,245
Speaker 1: Does quality being necessary and right and not just thinking

643
00:37:23,365 --> 00:37:25,725
Speaker 1: I have to be natural on screen but I have

644
00:37:25,805 --> 00:37:28,805
Speaker 1: to naturally be this specific character on screen. That's what

645
00:37:28,845 --> 00:37:29,805
Speaker 1: Frans is doing.

646
00:37:29,885 --> 00:37:35,885
Speaker 2: And and believably pull off moments like those campfire scenes

647
00:37:35,925 --> 00:37:39,685
Speaker 2: and others where he is the same age as his

648
00:37:39,765 --> 00:37:44,165
Speaker 2: friend Gordie and he becomes he takes on the role

649
00:37:44,205 --> 00:37:47,805
Speaker 2: of father, he becomes, he becomes a father figure to him,

650
00:37:47,845 --> 00:37:52,005
Speaker 2: and we as viewers believe that we understand that he

651
00:37:52,085 --> 00:37:55,605
Speaker 2: has that kind of emotional maturity. So there is the

652
00:37:56,005 --> 00:37:59,845
Speaker 2: way the camera, And it's not because the camera itself.

653
00:37:59,885 --> 00:38:03,565
Speaker 2: It's not that Reiner is doing anything different with him

654
00:38:03,885 --> 00:38:07,445
Speaker 2: that he doesn't do with the other actors. But the camera,

655
00:38:08,085 --> 00:38:11,285
Speaker 2: the way it beholds Phoenix, the way it holds Phoenix

656
00:38:11,325 --> 00:38:15,005
Speaker 2: in the frame, and the way we watch him is different.

657
00:38:15,485 --> 00:38:16,165
Speaker 3: It is different.

658
00:38:17,165 --> 00:38:21,405
Speaker 2: Just suppose that I told the story me Christian Chambers

659
00:38:21,445 --> 00:38:22,845
Speaker 2: kid brother to Eyeball Chambers.

660
00:38:22,885 --> 00:38:24,404
Speaker 3: Do you think that anyone would have believed it?

661
00:38:25,165 --> 00:38:26,165
Speaker 2: Oh?

662
00:38:26,205 --> 00:38:28,525
Speaker 3: And do you think that that would if dare try

663
00:38:28,605 --> 00:38:30,525
Speaker 3: something like that, if it been one of those douchebags

664
00:38:30,525 --> 00:38:32,245
Speaker 3: from up on the view, if they had taken the money,

665
00:38:32,765 --> 00:38:33,765
Speaker 3: Oh way, don't know.

666
00:38:35,205 --> 00:38:45,245
Speaker 2: But with me, beyond the obvious big release this weekend,

667
00:38:45,245 --> 00:38:48,525
Speaker 2: which I am very excited to see Project Hail Mary

668
00:38:48,645 --> 00:38:52,245
Speaker 2: starring Ryan Gosling. We will talk about it here on

669
00:38:52,285 --> 00:38:54,925
Speaker 2: the show soon. Two movies I want to highlight and

670
00:38:54,925 --> 00:38:57,245
Speaker 2: look one of them. I know by the time you

671
00:38:57,285 --> 00:38:59,125
Speaker 2: hear this, it may not be available, but it's the

672
00:38:59,325 --> 00:39:03,645
Speaker 2: kind of programming that Regal Cinemas is doing more and

673
00:39:03,725 --> 00:39:06,685
Speaker 2: more fun to see these types of films on the

674
00:39:06,685 --> 00:39:09,525
Speaker 2: big screen when you can. And it's one of my

675
00:39:09,565 --> 00:39:13,125
Speaker 2: favorite Miyazaki films, maybe an underrated Miyazaki film. I hope

676
00:39:13,165 --> 00:39:15,685
Speaker 2: some of you had the chance to see that film,

677
00:39:15,725 --> 00:39:19,565
Speaker 2: and it's worth going to rig movies dot com to

678
00:39:19,645 --> 00:39:23,285
Speaker 2: learn more about that kind of great programming. And in

679
00:39:23,365 --> 00:39:26,605
Speaker 2: terms of other special programming, of course you heard us

680
00:39:27,005 --> 00:39:30,205
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681
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Speaker 2: and with Regal Unlimited you might just be able to

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Speaker 1: Okay, can I ask you a question because I feel

697
00:40:26,245 --> 00:40:28,565
Speaker 1: like I need to back up why I said at

698
00:40:28,565 --> 00:40:30,725
Speaker 1: the start a little bit more, why I would give

699
00:40:30,765 --> 00:40:33,845
Speaker 1: this a Goony's downgrade, in that you know, the Nostalgia

700
00:40:33,885 --> 00:40:37,005
Speaker 1: Watch was enjoyable, but maybe it didn't hold up like

701
00:40:37,125 --> 00:40:41,484
Speaker 1: something Back to the Future might. The voiceover narration. We've

702
00:40:41,525 --> 00:40:43,965
Speaker 1: cited it a couple of times because it is so

703
00:40:44,165 --> 00:40:48,165
Speaker 1: well written. It had to have been irresistible to Reiner,

704
00:40:48,325 --> 00:40:52,005
Speaker 1: and you almost had to use it as a framing

705
00:40:52,085 --> 00:40:56,605
Speaker 1: device at the very least. I did find here that

706
00:40:57,085 --> 00:41:01,605
Speaker 1: it became a crutch, and again understood the impulse to

707
00:41:01,645 --> 00:41:04,765
Speaker 1: do it. But it is a classic example for me

708
00:41:05,045 --> 00:41:09,525
Speaker 1: of the telling rather than showing as a movie, and

709
00:41:09,765 --> 00:41:13,725
Speaker 1: if Reiner had been able to find ways to reveal

710
00:41:13,765 --> 00:41:19,565
Speaker 1: the interiority that these lines speak of filmically, that might

711
00:41:19,605 --> 00:41:22,525
Speaker 1: have made Stand by Me a movie that would hold

712
00:41:22,605 --> 00:41:25,485
Speaker 1: up even more for me looking at it again now

713
00:41:26,085 --> 00:41:28,485
Speaker 1: as an adult. And I was thinking at him, it's interesting,

714
00:41:29,125 --> 00:41:31,005
Speaker 1: you know. As I was trying to process this, I

715
00:41:31,045 --> 00:41:33,205
Speaker 1: thought about, well, you know, we have this whole sequence

716
00:41:33,285 --> 00:41:37,525
Speaker 1: the Gordy's story of the boy who's the bullied boy

717
00:41:37,565 --> 00:41:40,485
Speaker 1: who gets his revenge at the piet To contest by

718
00:41:40,565 --> 00:41:42,685
Speaker 1: making himself sick and throwing up so that everyone in

719
00:41:42,725 --> 00:41:45,765
Speaker 1: the crowd throws up on everybody, right highlight as a

720
00:41:45,765 --> 00:41:48,525
Speaker 1: twelve year old highlight of the movie. And I was

721
00:41:48,565 --> 00:41:50,884
Speaker 1: thinking in terms of this narration element, you know, that's

722
00:41:50,925 --> 00:41:55,364
Speaker 1: a good example where Ryner is showing us, not telling us,

723
00:41:55,485 --> 00:41:57,205
Speaker 1: and maybe more of the movie could have been like that.

724
00:41:57,525 --> 00:42:01,925
Speaker 1: But then I realized, actually, that whole sequence, which is entertaining,

725
00:42:01,925 --> 00:42:04,725
Speaker 1: don't get me wrong, actually doubles down on the voiceover

726
00:42:04,885 --> 00:42:09,965
Speaker 1: narration because we have young Gordyr narrating what we're actually

727
00:42:10,005 --> 00:42:14,725
Speaker 1: seeing in this imagined story. So it almost kind of

728
00:42:14,925 --> 00:42:17,885
Speaker 1: further proved the point to me, or the instinct that

729
00:42:17,925 --> 00:42:21,005
Speaker 1: I had, is the narration is maybe a little bit

730
00:42:21,085 --> 00:42:24,485
Speaker 1: it much, And there's a whole other element tied to

731
00:42:24,485 --> 00:42:26,445
Speaker 1: this where I do think this relates to your setup

732
00:42:26,445 --> 00:42:29,605
Speaker 1: where you're talking about King describing how this was his

733
00:42:29,645 --> 00:42:31,645
Speaker 1: wrestling as a kid at this age being a writer.

734
00:42:31,805 --> 00:42:33,685
Speaker 1: I did find the whole writer framework to be a

735
00:42:33,685 --> 00:42:38,725
Speaker 1: bit self aggrandizing here in that so many scenes about

736
00:42:38,845 --> 00:42:41,565
Speaker 1: Gordy needing to be encouraged about what a good writer

737
00:42:41,685 --> 00:42:43,165
Speaker 1: he is and how he's going to do great things

738
00:42:43,165 --> 00:42:45,645
Speaker 1: when he grows up. I do feel like that's a

739
00:42:45,645 --> 00:42:49,125
Speaker 1: little tangential to what is best about the film and

740
00:42:49,245 --> 00:42:52,245
Speaker 1: almost unnecessary. And so it's all wrapped up in this

741
00:42:52,325 --> 00:42:57,205
Speaker 1: ball of the voiceover narration that maybe you know, maybe

742
00:42:57,205 --> 00:42:58,965
Speaker 1: it worked better for you and you didn't find it

743
00:42:59,005 --> 00:43:00,045
Speaker 1: to be as much of a crutch.

744
00:43:00,245 --> 00:43:04,405
Speaker 2: Well, of course, I'm a sucker for meta stories about

745
00:43:04,765 --> 00:43:08,165
Speaker 2: burgeoning artists, and I would defend it. I would try

746
00:43:08,165 --> 00:43:10,844
Speaker 2: to defend it a little stronger, Josh by saying that,

747
00:43:11,245 --> 00:43:14,085
Speaker 2: you know, he asked Chris at one point, am I weird?

748
00:43:14,645 --> 00:43:18,925
Speaker 2: Everybody has the thing that makes them weird, and I

749
00:43:18,965 --> 00:43:20,925
Speaker 2: suppose you could argue that one of the things that.

750
00:43:21,365 --> 00:43:23,045
Speaker 3: Will stand out will Wheaton. I'm sorry.

751
00:43:23,045 --> 00:43:25,965
Speaker 2: Gordy's stand out is that he's got a he's got

752
00:43:26,005 --> 00:43:28,885
Speaker 2: a brother who everyone it seems in town and his

753
00:43:28,965 --> 00:43:32,285
Speaker 2: parents preferred, who has died. But the other thing is

754
00:43:32,325 --> 00:43:34,965
Speaker 2: what really makes him weird is that is that he's

755
00:43:35,005 --> 00:43:38,085
Speaker 2: an artist, and so he needs that thing that makes

756
00:43:38,125 --> 00:43:42,005
Speaker 2: him different, and so that that feels appropriate to the

757
00:43:42,045 --> 00:43:45,325
Speaker 2: story to me in a way that doesn't just feel tangential.

758
00:43:45,805 --> 00:43:48,605
Speaker 2: I think I'll let you try to explain what you

759
00:43:48,605 --> 00:43:51,405
Speaker 2: mean by the interiority, and maybe we're on the same page.

760
00:43:51,445 --> 00:43:55,325
Speaker 2: So I'm going to agree with you potentially on where

761
00:43:55,365 --> 00:44:00,925
Speaker 2: the narration maybe doesn't completely work, or or where it

762
00:44:01,045 --> 00:44:03,685
Speaker 2: where it isn't applied as well as it as it

763
00:44:03,725 --> 00:44:08,925
Speaker 2: could be. Perhaps, But since I know you're going to

764
00:44:09,005 --> 00:44:11,205
Speaker 2: be negative on it, I'm going to say something very

765
00:44:11,245 --> 00:44:16,165
Speaker 2: positive about the narration. Okay, there is something So here's

766
00:44:16,245 --> 00:44:19,205
Speaker 2: here's the nostalgia part for me. I suppose there is

767
00:44:19,245 --> 00:44:24,485
Speaker 2: something so comforting to me about Dreyfus's voice. I think

768
00:44:24,485 --> 00:44:26,085
Speaker 2: he was my first narrator.

769
00:44:26,645 --> 00:44:29,045
Speaker 3: I was twelve going on thirteen the first time I

770
00:44:29,085 --> 00:44:33,565
Speaker 3: saw a dead human being. It happened in the summer

771
00:44:33,605 --> 00:44:34,884
Speaker 3: of nineteen fifty.

772
00:44:34,645 --> 00:44:38,685
Speaker 2: Nine, A long time ago, but only if you measure

773
00:44:38,725 --> 00:44:42,085
Speaker 2: in terms of years. I was reflecting on this. I

774
00:44:42,125 --> 00:44:44,965
Speaker 2: was searching for movies that were notable for their use

775
00:44:44,965 --> 00:44:49,525
Speaker 2: of narration that were released in the window that I

776
00:44:49,645 --> 00:44:52,925
Speaker 2: was born in nineteen eighty six. And I was definitely

777
00:44:52,965 --> 00:44:58,525
Speaker 2: too young for Days of Heaven Apocalypse now, Blade Runner, Rumblefish,

778
00:44:58,805 --> 00:45:01,445
Speaker 2: Taxi Driver, and you know, before my time. But I

779
00:45:01,485 --> 00:45:05,645
Speaker 2: could have seen on VHS bad Lands a Clockwork Orange. Nope,

780
00:45:05,805 --> 00:45:08,165
Speaker 2: too young, wouldn't have been able to see those, obviously.

781
00:45:08,205 --> 00:45:12,365
Speaker 2: That goes for classics like Sunset Boulevard and Double Indemnity two. Now,

782
00:45:12,605 --> 00:45:15,765
Speaker 2: I would have seen A Christmas Story a dozen times.

783
00:45:16,085 --> 00:45:20,765
Speaker 2: I would have seen Fletch a dozen times. But I think,

784
00:45:21,125 --> 00:45:24,805
Speaker 2: I think if you asked me, even before this rewatch

785
00:45:24,925 --> 00:45:27,444
Speaker 2: and before thinking about the narrator and how it functions here,

786
00:45:27,765 --> 00:45:31,045
Speaker 2: if you asked me to just kind of close my eye,

787
00:45:31,125 --> 00:45:35,884
Speaker 2: do an exercise, close my eyes and just imagine the

788
00:45:36,005 --> 00:45:39,845
Speaker 2: sound in my head of what a movie narrator sounds like.

789
00:45:40,645 --> 00:45:43,965
Speaker 2: It wouldn't be the cliche answer of Morgan Freeman. It

790
00:45:43,965 --> 00:45:47,645
Speaker 2: would be Richard Dreyfuss. I would hear his voice from

791
00:45:47,765 --> 00:45:50,725
Speaker 2: stand by Me in my head, and yes, it would

792
00:45:50,725 --> 00:45:53,285
Speaker 2: be partly because of him just being my first It

793
00:45:53,285 --> 00:45:55,405
Speaker 2: would be because of him being my first narrator. But

794
00:45:55,565 --> 00:45:58,525
Speaker 2: how he employs his voice as well. I think there

795
00:45:58,565 --> 00:46:02,205
Speaker 2: is real talent in his voice acting. But it's something

796
00:46:02,245 --> 00:46:05,405
Speaker 2: about I mentioned this earlier, the wisdom right there is

797
00:46:06,005 --> 00:46:10,605
Speaker 2: that omniscient narrator role that he serves, and he's not

798
00:46:10,685 --> 00:46:13,645
Speaker 2: there like those other narrators I just mentioned to entertain.

799
00:46:14,045 --> 00:46:16,645
Speaker 2: He's not there to add punchlines. He's not there to

800
00:46:17,045 --> 00:46:21,525
Speaker 2: just push the story forward. He is adding often time right,

801
00:46:21,685 --> 00:46:26,565
Speaker 2: or most often, I would say, adding poignancy. He's telling truths,

802
00:46:26,765 --> 00:46:31,965
Speaker 2: He's providing the lens through which we understand the weight

803
00:46:32,565 --> 00:46:37,565
Speaker 2: of events. It's about perspective, and I think Dreyfus is

804
00:46:38,005 --> 00:46:42,205
Speaker 2: nostalgic without being sentimental in his voice. I'll use your word.

805
00:46:42,325 --> 00:46:47,765
Speaker 2: He's wistful without being burdened by regret. I think it's

806
00:46:47,805 --> 00:46:51,205
Speaker 2: a really great performance and it's for me, maybe the

807
00:46:51,405 --> 00:46:56,125
Speaker 2: ultimate narrator voice, and on that level, I love it.

808
00:46:57,005 --> 00:47:01,484
Speaker 1: Yeah, so it it really hits the nostalgia button hard

809
00:47:01,525 --> 00:47:04,325
Speaker 1: for you, and I agree the delivery of it is

810
00:47:05,205 --> 00:47:08,445
Speaker 1: on point. I mean, it's a case where you cast

811
00:47:08,485 --> 00:47:12,765
Speaker 1: someone for their ability to perform in that way, not

812
00:47:12,845 --> 00:47:14,685
Speaker 1: just you know, for name recognition or something like that.

813
00:47:14,725 --> 00:47:17,844
Speaker 1: I would also agree it's necessary for what this movie

814
00:47:17,925 --> 00:47:20,565
Speaker 1: wants to do that you need this narrator, you need

815
00:47:20,565 --> 00:47:23,805
Speaker 1: the frame work. For me, it's a matter of how

816
00:47:23,845 --> 00:47:26,844
Speaker 1: often and exactly how he's employed. And maybe you know,

817
00:47:26,925 --> 00:47:28,925
Speaker 1: just the one example I would give, since you cited

818
00:47:28,925 --> 00:47:32,404
Speaker 1: it already, is again around that campfire scene, one of them,

819
00:47:32,725 --> 00:47:35,085
Speaker 1: I think, where it's introduced and I forget exactly the

820
00:47:35,085 --> 00:47:38,725
Speaker 1: moment you called out, but he's describing what you talked

821
00:47:38,725 --> 00:47:41,765
Speaker 1: about at that age, before you talked about girls or

822
00:47:41,805 --> 00:47:46,085
Speaker 1: discovered girls. Right, Just a line like that you could

823
00:47:46,085 --> 00:47:49,125
Speaker 1: have again, because these performances are I think part of

824
00:47:49,165 --> 00:47:50,845
Speaker 1: it for me, why it feels like a crutch is

825
00:47:50,845 --> 00:47:54,125
Speaker 1: because it's all right there in the performances and the

826
00:47:54,125 --> 00:47:56,645
Speaker 1: way Ryaner is guiding them that there could have been

827
00:47:56,685 --> 00:48:01,925
Speaker 1: a way to show us that with perhaps even the

828
00:48:01,965 --> 00:48:04,525
Speaker 1: camera doing something interesting with the camera, but certainly with

829
00:48:04,565 --> 00:48:08,245
Speaker 1: the performances, rather than have the narrator spell that out

830
00:48:08,285 --> 00:48:11,605
Speaker 1: for us in that sequence. But yeah, I don't think

831
00:48:11,645 --> 00:48:13,725
Speaker 1: overall it's a mistake. I think it's I think it's

832
00:48:13,765 --> 00:48:16,765
Speaker 1: a necessary framework. It's just how often and in what

833
00:48:16,845 --> 00:48:18,125
Speaker 1: ways it's actually employed.

834
00:48:18,805 --> 00:48:21,445
Speaker 2: I think I like that line so much, partly because

835
00:48:22,445 --> 00:48:24,884
Speaker 2: I think that's an example of the narration doing what

836
00:48:24,925 --> 00:48:30,245
Speaker 2: you're saying. It's redundant, but it's so poetic. That line

837
00:48:30,285 --> 00:48:33,485
Speaker 2: is so good and it's so succinct, and so you

838
00:48:34,005 --> 00:48:36,725
Speaker 2: story for that it that it that it works. And

839
00:48:36,765 --> 00:48:39,445
Speaker 2: also he is doing something. He is doing show and

840
00:48:39,485 --> 00:48:42,404
Speaker 2: tell at the same time, because it's a montage. It's

841
00:48:42,445 --> 00:48:46,725
Speaker 2: it's editing with little dissolves going between each boy sharing

842
00:48:46,765 --> 00:48:49,445
Speaker 2: those moments talking about goofy, and they're going between those

843
00:48:49,445 --> 00:48:52,205
Speaker 2: different conversations, so he's doing both at the same time,

844
00:48:52,205 --> 00:48:53,844
Speaker 2: which is why I said it's redundant. But I love

845
00:48:53,885 --> 00:48:57,085
Speaker 2: the line and it's it's it's just pithy enough that

846
00:48:57,165 --> 00:48:59,725
Speaker 2: I think that's what good narration can do. I also

847
00:48:59,765 --> 00:49:01,605
Speaker 2: don't think when I watched it this time, I didn't

848
00:49:01,605 --> 00:49:05,325
Speaker 2: feel like it was overused in the sense of just

849
00:49:05,365 --> 00:49:08,485
Speaker 2: like how much narration there is in the film and

850
00:49:08,525 --> 00:49:11,365
Speaker 2: how often we hear it. There are fairly long stretches.

851
00:49:11,485 --> 00:49:14,165
Speaker 2: I was surprised to find where we don't hear from

852
00:49:14,445 --> 00:49:17,645
Speaker 2: the narrator and when we do, Like I was just saying,

853
00:49:17,765 --> 00:49:22,325
Speaker 2: it's pretty punchy, it's not long soliloquies, and generally I

854
00:49:22,325 --> 00:49:26,924
Speaker 2: don't think it's too revealing. Now, there are times where

855
00:49:26,925 --> 00:49:33,925
Speaker 2: the narration is supplementing work that the screenplay is doing,

856
00:49:34,365 --> 00:49:37,805
Speaker 2: but that you wish the actors were doing as well.

857
00:49:37,885 --> 00:49:40,525
Speaker 2: And I don't mean that the actors couldn't do it,

858
00:49:40,965 --> 00:49:44,845
Speaker 2: but they don't seem to be asked to do. And

859
00:49:46,085 --> 00:49:50,445
Speaker 2: I'm thinking specifically of moments for Gordy that are obviously

860
00:49:50,525 --> 00:49:53,245
Speaker 2: crucial to the story because it's his story and this

861
00:49:53,325 --> 00:49:56,685
Speaker 2: is his through line from beginning to end. But the

862
00:49:56,765 --> 00:50:01,445
Speaker 2: screenplay will give Gordy moments where he has to confront

863
00:50:01,525 --> 00:50:05,165
Speaker 2: his brother's death, the nightmare, for example, that he has

864
00:50:05,845 --> 00:50:09,445
Speaker 2: at the campfire, But when we hear him say in

865
00:50:09,485 --> 00:50:12,765
Speaker 2: the narration, at the time, I didn't know why I

866
00:50:12,845 --> 00:50:15,205
Speaker 2: needed to see that body so badly. Even if no

867
00:50:15,205 --> 00:50:17,285
Speaker 2: one had followed me, I would have gone on alone

868
00:50:17,805 --> 00:50:21,965
Speaker 2: or earlier with or where we haven't seen the nightmare,

869
00:50:22,325 --> 00:50:25,085
Speaker 2: for example. Yet with our stomachs rumbling, we pressed on

870
00:50:25,165 --> 00:50:27,805
Speaker 2: toward the Royal River. The reality of Ray Brower was

871
00:50:27,805 --> 00:50:30,005
Speaker 2: growing and kept us moving despite the heat. For me,

872
00:50:30,285 --> 00:50:32,685
Speaker 2: the idea of seeing that kid's dead body was starting

873
00:50:32,685 --> 00:50:37,005
Speaker 2: to become an obsession. Now in the book, that's just

874
00:50:37,205 --> 00:50:40,285
Speaker 2: that's a mainline into his psyche, and and we we

875
00:50:40,365 --> 00:50:45,245
Speaker 2: need that, we buy that completely on screen. I did

876
00:50:45,285 --> 00:50:48,245
Speaker 2: feel like I needed to see that obsession. I needed

877
00:50:48,245 --> 00:50:50,485
Speaker 2: to see it exactly to believe it. We can't just

878
00:50:50,605 --> 00:50:54,165
Speaker 2: hear it, and we don't, at least I didn't.

879
00:50:54,205 --> 00:50:54,605
Speaker 3: I didn't.

880
00:50:54,645 --> 00:50:59,844
Speaker 2: I didn't feel Gordy's obsession quite the way the screenplay,

881
00:51:00,085 --> 00:51:02,965
Speaker 2: the script in those moments suggested we should be.

882
00:51:03,765 --> 00:51:06,045
Speaker 1: Yeah, it was a shortcut. Yeah, I think there's Yeah,

883
00:51:06,045 --> 00:51:08,645
Speaker 1: there are yes. Shortcut is a good way to describe it.

884
00:51:08,725 --> 00:51:11,845
Speaker 1: I think there's there's a lot of those, and but

885
00:51:11,925 --> 00:51:15,444
Speaker 1: again they are irresistible lines, so I can see why

886
00:51:15,485 --> 00:51:18,485
Speaker 1: Reiner was very tempted to include as many of them

887
00:51:18,485 --> 00:51:19,005
Speaker 1: as you could.

888
00:51:19,365 --> 00:51:21,085
Speaker 2: I have more that I wanted to get to in

889
00:51:21,205 --> 00:51:24,165
Speaker 2: terms of just new things kind of surprises, including the

890
00:51:24,805 --> 00:51:28,325
Speaker 2: framing device. But we do have more show to get to,

891
00:51:28,965 --> 00:51:31,965
Speaker 2: and we are unfairly limited time with this recording, so

892
00:51:32,565 --> 00:51:35,485
Speaker 2: let's go ahead. I think we've had a pretty decent

893
00:51:35,885 --> 00:51:40,525
Speaker 2: discussion LinkedIn discussion about stand By Me, and you know,

894
00:51:40,885 --> 00:51:44,085
Speaker 2: we have more shows to record, Josh, So there will

895
00:51:44,125 --> 00:51:46,884
Speaker 2: be more podcasting to do, and we can talk more

896
00:51:46,925 --> 00:51:49,925
Speaker 2: about stand by Me if we would like in the future,

897
00:51:50,005 --> 00:51:52,645
Speaker 2: we will go ahead and call it there. Stand by

898
00:51:52,685 --> 00:51:56,285
Speaker 2: Me is available VOD on most platforms. It is getting

899
00:51:56,365 --> 00:52:00,765
Speaker 2: a limited re release next weekend on the twenty seventh.

900
00:52:01,285 --> 00:52:03,405
Speaker 1: You know, Adam, when we talk about the Film Spotting

901
00:52:03,445 --> 00:52:06,885
Speaker 1: Family and thank those people who have decided to support

902
00:52:06,885 --> 00:52:08,364
Speaker 1: the show that way, which we're going to do here

903
00:52:08,365 --> 00:52:11,045
Speaker 1: in a moment, we want to thank advisory board member

904
00:52:11,085 --> 00:52:15,005
Speaker 1: Sean Kelly from Goodyear, Arizona. I don't know if we

905
00:52:15,605 --> 00:52:18,365
Speaker 1: explain well enough what a good deal the Film Spotting

906
00:52:18,965 --> 00:52:22,525
Speaker 1: Family is. I mean first time a month, I mean,

907
00:52:22,605 --> 00:52:26,005
Speaker 1: I mean we gotta sell this four ninety nine a month.

908
00:52:26,085 --> 00:52:29,925
Speaker 1: Here's what you're gonna get bonus shows, AD free listening,

909
00:52:30,445 --> 00:52:33,885
Speaker 1: not an ad in your experience of film Spotting. The

910
00:52:33,965 --> 00:52:37,805
Speaker 1: Family discord. You can communicate and connect with and talk

911
00:52:37,805 --> 00:52:40,045
Speaker 1: about Standing by Me all you want with other film

912
00:52:40,125 --> 00:52:43,165
Speaker 1: Spotting listeners. The newsletter Sam writes every week and then

913
00:52:43,205 --> 00:52:45,725
Speaker 1: pre sales and discounts a little more about how that

914
00:52:45,765 --> 00:52:48,444
Speaker 1: comes into play later in the show coming up soon.

915
00:52:48,485 --> 00:52:51,645
Speaker 1: Here for us, now that price four ninety nine a

916
00:52:51,685 --> 00:52:54,645
Speaker 1: month for all of that. It could actually be less

917
00:52:54,685 --> 00:52:58,245
Speaker 1: because it's discounted. If you decide to pay the annual price.

918
00:52:58,485 --> 00:52:58,845
Speaker 3: That's it.

919
00:52:58,925 --> 00:53:01,845
Speaker 2: And if you want even more value now I really

920
00:53:01,885 --> 00:53:05,685
Speaker 2: sound like a salesman. For just sixty nine dollars, Josh,

921
00:53:06,165 --> 00:53:08,565
Speaker 2: or five seventy five per month, so we're just going

922
00:53:08,565 --> 00:53:10,725
Speaker 2: from four ninety nine to five seventy five. If you

923
00:53:10,805 --> 00:53:14,725
Speaker 2: price it out. You get complete archive access as well,

924
00:53:14,845 --> 00:53:17,805
Speaker 2: so over one thousand and actually with all the bonus shows,

925
00:53:17,845 --> 00:53:20,404
Speaker 2: additional content that's in there, going back to the old

926
00:53:20,485 --> 00:53:23,965
Speaker 2: app bonus episodes we used to do, we're talking like

927
00:53:24,085 --> 00:53:26,925
Speaker 2: twelve hundred episodes. You get access to all of that

928
00:53:27,405 --> 00:53:31,085
Speaker 2: in Spotify or Apple or whatever podcatcher you use. So

929
00:53:31,525 --> 00:53:35,005
Speaker 2: for just seventy six cents more per month with an

930
00:53:35,045 --> 00:53:38,885
Speaker 2: annual Family Plus plan you get the archive access and

931
00:53:38,925 --> 00:53:41,645
Speaker 2: all of those benefits. If you're interested, go to Film

932
00:53:41,685 --> 00:53:45,325
Speaker 2: Spottingfamily dot com commercial over.

933
00:53:45,925 --> 00:53:47,685
Speaker 1: But we still want to thank Sean Kelly.

934
00:53:47,725 --> 00:53:48,125
Speaker 3: Yes, we do.

935
00:53:48,445 --> 00:53:53,205
Speaker 1: Goodyear Arizona for being not just a Film Spotting Family member,

936
00:53:53,285 --> 00:53:56,805
Speaker 1: not just a Film Spotting Family Plus member. That's right,

937
00:53:56,845 --> 00:54:01,285
Speaker 1: Sean is actually an advisory board members. He's he's essentially

938
00:54:01,285 --> 00:54:03,765
Speaker 1: our boss. Gets to tell us what to do, and yeah,

939
00:54:03,845 --> 00:54:06,765
Speaker 1: at that highest level. Sean also shared with us how

940
00:54:06,765 --> 00:54:10,405
Speaker 1: he found the show browsing the iTunes, film and TV

941
00:54:10,525 --> 00:54:12,685
Speaker 1: charts back in two thousand and eight, when I discovered

942
00:54:12,685 --> 00:54:15,765
Speaker 1: the wonderful medium known as podcasts. I can't remember the

943
00:54:15,805 --> 00:54:18,765
Speaker 1: exact episode that got me started, but the show instantly

944
00:54:18,845 --> 00:54:22,805
Speaker 1: stood out as a place for Siria film criticism. Anywhere

945
00:54:22,845 --> 00:54:26,045
Speaker 1: you can talk Pineapple Express and Les circ Lar Rouge

946
00:54:26,085 --> 00:54:28,884
Speaker 1: in the same episode is a place I want to

947
00:54:28,925 --> 00:54:33,405
Speaker 1: hang out. That's before my time, Adams. So we're talking

948
00:54:33,485 --> 00:54:35,845
Speaker 1: like episodes probably in the two hundreds or something like that.

949
00:54:35,925 --> 00:54:38,685
Speaker 2: Yeah, Yeah, Sam looked it up August two thousand and eight,

950
00:54:38,885 --> 00:54:42,364
Speaker 2: episode two twenty two. How about that there's there's film

951
00:54:42,405 --> 00:54:45,844
Speaker 2: spotting in a nutshell? His favorite show segment, The Top

952
00:54:45,885 --> 00:54:47,965
Speaker 2: five lists were one of my early favorites because I

953
00:54:48,005 --> 00:54:50,805
Speaker 2: love lists. Ever since the first AFI Top one hundred

954
00:54:50,885 --> 00:54:54,045
Speaker 2: introduced the concept of ranking movies to my adolescent brain,

955
00:54:54,285 --> 00:54:56,525
Speaker 2: I've been a sucker for discussions about what should be

956
00:54:56,525 --> 00:54:58,765
Speaker 2: included in the best of the best. In fact, it

957
00:54:58,805 --> 00:55:01,685
Speaker 2: was the latest Pantheon project they got me to finally

958
00:55:01,725 --> 00:55:04,005
Speaker 2: sign up and be a family member. The idea of

959
00:55:04,045 --> 00:55:07,325
Speaker 2: having some autonomy and what the Best Film podcast includes

960
00:55:07,325 --> 00:55:10,005
Speaker 2: in their Hall of fame was too much to pass up.

961
00:55:10,045 --> 00:55:13,485
Speaker 2: So he's talking about when this was initiated, the inaugural

962
00:55:13,565 --> 00:55:17,005
Speaker 2: Pantheon project last year. He sent this even before the

963
00:55:17,565 --> 00:55:20,485
Speaker 2: new one that we started up this year's Pantheon project.

964
00:55:20,565 --> 00:55:22,925
Speaker 2: And it was the best years of their lives. Josh,

965
00:55:23,045 --> 00:55:25,965
Speaker 2: you when you nominated it, and how it didn't make

966
00:55:26,005 --> 00:55:29,125
Speaker 2: the cut, It actually didn't get, you know, officially inducted.

967
00:55:29,485 --> 00:55:32,845
Speaker 2: He was really glad to hear you nominated. Here you nominated.

968
00:55:32,965 --> 00:55:36,325
Speaker 2: He was hoping it would get nominated again.

969
00:55:37,405 --> 00:55:39,325
Speaker 3: And did you nominate it again? You did?

970
00:55:39,445 --> 00:55:42,445
Speaker 1: Think that made him happy. I didn't even know that

971
00:55:42,485 --> 00:55:44,365
Speaker 1: this was Jean's desire.

972
00:55:44,245 --> 00:55:47,444
Speaker 2: That's right, And I was just updating Filmspoting dot net

973
00:55:47,525 --> 00:55:50,525
Speaker 2: slash Pantheon. I was just updating that page over the

974
00:55:50,565 --> 00:55:53,325
Speaker 2: weekend to make sure that you could see all of

975
00:55:53,365 --> 00:55:56,725
Speaker 2: our twenty six nominees. And there it is, Josh, how

976
00:55:56,725 --> 00:55:59,325
Speaker 2: Green was my Valley, the Battle of Algiers, the best

977
00:55:59,365 --> 00:56:00,205
Speaker 2: years of our lives.

978
00:56:00,285 --> 00:56:01,085
Speaker 3: So you made him happy?

979
00:56:01,165 --> 00:56:01,445
Speaker 2: Yeah?

980
00:56:01,525 --> 00:56:01,765
Speaker 3: I do.

981
00:56:02,405 --> 00:56:03,165
Speaker 1: Sean's our boss.

982
00:56:03,205 --> 00:56:04,965
Speaker 3: I do what he says. There you go.

983
00:56:05,325 --> 00:56:08,565
Speaker 1: Sean also shared a review, we got wrong on the

984
00:56:08,605 --> 00:56:11,765
Speaker 1: spectrum of good and evil. Josh Is love for Furiosa

985
00:56:11,845 --> 00:56:14,805
Speaker 1: a mad Max saga, and Adam's disdain for Wicked are

986
00:56:14,845 --> 00:56:18,925
Speaker 1: both evil. WHOA, Yes, films can be good or evil.

987
00:56:18,965 --> 00:56:21,965
Speaker 1: Furiosa had the one problem a good prequel must overcome.

988
00:56:22,045 --> 00:56:24,005
Speaker 1: If you're going to tell me how something happened, it

989
00:56:24,085 --> 00:56:27,805
Speaker 1: had better be worth telling. There are great moments and

990
00:56:27,845 --> 00:56:30,845
Speaker 1: action sequences in Furiosa, but the first ten minutes and

991
00:56:30,885 --> 00:56:34,045
Speaker 1: the saga of Furiosa's mother were more compelling than anything

992
00:56:34,085 --> 00:56:38,405
Speaker 1: that came after. As for Wicked, I literally gasped in

993
00:56:38,445 --> 00:56:42,085
Speaker 1: the theater when Cynthia Arrivo hit the note in defying Gravity.

994
00:56:42,165 --> 00:56:44,685
Speaker 1: Come on, Adam, you got to freegive the bloated runtime

995
00:56:44,725 --> 00:56:48,445
Speaker 1: and sacharine nature of the production because she hit the note.

996
00:56:48,565 --> 00:56:50,965
Speaker 2: You know all I hear there is Adam was right

997
00:56:51,045 --> 00:56:55,484
Speaker 2: twice because I said that Furiosa never overcomes the first

998
00:56:55,485 --> 00:56:59,485
Speaker 2: ten minutes, and I said that Cynthia Revo singing defying

999
00:56:59,525 --> 00:57:01,685
Speaker 2: Gravity almost saves Wicked.

1000
00:57:02,285 --> 00:57:02,965
Speaker 3: So there you go.

1001
00:57:03,325 --> 00:57:05,125
Speaker 1: That's what Sean's looking for.

1002
00:57:05,205 --> 00:57:08,924
Speaker 2: I'm afraid, well, you know close enough. Finally, the film,

1003
00:57:08,965 --> 00:57:13,085
Speaker 2: Seawan credits with becoming a Cinophile, speaking of narrators the

1004
00:57:13,205 --> 00:57:15,765
Speaker 2: Usual Suspects. It's been my favorite film since I first

1005
00:57:15,805 --> 00:57:17,765
Speaker 2: saw in a home video in nineteen ninety six, and

1006
00:57:17,805 --> 00:57:19,885
Speaker 2: it was the first movie I rented over and over

1007
00:57:19,965 --> 00:57:23,325
Speaker 2: and over again from Blockbuster. I Yes, the sweet sweet

1008
00:57:23,405 --> 00:57:25,925
Speaker 2: days of Blockbuster. The thing that kept me coming back

1009
00:57:25,965 --> 00:57:29,005
Speaker 2: was how much I rediscovered on every rewatch clues to

1010
00:57:29,045 --> 00:57:31,165
Speaker 2: the overall mystery I'd missed on the first or second

1011
00:57:31,205 --> 00:57:34,845
Speaker 2: or third viewing, small character moments from Beniicio del Toro's Fenster,

1012
00:57:35,325 --> 00:57:37,965
Speaker 2: the amazing score from John Otman. Most of all, though,

1013
00:57:38,005 --> 00:57:39,965
Speaker 2: it was the ending. I referred to it as a

1014
00:57:39,965 --> 00:57:42,565
Speaker 2: magic trick when explaining it to people, but really it's

1015
00:57:42,565 --> 00:57:45,725
Speaker 2: that feeling of electricity you get when Chas Palmitary drops

1016
00:57:45,765 --> 00:57:48,845
Speaker 2: the coffee cup and you realize the story is not over.

1017
00:57:49,205 --> 00:57:51,285
Speaker 2: That feeling of a piphany when the hairs on the

1018
00:57:51,285 --> 00:57:53,525
Speaker 2: back of your neck stands straight up and you get

1019
00:57:53,605 --> 00:57:56,485
Speaker 2: chills down your spine is what I've been chasing with

1020
00:57:56,565 --> 00:57:58,845
Speaker 2: every film I've ever seen since.

1021
00:57:59,565 --> 00:58:02,725
Speaker 1: Well, thank you so much, Sean for being an advisory

1022
00:58:02,765 --> 00:58:06,445
Speaker 1: board member and for all those years of listening. If

1023
00:58:06,485 --> 00:58:09,445
Speaker 1: you'd like to follow Sean on Letterbox, which I just

1024
00:58:09,485 --> 00:58:13,285
Speaker 1: did this earlier today you can find them surprisingly Kaiser

1025
00:58:13,365 --> 00:58:17,245
Speaker 1: ninety five, so you can probably put that together Kaiser

1026
00:58:17,325 --> 00:58:21,365
Speaker 1: ninety five there on letterbox now. In addition to keeping

1027
00:58:21,445 --> 00:58:25,725
Speaker 1: us doing what we're doing, Membership Film Spotting Family Membership

1028
00:58:26,125 --> 00:58:28,245
Speaker 1: comes with the perks that we mentioned earlier. You can

1029
00:58:28,325 --> 00:58:33,165
Speaker 1: listen early and ad free, you can get Sam's weekly newsletter,

1030
00:58:33,365 --> 00:58:37,525
Speaker 1: exclusive opportunities including that Film Spotting Family discord, and of

1031
00:58:37,565 --> 00:58:42,125
Speaker 1: course the monthly bonus shows Adam. With me being still

1032
00:58:42,125 --> 00:58:45,045
Speaker 1: in Scotland and struggling with the time zones, I can't

1033
00:58:45,045 --> 00:58:46,805
Speaker 1: make trivia spotting, but it's.

1034
00:58:46,685 --> 00:58:47,365
Speaker 3: Dodging me on.

1035
00:58:49,205 --> 00:58:51,445
Speaker 2: You're afraid to face me. You're afraid to face me

1036
00:58:51,485 --> 00:58:52,285
Speaker 2: in trivia spotting.

1037
00:58:52,325 --> 00:58:52,485
Speaker 3: I know.

1038
00:58:52,565 --> 00:58:56,245
Speaker 1: That's why I moved here actually March nineteen is that

1039
00:58:56,285 --> 00:58:57,965
Speaker 1: when you're all getting together.

1040
00:58:58,205 --> 00:59:00,525
Speaker 2: Well, it means that by the time people hear this,

1041
00:59:01,765 --> 00:59:02,645
Speaker 2: it will have happened.

1042
00:59:03,045 --> 00:59:04,445
Speaker 3: That's right, it will have happened.

1043
00:59:04,965 --> 00:59:08,245
Speaker 2: So thanks everyone for a great time. It was wonderful

1044
00:59:08,285 --> 00:59:12,285
Speaker 2: as always. Yes I'm living in the past at the moment,

1045
00:59:12,605 --> 00:59:16,725
Speaker 2: but yes, another Trivia Spotting will have occurred, and I'm

1046
00:59:16,725 --> 00:59:19,765
Speaker 2: sure was grand. And those are the types of special

1047
00:59:19,765 --> 00:59:21,805
Speaker 2: events that you get to be part of as a

1048
00:59:21,805 --> 00:59:25,445
Speaker 2: Film Spotting Family member. More about joining the Film Spotting Family,

1049
00:59:25,685 --> 00:59:28,805
Speaker 2: as I mentioned earlier, is available at Filmspotting Family dot com.

1050
00:59:28,845 --> 00:59:31,845
Speaker 2: And we also love ratings. We really love well, we

1051
00:59:31,965 --> 00:59:34,845
Speaker 2: only love five star ratings. You can go and do

1052
00:59:34,965 --> 00:59:38,045
Speaker 2: that at Apple Podcasts or Spotify.

1053
00:59:39,805 --> 00:59:46,525
Speaker 3: What happened you? That's an accent talent, an accident. We

1054
00:59:46,605 --> 00:59:49,605
Speaker 3: dug you up, we brought you back to life.

1055
00:59:51,245 --> 00:59:55,845
Speaker 2: You know. Maggie Gillenhall's The Bride has failed to come

1056
00:59:55,885 --> 00:59:58,205
Speaker 2: to life at the box office, Josh, but with the

1057
00:59:58,285 --> 01:00:01,565
Speaker 2: talent involved Jill and Hall herself as writer and director,

1058
01:00:02,205 --> 01:00:07,245
Speaker 2: newly minted Best Actress, Jesse Buckley, and Christian Bale, we

1059
01:00:07,245 --> 01:00:10,165
Speaker 2: couldn't ignore it. I still haven't been able to get

1060
01:00:10,165 --> 01:00:13,485
Speaker 2: to the theater, but you did there in Scotland, and

1061
01:00:14,445 --> 01:00:15,005
Speaker 2: you're a fan.

1062
01:00:15,485 --> 01:00:17,165
Speaker 1: I'm a fan. I had a lot of fun with this.

1063
01:00:17,565 --> 01:00:19,085
Speaker 1: I can't wait to hear what you think of it

1064
01:00:19,125 --> 01:00:22,645
Speaker 1: because I have no idea which way you'll go. It's

1065
01:00:22,685 --> 01:00:27,525
Speaker 1: that kind of movie it is. It's a quasi musical,

1066
01:00:28,485 --> 01:00:32,325
Speaker 1: it's a feminist revenge flick. It's a comic horror romance,

1067
01:00:32,445 --> 01:00:37,045
Speaker 1: and maybe I enjoyed that last quality of it the most,

1068
01:00:37,125 --> 01:00:40,045
Speaker 1: the comic horror romance. It was just the wild swing

1069
01:00:40,085 --> 01:00:44,565
Speaker 1: I appreciated here and the performances, which I'll get to,

1070
01:00:44,685 --> 01:00:47,005
Speaker 1: but I probably have to give just a little bit

1071
01:00:47,045 --> 01:00:49,805
Speaker 1: of a sense of what's going on here, which we'll

1072
01:00:49,805 --> 01:00:51,925
Speaker 1: give listeners an idea of why it's a wild swing,

1073
01:00:52,805 --> 01:00:55,525
Speaker 1: and I can talk about the performances in particularly because

1074
01:00:55,565 --> 01:00:59,725
Speaker 1: you have Buckley playing Ida, who is this gangster mall

1075
01:00:59,805 --> 01:01:04,925
Speaker 1: in nineteen thirty Chicago, and she gets possessed by the

1076
01:01:04,925 --> 01:01:08,805
Speaker 1: spirit of Frankenstein. Author Mary Shelley. Buckley, in sort of

1077
01:01:08,845 --> 01:01:11,845
Speaker 1: a framing device, also appears as Mary Shelley in these

1078
01:01:11,885 --> 01:01:14,245
Speaker 1: really claustrophobic Black and White. She's kind of stuck in

1079
01:01:14,285 --> 01:01:17,645
Speaker 1: purgatory of a sort after death, and she's narrating the

1080
01:01:17,685 --> 01:01:20,805
Speaker 1: movie and tells us she's going to possess this woman's body.

1081
01:01:21,565 --> 01:01:23,685
Speaker 1: So from there, and trust me, this is like the

1082
01:01:23,685 --> 01:01:26,805
Speaker 1: first ten minutes, I'm not really spoiling everything about the film.

1083
01:01:27,125 --> 01:01:32,925
Speaker 1: From there, Ida becomes unruly a little less playcating and

1084
01:01:33,325 --> 01:01:37,445
Speaker 1: ends up getting killed for pushing back by her gangster boyfriend.

1085
01:01:37,885 --> 01:01:41,405
Speaker 1: That is, when she's resuscitated by a guy named Frank

1086
01:01:41,965 --> 01:01:44,885
Speaker 1: played by Christian Bale, who's been around for about one

1087
01:01:44,965 --> 01:01:48,085
Speaker 1: hundred plus years and is very, very lonely. He finds

1088
01:01:48,125 --> 01:01:50,645
Speaker 1: a mad scientist played by a Net Benning, and they

1089
01:01:50,685 --> 01:01:54,685
Speaker 1: bring Ida back, who then is sort of still possessed

1090
01:01:54,685 --> 01:01:57,685
Speaker 1: by Mary Shelley. So Buckley goes back and forth between

1091
01:01:58,085 --> 01:02:02,485
Speaker 1: this Ida persona, this Shelley persona, and you know, this

1092
01:02:02,605 --> 01:02:05,125
Speaker 1: kind of third persona of who this woman is becoming

1093
01:02:05,205 --> 01:02:09,405
Speaker 1: now while kind of falling in love with Frank. Okay,

1094
01:02:09,565 --> 01:02:11,805
Speaker 1: so you can already get a sense why there's no

1095
01:02:11,845 --> 01:02:14,645
Speaker 1: way this could totally work and it doesn't. I'm not

1096
01:02:14,685 --> 01:02:16,525
Speaker 1: going to get into what doesn't work. I'll leave that

1097
01:02:16,565 --> 01:02:19,045
Speaker 1: for the detractors. I admit that there are plenty of

1098
01:02:19,165 --> 01:02:23,165
Speaker 1: things that don't, but I'll be ruse. I'm never gonna

1099
01:02:23,165 --> 01:02:25,085
Speaker 1: say I'm disappointed to see her in a movie. I

1100
01:02:25,165 --> 01:02:28,285
Speaker 1: can't quite say I understand what she's doing here, but

1101
01:02:28,845 --> 01:02:32,525
Speaker 1: Bail Adam. I think this is my favorite Bail performance

1102
01:02:32,805 --> 01:02:38,045
Speaker 1: really a decade, because he's an actor who I've probably

1103
01:02:38,205 --> 01:02:41,805
Speaker 1: underappreciated but hasn't always jumped out at me as someone

1104
01:02:41,805 --> 01:02:45,085
Speaker 1: who really gets me excited. There is something he's doing here.

1105
01:02:45,405 --> 01:02:47,645
Speaker 1: I don't know. I said when it came to you know, Garymo,

1106
01:02:47,725 --> 01:02:50,085
Speaker 1: Del Torros Frankenstein, how a lord. He was so good

1107
01:02:50,085 --> 01:02:51,645
Speaker 1: and what is got to be one of the hardest

1108
01:02:51,725 --> 01:02:54,365
Speaker 1: roles to ever perform. Now we have Bail being so good.

1109
01:02:54,445 --> 01:02:57,445
Speaker 1: Maybe this is one of the easiest roles to ever perform.

1110
01:02:57,485 --> 01:02:58,285
Speaker 1: And I was totally it.

1111
01:02:58,325 --> 01:03:00,845
Speaker 2: Bail's one of our all time great talents. But I

1112
01:03:01,165 --> 01:03:01,805
Speaker 2: take your point.

1113
01:03:02,365 --> 01:03:05,445
Speaker 1: Okay, yeah, maybe not anyone could do this. It's just

1114
01:03:05,765 --> 01:03:08,205
Speaker 1: there's something about he has the scours and the stitches

1115
01:03:08,205 --> 01:03:10,365
Speaker 1: and all that, but there's something about the performance here

1116
01:03:10,445 --> 01:03:15,045
Speaker 1: where Bail is performing as if he doesn't, so he's

1117
01:03:15,045 --> 01:03:18,005
Speaker 1: not really leaning into that. He's almost just playing him

1118
01:03:18,005 --> 01:03:22,965
Speaker 1: as this lonely guy who comes to appreciate this kind

1119
01:03:23,005 --> 01:03:27,805
Speaker 1: of deranged woman that's been revived and the wildness that

1120
01:03:27,845 --> 01:03:31,565
Speaker 1: she brings to his life. So he's really good. And yeah,

1121
01:03:31,845 --> 01:03:34,645
Speaker 1: what to say about Buckley. I mean, you know, in

1122
01:03:34,725 --> 01:03:37,485
Speaker 1: the career retrospective, it's gonna start with Hamnet, but it

1123
01:03:37,525 --> 01:03:40,205
Speaker 1: has to make room for this because it is so bonkers.

1124
01:03:40,965 --> 01:03:44,645
Speaker 1: It's full of this performativeness that you know, you would

1125
01:03:44,685 --> 01:03:49,285
Speaker 1: maybe normally say is not necessarily great acting. But the

1126
01:03:49,325 --> 01:03:52,245
Speaker 1: technical dexterity that she's bringing to it and the sense

1127
01:03:52,285 --> 01:03:55,365
Speaker 1: of humor she's bringing to it. This is an incredibly

1128
01:03:55,445 --> 01:03:58,165
Speaker 1: funny character, and the switching back and forth between these

1129
01:03:58,165 --> 01:04:02,965
Speaker 1: personas is also funny and very impressive. I'm sure Mary

1130
01:04:03,045 --> 01:04:07,405
Speaker 1: Shelley scholars will have a lot to say about envisioning

1131
01:04:07,485 --> 01:04:12,245
Speaker 1: Shelley this way, both as author and as a performed character.

1132
01:04:12,965 --> 01:04:15,725
Speaker 1: But man, you're if you're an admirer of Buckley, which

1133
01:04:15,805 --> 01:04:17,765
Speaker 1: who isn't At this point, I kind of think the

1134
01:04:17,805 --> 01:04:19,045
Speaker 1: Bride is a must see.

1135
01:04:19,445 --> 01:04:21,085
Speaker 3: You do not want to get going up with me?

1136
01:04:22,085 --> 01:04:26,525
Speaker 3: People love a monster. There's gonna be a mob really

1137
01:04:30,285 --> 01:04:37,405
Speaker 3: through this before here. It is terrible. Go go, get

1138
01:04:37,445 --> 01:04:41,765
Speaker 3: out of you, go home. I don't know where I live.

1139
01:04:42,805 --> 01:04:44,645
Speaker 1: I can't wait to hear what you and others think

1140
01:04:44,645 --> 01:04:48,005
Speaker 1: about it, because it's it'll leave you in a bit

1141
01:04:48,005 --> 01:04:50,765
Speaker 1: of a daze. Whether that's positive or negative, it could

1142
01:04:50,765 --> 01:04:51,365
Speaker 1: go either way.

1143
01:04:51,725 --> 01:04:54,605
Speaker 2: Between the Frankenstein movies and Wuthering Heights. What a year

1144
01:04:54,645 --> 01:04:58,045
Speaker 2: for literary scholars at the cinema. No, I mean all

1145
01:04:58,085 --> 01:05:01,205
Speaker 2: these radio hits. I'm sure having to comment.

1146
01:05:01,405 --> 01:05:04,325
Speaker 1: Probably you're not right and maybe getting up in arms

1147
01:05:04,365 --> 01:05:07,845
Speaker 1: about it. I mean, it's this one in particular, I

1148
01:05:07,885 --> 01:05:10,965
Speaker 1: think is perhaps I'm gonna guess, not very orthodox, but

1149
01:05:11,445 --> 01:05:12,365
Speaker 1: that's what the movies are for.

1150
01:05:12,445 --> 01:05:15,245
Speaker 2: At The Bride is still playing in wide release. If

1151
01:05:15,285 --> 01:05:17,845
Speaker 2: you see it and agree or disagree with Josh's take,

1152
01:05:17,885 --> 01:05:20,285
Speaker 2: if you're one of the detractors, or if like Josh,

1153
01:05:20,525 --> 01:05:23,165
Speaker 2: you're a let us know. We'd love to hear it

1154
01:05:23,205 --> 01:05:27,125
Speaker 2: feedback at filmspotting dot Net. I haven't yet listened to

1155
01:05:27,245 --> 01:05:31,405
Speaker 2: part one of our sister podcast, The Next Picture Show.

1156
01:05:31,445 --> 01:05:35,565
Speaker 2: They're recent pairing, great pairing. I can tell just from

1157
01:05:35,765 --> 01:05:39,005
Speaker 2: the trailer to the Bride that this makes sense. They've

1158
01:05:39,085 --> 01:05:42,605
Speaker 2: paired The Bride with nineteen sixty seven's Bonnie and Clyde.

1159
01:05:42,605 --> 01:05:44,645
Speaker 2: They're calling it couples get Away.

1160
01:05:44,725 --> 01:05:45,165
Speaker 3: I don't know.

1161
01:05:45,405 --> 01:05:48,125
Speaker 2: They'll probably be split on it. I'm guessing we'll get

1162
01:05:48,245 --> 01:05:53,165
Speaker 2: some defense and probably a lot of distraction as well.

1163
01:05:53,205 --> 01:05:55,445
Speaker 2: It'll be a good spirited conversation like you get on

1164
01:05:55,485 --> 01:05:56,205
Speaker 2: The Next Picture Show.

1165
01:05:56,245 --> 01:05:58,085
Speaker 1: Can't wait to hear that one. And that's a whole

1166
01:05:58,165 --> 01:06:00,725
Speaker 1: nother thread. I didn't even mention the Body and Clyde thing,

1167
01:06:00,765 --> 01:06:02,805
Speaker 1: which is thrown into the mix as well.

1168
01:06:03,405 --> 01:06:06,845
Speaker 2: You can hear the Next Picture show every Tuesday wherever

1169
01:06:07,005 --> 01:06:10,045
Speaker 2: you get your podcasts. Next week here on Film Spotting,

1170
01:06:10,325 --> 01:06:12,525
Speaker 2: we'll talk about one of the year's most anticipated and

1171
01:06:12,725 --> 01:06:16,365
Speaker 2: much buzzed about movies, Project Hail Mary, that opens this

1172
01:06:16,445 --> 01:06:19,405
Speaker 2: weekend in wide release. What's your sense so far? Do

1173
01:06:19,485 --> 01:06:22,765
Speaker 2: the Scots love Ryan Gosling as much as we do

1174
01:06:22,885 --> 01:06:23,645
Speaker 2: here Stateside.

1175
01:06:24,205 --> 01:06:26,405
Speaker 1: I haven't done a poll. I can tell you that

1176
01:06:26,405 --> 01:06:30,005
Speaker 1: they're getting Project Hail Mary on the same opening weekend

1177
01:06:30,045 --> 01:06:33,845
Speaker 1: as the State, so so that I guess indicates something.

1178
01:06:33,885 --> 01:06:37,525
Speaker 1: It is, however, just just want you to appreciate my dedication, Adam.

1179
01:06:37,645 --> 01:06:40,285
Speaker 1: It's it's going to be a two bus trip to

1180
01:06:40,325 --> 01:06:43,485
Speaker 1: the theater for projectail Marriage, which usual for our listeners.

1181
01:06:44,325 --> 01:06:44,525
Speaker 3: Yep.

1182
01:06:44,605 --> 01:06:44,845
Speaker 2: I know.

1183
01:06:45,005 --> 01:06:46,645
Speaker 3: Usually occasionally I can walk.

1184
01:06:47,325 --> 01:06:49,925
Speaker 1: Usually it's a one bus, but I got to take

1185
01:06:49,965 --> 01:06:51,485
Speaker 1: two for this, and I'm gonna hold I'm gonna be

1186
01:06:51,525 --> 01:06:54,205
Speaker 1: holding that against Project Hill Mary. It's it's gonna really

1187
01:06:54,245 --> 01:06:56,165
Speaker 1: have to it's got to deliver, have to make that

1188
01:06:56,205 --> 01:06:56,765
Speaker 1: trip worth it.

1189
01:06:56,845 --> 01:06:57,285
Speaker 3: Yeah.

1190
01:06:57,605 --> 01:07:02,245
Speaker 2: Also next week, talk about two very different frontiers we're

1191
01:07:02,245 --> 01:07:06,645
Speaker 2: crossing another look at Kelly Reikert's Meeks cutoff, celebrating its

1192
01:07:06,685 --> 01:07:11,405
Speaker 2: fifteenth anniversary this spring. It has also been nominated by

1193
01:07:11,645 --> 01:07:16,005
Speaker 2: us for the film Spotting Pantheon, specifically by me for

1194
01:07:16,125 --> 01:07:19,645
Speaker 2: the film Spotting Pantheon. That is why we are revisiting it.

1195
01:07:19,765 --> 01:07:22,725
Speaker 2: The two of us have never reviewed the film. We've

1196
01:07:22,725 --> 01:07:25,045
Speaker 2: talked about a fair number of Kelly Reichert films over

1197
01:07:25,045 --> 01:07:25,365
Speaker 2: the years.

1198
01:07:25,445 --> 01:07:26,125
Speaker 3: Josh, we have.

1199
01:07:26,205 --> 01:07:29,685
Speaker 2: Never talked about Meek's cutoff together. That is why we

1200
01:07:29,845 --> 01:07:33,725
Speaker 2: have to talk about it now. And I am I'm

1201
01:07:33,765 --> 01:07:34,605
Speaker 2: excited about it.

1202
01:07:34,885 --> 01:07:38,805
Speaker 1: Yeah, that one squeaked in twenty eleven, so just before

1203
01:07:39,845 --> 01:07:42,685
Speaker 1: I joined the show, and I know Meek's cut off

1204
01:07:42,965 --> 01:07:45,165
Speaker 1: both of us, you know love It has come up

1205
01:07:45,485 --> 01:07:47,805
Speaker 1: here and there, referenced over the years. But this will

1206
01:07:47,805 --> 01:07:50,605
Speaker 1: be a great chance to really dig into it together.

1207
01:07:50,925 --> 01:07:54,085
Speaker 2: More about the Pantheon and the Pantheon project, all the

1208
01:07:54,085 --> 01:07:59,725
Speaker 2: movies nominated, it's available Filmspotting dot Net slash Pantheon.

1209
01:07:59,765 --> 01:08:01,805
Speaker 3: We try to make that really simple for all of

1210
01:08:01,805 --> 01:08:02,285
Speaker 3: you to find.

1211
01:08:02,885 --> 01:08:07,365
Speaker 2: We have some big news to announce, Josh, save the

1212
01:08:08,165 --> 01:08:10,565
Speaker 2: date film Spotting Fest two.

1213
01:08:10,685 --> 01:08:14,085
Speaker 3: Money Never Sleeps. That's that's what I want to go with.

1214
01:08:14,165 --> 01:08:15,605
Speaker 3: I don't know. I was just trying to come.

1215
01:08:15,565 --> 01:08:19,125
Speaker 2: Up with with goofy sequel names and that was better

1216
01:08:19,125 --> 01:08:23,005
Speaker 2: than the squeak will so I Honey Never Sleeps. June

1217
01:08:23,085 --> 01:08:25,445
Speaker 2: twenty seventh and twenty eighth are going to be the

1218
01:08:25,525 --> 01:08:28,804
Speaker 2: dates we decided, Hey, you know, March made sense for

1219
01:08:29,125 --> 01:08:33,445
Speaker 2: Film Spotting Fest one when we're celebrating the actual anniversary

1220
01:08:33,445 --> 01:08:35,724
Speaker 2: of the show. But do we always have to do

1221
01:08:35,805 --> 01:08:39,125
Speaker 2: it in March late February. Why not do a fest

1222
01:08:39,605 --> 01:08:41,205
Speaker 2: in the summertime in Chicago?

1223
01:08:41,765 --> 01:08:42,005
Speaker 3: Yeah?

1224
01:08:42,205 --> 01:08:46,005
Speaker 1: Love Chicago's the idea, great city. I love Chicago more

1225
01:08:46,045 --> 01:08:47,485
Speaker 1: in June than I do in March.

1226
01:08:47,725 --> 01:08:47,925
Speaker 3: Yeah.

1227
01:08:47,965 --> 01:08:50,845
Speaker 2: I think our listeners who may travel there will feel

1228
01:08:50,925 --> 01:08:52,685
Speaker 2: the same way. It's going to be a little bit

1229
01:08:52,725 --> 01:08:54,845
Speaker 2: of a pair down fest. We are thinking that we're

1230
01:08:54,845 --> 01:08:59,005
Speaker 2: going to save the bigger festivals for the milestone years.

1231
01:08:59,565 --> 01:09:02,365
Speaker 2: Three movies on Saturday. That also means it won't be

1232
01:09:02,525 --> 01:09:04,685
Speaker 2: just back to back to back to back films and

1233
01:09:04,725 --> 01:09:07,965
Speaker 2: no time to do anything, be more spread out. It'll

1234
01:09:07,965 --> 01:09:10,925
Speaker 2: be more laid back, and it will be a lot

1235
01:09:10,925 --> 01:09:14,604
Speaker 2: of fun. Three movies on Saturday at one venue, one

1236
01:09:14,645 --> 01:09:17,285
Speaker 2: movie Sunday morning at another. Just like last time, we'll

1237
01:09:17,325 --> 01:09:20,285
Speaker 2: close out with the Sunday morning kind of Mattinee who.

1238
01:09:20,165 --> 01:09:20,725
Speaker 3: Will be there?

1239
01:09:21,085 --> 01:09:23,725
Speaker 2: Two of us, Josh will be back from Scotland. He's

1240
01:09:23,765 --> 01:09:27,564
Speaker 2: promised me he'll be back from Scotland. Absolutely, still keep

1241
01:09:27,605 --> 01:09:31,684
Speaker 2: into that, Okay, Producer Sam Golden, Joe Toso, Pa, Sophie Kempenar,

1242
01:09:32,565 --> 01:09:37,285
Speaker 2: Michael Phillips, Mariah Gates. Now I haven't officially invited her yet,

1243
01:09:37,325 --> 01:09:40,005
Speaker 2: so I'm throwing this out there now that I'm going

1244
01:09:40,045 --> 01:09:43,245
Speaker 2: to officially invite her other friends of the show and

1245
01:09:43,365 --> 01:09:47,205
Speaker 2: other special guests that we can't announce at this time. Now,

1246
01:09:47,565 --> 01:09:50,764
Speaker 2: you mentioned this earlier, or you alluded to this earlier, Josh,

1247
01:09:50,805 --> 01:09:53,965
Speaker 2: Remember those special benefits we were talking about for Film

1248
01:09:53,965 --> 01:09:58,805
Speaker 2: Spotting Family members pre sales and discounts. You will for

1249
01:09:59,005 --> 01:10:03,285
Speaker 2: Film Spotting Fest two Electric Boogaloo, you will get access.

1250
01:10:03,685 --> 01:10:04,405
Speaker 1: I like that better.

1251
01:10:04,925 --> 01:10:08,605
Speaker 2: You will get access to tickets before everyone else. You

1252
01:10:08,685 --> 01:10:12,325
Speaker 2: will get a discount on those tickets that others won't

1253
01:10:12,365 --> 01:10:17,125
Speaker 2: get and family members only they'll get a special meet

1254
01:10:17,205 --> 01:10:19,884
Speaker 2: and greet opportunity with us and our guests.

1255
01:10:20,205 --> 01:10:24,885
Speaker 1: So to do, join the Film Spotting Familyfilmspotting Family dot

1256
01:10:24,925 --> 01:10:28,085
Speaker 1: com so that when tickets go on sale, you can

1257
01:10:28,085 --> 01:10:31,685
Speaker 1: get them early and get the discount cheaper. That's that's

1258
01:10:31,765 --> 01:10:34,724
Speaker 1: number one. Number two, mark your calendar June twenty seven

1259
01:10:34,805 --> 01:10:37,245
Speaker 1: to twenty eight. We have a lot of information to

1260
01:10:37,285 --> 01:10:41,085
Speaker 1: share yet the films, obviously in particular additional guests that

1261
01:10:41,205 --> 01:10:44,604
Speaker 1: we'll be bringing in, But for now it's those dates

1262
01:10:44,965 --> 01:10:47,525
Speaker 1: June twenty seven to twenty eight. Can't wait to see

1263
01:10:47,525 --> 01:10:49,005
Speaker 1: as many of you as possible there.

1264
01:10:50,445 --> 01:10:53,965
Speaker 2: Nobody else has ever danced the Red Shoes since you left.

1265
01:10:54,805 --> 01:10:56,045
Speaker 3: Nobody else ever shall.

1266
01:10:56,085 --> 01:10:57,965
Speaker 1: Like I probably should have told you this before, but

1267
01:10:58,085 --> 01:11:02,045
Speaker 1: you see well, and sanity runs in my family.

1268
01:11:02,485 --> 01:11:05,245
Speaker 3: If I could only get inside that brain of yours

1269
01:11:05,245 --> 01:11:09,365
Speaker 3: and understand what makes you do these crazy twisted things.

1270
01:11:09,685 --> 01:11:10,525
Speaker 2: Put on the Red.

1271
01:11:10,405 --> 01:11:16,205
Speaker 3: Shoes, Viki and dance for us again. Spot of.

1272
01:11:18,605 --> 01:11:22,684
Speaker 2: Eleven years of driving people movie mad Josh, And despite

1273
01:11:22,685 --> 01:11:25,285
Speaker 2: this being year eleven, Sam and I were still on

1274
01:11:25,325 --> 01:11:27,365
Speaker 2: the phone with each other two days ago figuring out

1275
01:11:27,365 --> 01:11:28,405
Speaker 2: when exactly.

1276
01:11:28,045 --> 01:11:31,125
Speaker 3: Do we put the polls live and when do they close?

1277
01:11:31,165 --> 01:11:33,005
Speaker 3: I don't know. I think we've got it down now.

1278
01:11:33,765 --> 01:11:34,325
Speaker 3: Round one.

1279
01:11:34,365 --> 01:11:38,604
Speaker 2: So yeah, Round one of Film Spotting forties Madness is live.

1280
01:11:38,885 --> 01:11:41,885
Speaker 2: You can vote now film Spotting Madness dot com. There's

1281
01:11:41,885 --> 01:11:43,925
Speaker 2: also a link right on the main page of filmspotting

1282
01:11:43,965 --> 01:11:46,684
Speaker 2: dot Net. It is it is truly, I can tell

1283
01:11:46,685 --> 01:11:49,765
Speaker 2: you now I was a little confused last week. It's

1284
01:11:49,805 --> 01:11:54,604
Speaker 2: as simple as this. Each round closes on Monday at

1285
01:11:54,605 --> 01:11:58,245
Speaker 2: eleven fifty nine pm Central time. Yes, so think of

1286
01:11:58,285 --> 01:12:02,165
Speaker 2: it as midnight, eleven fifty nine pm Monday, that's Central time.

1287
01:12:02,685 --> 01:12:06,724
Speaker 2: Each new round opens the following day, Tuesday at noon,

1288
01:12:07,805 --> 01:12:08,485
Speaker 2: so you have a week.

1289
01:12:09,045 --> 01:12:09,564
Speaker 3: You have a week.

1290
01:12:09,645 --> 01:12:12,925
Speaker 2: Tuesday at noon is when voting closes. Right now, you

1291
01:12:12,965 --> 01:12:15,445
Speaker 2: can vote in the Round one matchups as you're listening

1292
01:12:15,445 --> 01:12:18,445
Speaker 2: to this, as long as it's before Monday at eleven

1293
01:12:18,485 --> 01:12:21,765
Speaker 2: fifty nine pm Central time, and you can enter the

1294
01:12:21,805 --> 01:12:25,925
Speaker 2: Madness Bracket Challenge. But you do only have until Monday,

1295
01:12:25,965 --> 01:12:28,245
Speaker 2: March twenty third, at eleven fifty nine pm to get

1296
01:12:28,445 --> 01:12:31,205
Speaker 2: the Bracket Challenge in because obviously you can't predict the

1297
01:12:31,205 --> 01:12:34,485
Speaker 2: winners if the round has closed. And we've announced the

1298
01:12:34,525 --> 01:12:38,604
Speaker 2: winners of Round one. So the prize there are other

1299
01:12:39,085 --> 01:12:43,125
Speaker 2: prizes in the Film Spotting prize pack, but the big

1300
01:12:43,165 --> 01:12:46,564
Speaker 2: prize is the winner will join us for a top

1301
01:12:46,645 --> 01:12:49,445
Speaker 2: five of their choosing, will record an episode that will

1302
01:12:49,485 --> 01:12:52,405
Speaker 2: be a future bonus show, or as Sam has noted

1303
01:12:52,405 --> 01:12:54,165
Speaker 2: here in the fine print, or at least have the

1304
01:12:54,245 --> 01:12:58,885
Speaker 2: right of first refusal to join us.

1305
01:12:59,165 --> 01:13:00,685
Speaker 1: We're not going to force you.

1306
01:13:00,845 --> 01:13:01,045
Speaker 3: No.

1307
01:13:01,485 --> 01:13:05,564
Speaker 1: Have we also have we banned Ricky from being able

1308
01:13:05,565 --> 01:13:08,845
Speaker 1: to win this year? Has the committee done something to

1309
01:13:09,005 --> 01:13:10,165
Speaker 1: take the ying?

1310
01:13:10,965 --> 01:13:13,965
Speaker 2: Everybody is dying now. I haven't looked yet. I mean

1311
01:13:14,045 --> 01:13:18,725
Speaker 2: I could, Sam could, we could look go into the

1312
01:13:19,125 --> 01:13:21,765
Speaker 2: back end and see the predictions if he's entered. I

1313
01:13:21,765 --> 01:13:24,564
Speaker 2: don't know if he has yet. What Josh is talking

1314
01:13:24,605 --> 01:13:28,724
Speaker 2: about is we have had the same person six seven,

1315
01:13:28,765 --> 01:13:32,245
Speaker 2: eight hundred entries. We've had the same person win two

1316
01:13:32,325 --> 01:13:36,645
Speaker 2: years in a row. How that has happened still boggles

1317
01:13:36,645 --> 01:13:40,325
Speaker 2: our minds. But Ricky Kendall in the UK has done

1318
01:13:40,325 --> 01:13:44,325
Speaker 2: it and if he pulls off a third there will

1319
01:13:44,365 --> 01:13:49,085
Speaker 2: be an investigation. Scotland yard, Josh, get Scotland yard on it.

1320
01:13:49,125 --> 01:13:51,325
Speaker 3: Are they in Scotland? I don't think so. I don't

1321
01:13:51,365 --> 01:13:54,845
Speaker 3: know in our jurisdiction. I believe that's right. That's right,

1322
01:13:55,525 --> 01:13:58,165
Speaker 3: We'll get on it. So we're going to dig into

1323
01:13:58,205 --> 01:14:00,885
Speaker 3: round one a little bit here. But why the nineteen forties.

1324
01:14:00,965 --> 01:14:03,325
Speaker 2: We started with the nineties back in twenty eighteen, went

1325
01:14:03,365 --> 01:14:05,485
Speaker 2: on to do the twenty's and twenty ten, so we

1326
01:14:05,525 --> 01:14:09,564
Speaker 2: went forward, then we went back eighties, seventies, sixties, fifties

1327
01:14:09,565 --> 01:14:13,804
Speaker 2: in order, then jumped back ahead best of the twenty

1328
01:14:13,845 --> 01:14:17,125
Speaker 2: first century so far. Last year felt right? It was

1329
01:14:17,165 --> 01:14:18,045
Speaker 2: twenty twenty five.

1330
01:14:17,925 --> 01:14:18,644
Speaker 3: Twenty twenty five.

1331
01:14:18,725 --> 01:14:21,285
Speaker 2: Yep, Now we had to keep it going. It's the

1332
01:14:21,325 --> 01:14:24,085
Speaker 2: nineteen forties. It may be the end of the line.

1333
01:14:24,165 --> 01:14:26,285
Speaker 2: I know some people are sad to hear that, because

1334
01:14:26,285 --> 01:14:28,804
Speaker 2: they really, really really want us to do the nineteen thirties.

1335
01:14:29,325 --> 01:14:32,045
Speaker 2: The selection committee will ponder this and we'll kick it around,

1336
01:14:32,085 --> 01:14:33,564
Speaker 2: even with you, Josh, if you want to be part

1337
01:14:33,565 --> 01:14:34,845
Speaker 2: of that conversation.

1338
01:14:34,445 --> 01:14:35,485
Speaker 3: We'll see.

1339
01:14:35,605 --> 01:14:38,365
Speaker 2: But here we are right now at the forties. So

1340
01:14:38,765 --> 01:14:42,884
Speaker 2: as we transitioned around one a couple notable play in results.

1341
01:14:43,245 --> 01:14:47,045
Speaker 2: We were talking last week about Fantasia and Dumbo. Do

1342
01:14:47,085 --> 01:14:50,125
Speaker 2: you go over the head or the heart? Well, the

1343
01:14:50,165 --> 01:14:54,605
Speaker 2: head one out. Fantasia crushed Dumbo sixty seven percent to

1344
01:14:54,645 --> 01:14:55,485
Speaker 2: thirty three percent.

1345
01:14:55,725 --> 01:14:58,604
Speaker 1: Would not have predicted that one. I'm already I'm already

1346
01:14:58,605 --> 01:15:00,685
Speaker 1: off to a bad start in the challenge.

1347
01:15:01,165 --> 01:15:04,045
Speaker 2: In the Classic Monsters matchup, the Wolfman over Abbott and

1348
01:15:04,085 --> 01:15:08,965
Speaker 2: Costello meet Frankenstein Josh by only seventeen votes. Okay to

1349
01:15:09,085 --> 01:15:12,085
Speaker 2: back back to back best picks How Green Was My

1350
01:15:12,165 --> 01:15:15,885
Speaker 2: Valley did beat Missus Miniver, but only by fifteen votes.

1351
01:15:16,325 --> 01:15:21,245
Speaker 2: And this one went down to the wire a few

1352
01:15:21,285 --> 01:15:24,205
Speaker 2: hours before the other movie was up by ten votes.

1353
01:15:24,245 --> 01:15:27,965
Speaker 2: And then at the last minute Psycho Thrillers Kescass Spellbound

1354
01:15:28,005 --> 01:15:32,604
Speaker 2: over Suspicion. The Hitchcock Thrillers spell Bound beat Suspicion by

1355
01:15:32,725 --> 01:15:35,165
Speaker 2: one vote to advance. See.

1356
01:15:35,205 --> 01:15:38,445
Speaker 1: So this is your annual lesson for Film Spotting Madness.

1357
01:15:38,485 --> 01:15:41,205
Speaker 1: Every vote matters, Your vote matters.

1358
01:15:41,565 --> 01:15:44,525
Speaker 2: Okay, So what we're gonna do very quickly, We're just

1359
01:15:44,565 --> 01:15:46,525
Speaker 2: going to run through as we look at the Round

1360
01:15:46,565 --> 01:15:48,845
Speaker 2: one bracket, not go through every matchup. You can do

1361
01:15:48,925 --> 01:15:51,285
Speaker 2: that yourself. You can go to film Spotting Madness dot

1362
01:15:51,285 --> 01:15:54,125
Speaker 2: com see the bracket enter and you can also vote

1363
01:15:54,165 --> 01:15:56,885
Speaker 2: there in the polls. But we like to highlight a

1364
01:15:56,925 --> 01:16:00,485
Speaker 2: few that stand out to us Josh, difficult to pick

1365
01:16:00,565 --> 01:16:03,485
Speaker 2: for you personally in terms of the matchups. A couple

1366
01:16:03,685 --> 01:16:06,125
Speaker 2: and then maybe a couple that were difficult to predict

1367
01:16:06,245 --> 01:16:08,085
Speaker 2: when you filled out your bracket. And then if you

1368
01:16:08,125 --> 01:16:10,485
Speaker 2: had any wild cards, just start with any that were

1369
01:16:10,565 --> 01:16:13,405
Speaker 2: difficult to pick. Which one's vexed to you?

1370
01:16:14,205 --> 01:16:16,485
Speaker 1: Yeah, I've got one for you here when I was

1371
01:16:16,525 --> 01:16:19,885
Speaker 1: going through pondering making my votes, I don't think this

1372
01:16:19,925 --> 01:16:22,005
Speaker 1: is going to be difficult for a lot of people,

1373
01:16:22,565 --> 01:16:25,205
Speaker 1: and for me it's only because we have recent history

1374
01:16:25,245 --> 01:16:30,325
Speaker 1: with one of these films. But Casablanca versus Meshes of

1375
01:16:30,365 --> 01:16:36,965
Speaker 1: the Afternoon is actually the top one. Adam, Okay, it

1376
01:16:37,485 --> 01:16:40,604
Speaker 1: should be an overrat right seed against the sixty three.

1377
01:16:40,685 --> 01:16:43,885
Speaker 1: I'm just saying personally, I'm just saying personally, toughest for

1378
01:16:43,965 --> 01:16:47,925
Speaker 1: me to choose, because you do have, okay, Casablanca, you

1379
01:16:47,965 --> 01:16:51,525
Speaker 1: have a masterpiece that might be the most entertaining film

1380
01:16:51,565 --> 01:16:55,045
Speaker 1: of all time. Okay, okay, Grant yep, complete other end

1381
01:16:55,085 --> 01:16:59,765
Speaker 1: of the spectrum, a very different kind of masterpiece. Maya

1382
01:16:59,845 --> 01:17:02,684
Speaker 1: Darren's Meshes of the Afternoon. This is avant garde short film.

1383
01:17:03,125 --> 01:17:04,805
Speaker 1: I think it was part of our was it our

1384
01:17:04,845 --> 01:17:09,845
Speaker 1: Overlooked Tours marathon? I read that, and it's a movie

1385
01:17:09,965 --> 01:17:13,684
Speaker 1: operating in a different way, but at the same level

1386
01:17:14,205 --> 01:17:17,764
Speaker 1: as Casablanca. For me, Casablanca, you may be the Hollywood

1387
01:17:17,805 --> 01:17:20,845
Speaker 1: machine and it's most finely tuned. Meshes is kind of

1388
01:17:21,125 --> 01:17:25,605
Speaker 1: like this masterful wrench thrown into the machine of classical filmmaking.

1389
01:17:26,765 --> 01:17:29,165
Speaker 1: For me, that's for me. That's a tough one to choose.

1390
01:17:29,845 --> 01:17:31,205
Speaker 1: I'm still sitting with that one.

1391
01:17:31,725 --> 01:17:36,165
Speaker 2: Okay, Okay, I love it is. That is a bold statement, Josh, Okay.

1392
01:17:36,205 --> 01:17:38,725
Speaker 2: Toughest to pick for me. I'll run through them quickly here.

1393
01:17:38,765 --> 01:17:42,405
Speaker 2: And it's really a matter of just having not been

1394
01:17:42,445 --> 01:17:45,644
Speaker 2: able to revisit these films and not having seen them

1395
01:17:45,645 --> 01:17:49,405
Speaker 2: in a long time. So I'm just going off memory.

1396
01:17:49,485 --> 01:17:52,765
Speaker 2: And I really I like all of these films. I

1397
01:17:52,925 --> 01:17:56,165
Speaker 2: like to love all of these films, but there's just

1398
01:17:56,205 --> 01:18:00,125
Speaker 2: not a clear preference. The Great Dictator Chaplain versus My

1399
01:18:00,205 --> 01:18:05,045
Speaker 2: Darling Clementine john Ford. How do I choose The Grapes

1400
01:18:05,085 --> 01:18:08,644
Speaker 2: of Wrath versus Rome Open City? I know, Rome Open City,

1401
01:18:08,645 --> 01:18:12,205
Speaker 2: The Rossolini is the film school movie. I watched it

1402
01:18:12,245 --> 01:18:15,644
Speaker 2: as a film studies student. But The Grapes of Wrath

1403
01:18:15,725 --> 01:18:19,405
Speaker 2: is still a very powerful movie, right the shop around

1404
01:18:19,445 --> 01:18:24,485
Speaker 2: the corner, Lubitch, the lubitch touch, It's all there versus

1405
01:18:24,525 --> 01:18:28,165
Speaker 2: the Magnificent Amberson's Yes, It's It's It's a failed or

1406
01:18:28,205 --> 01:18:31,405
Speaker 2: not quite what it should be as an Orson Wells film,

1407
01:18:31,685 --> 01:18:35,005
Speaker 2: It's still a pretty damn good Orson Wells film. Rebecca

1408
01:18:35,605 --> 01:18:41,245
Speaker 2: pretty great, Hitchcock versus pretty good to great Howard Hawk's

1409
01:18:41,365 --> 01:18:43,845
Speaker 2: Red River. And then this one is actually I don't

1410
01:18:43,845 --> 01:18:46,125
Speaker 2: think this is gonna be tough. I think this for

1411
01:18:46,125 --> 01:18:48,965
Speaker 2: for our listener, this movie is gonna dominate, right, But

1412
01:18:49,165 --> 01:18:53,845
Speaker 2: for me, especially with the recency bias, it's actually a

1413
01:18:53,845 --> 01:18:56,805
Speaker 2: tough choice, Josh, for me to choose between how Green

1414
01:18:56,965 --> 01:18:59,644
Speaker 2: was My Valley and Treasure of the Sierra Madre.

1415
01:19:00,445 --> 01:19:03,685
Speaker 3: Okay, it is love that it is. I mean, I know,

1416
01:19:03,845 --> 01:19:05,125
Speaker 3: I know it's bogie.

1417
01:19:05,165 --> 01:19:08,445
Speaker 2: I know that Treasure of the Sierra Madre is a

1418
01:19:08,565 --> 01:19:11,685
Speaker 2: great film, John Houston, It's an all timer. I think

1419
01:19:11,685 --> 01:19:14,564
Speaker 2: it's gonna do well in the tournament. But for me,

1420
01:19:15,205 --> 01:19:17,965
Speaker 2: it's it's not one I put on a pedestal. So

1421
01:19:18,925 --> 01:19:21,245
Speaker 2: it's it's a difficult one. It's difficult to cheer use.

1422
01:19:21,445 --> 01:19:23,805
Speaker 2: Those were five that stood out to me. What stood

1423
01:19:23,845 --> 01:19:26,965
Speaker 2: out to you in terms of tough to predict when

1424
01:19:26,965 --> 01:19:27,925
Speaker 2: you filled out the bracket?

1425
01:19:28,685 --> 01:19:31,405
Speaker 1: Yeah, I have got my one. Here is one that

1426
01:19:31,445 --> 01:19:35,525
Speaker 1: you just listed as difficult to choose. So maybe I'm

1427
01:19:35,525 --> 01:19:39,125
Speaker 1: onto something here. It is Rebecca versus red River. I

1428
01:19:39,245 --> 01:19:41,925
Speaker 1: feel like, and maybe this is just personally for me,

1429
01:19:42,045 --> 01:19:46,085
Speaker 1: but Rebecca is a hitchcock that has a growing reputation

1430
01:19:47,165 --> 01:19:52,125
Speaker 1: and you know, Joan Fontaine, Lawrence Olivier, legendary performance by

1431
01:19:52,205 --> 01:19:55,684
Speaker 1: Judith Anderson as Missus Danver's in it. I do feel

1432
01:19:55,725 --> 01:19:59,645
Speaker 1: like I hear more and more about that movie in

1433
01:19:59,765 --> 01:20:01,885
Speaker 1: recent years, and maybe it's just a matter of people

1434
01:20:01,965 --> 01:20:03,845
Speaker 1: have gone through the other Hitchcocks and are getting to

1435
01:20:03,925 --> 01:20:08,045
Speaker 1: it and are realizing its top tier as well. Red River, though,

1436
01:20:08,325 --> 01:20:10,285
Speaker 1: I mean, how do you compare something like that to

1437
01:20:10,605 --> 01:20:14,045
Speaker 1: a Howard Hawk's Western with John Wayne This is, you know,

1438
01:20:14,525 --> 01:20:20,245
Speaker 1: and I feel like I'm leaning towards the fact that

1439
01:20:20,365 --> 01:20:27,365
Speaker 1: the hawks pedigree and the Western iconography might give it

1440
01:20:27,445 --> 01:20:31,885
Speaker 1: the edge over what might others could consider lesser Hitchcock,

1441
01:20:32,485 --> 01:20:34,525
Speaker 1: But I'm not sure so for me when I'm looking

1442
01:20:34,605 --> 01:20:37,365
Speaker 1: at this first round grouping, that's the hardest for me

1443
01:20:37,445 --> 01:20:37,925
Speaker 1: to predict.

1444
01:20:38,685 --> 01:20:42,525
Speaker 2: Yeah, I have another Hitchcock in tough to predict for me,

1445
01:20:42,605 --> 01:20:45,925
Speaker 2: and it's Rope. Rope versus Letter from an Unknown Woman,

1446
01:20:46,325 --> 01:20:50,525
Speaker 2: where that opals film I think is a masterpiece. I

1447
01:20:50,565 --> 01:20:53,125
Speaker 2: do not think Rope is a masterpiece, but I think

1448
01:20:53,205 --> 01:20:57,125
Speaker 2: Letter from an Unknown Woman is far more underseen than Rope. Definitely,

1449
01:20:57,165 --> 01:20:59,405
Speaker 2: I think people who have seen Letter will vote for

1450
01:20:59,445 --> 01:21:01,965
Speaker 2: it over Ropes, but I don't think enough people have

1451
01:21:02,005 --> 01:21:04,245
Speaker 2: seen it, so I still have it in my tough

1452
01:21:04,285 --> 01:21:07,765
Speaker 2: to predict because Rope isn't I don't think rope is

1453
01:21:07,805 --> 01:21:11,445
Speaker 2: considered It's probably considered the least worthy hitchcock of all

1454
01:21:11,445 --> 01:21:13,805
Speaker 2: the hitchcocks in our bracket. So that's why I think

1455
01:21:13,845 --> 01:21:16,525
Speaker 2: that's fair. Yeah, right, so that's why I have it here.

1456
01:21:17,205 --> 01:21:20,205
Speaker 2: We talked about Disney and Fantasia before. I think it

1457
01:21:20,285 --> 01:21:23,725
Speaker 2: could be a sleeper I could. I think it could be.

1458
01:21:24,525 --> 01:21:27,405
Speaker 2: How appropriate is this the Cinderella of the tournament?

1459
01:21:27,845 --> 01:21:28,645
Speaker 3: Josh?

1460
01:21:28,685 --> 01:21:34,844
Speaker 2: And nevertheless, it's up against a pretty damn great Archers

1461
01:21:34,885 --> 01:21:39,125
Speaker 2: film in a matter of life and death in realm. Yeah,

1462
01:21:39,165 --> 01:21:43,125
Speaker 2: and I just don't know if the Disney pedigree and

1463
01:21:43,245 --> 01:21:47,285
Speaker 2: the nostalgia for Fantasia will beat out for our hardcore

1464
01:21:47,325 --> 01:21:53,125
Speaker 2: sinophiles an incredible Archers film, a truly incredible film. I

1465
01:21:53,165 --> 01:21:55,285
Speaker 2: don't know where people will go with this one.

1466
01:21:55,565 --> 01:22:01,644
Speaker 1: I think that that Dumbo thrashing was revealing, yesh, So

1467
01:22:02,005 --> 01:22:05,485
Speaker 1: I think what you say about it having sleeper potential

1468
01:22:05,805 --> 01:22:09,765
Speaker 1: is something to keep in mind. But yeah, when the

1469
01:22:09,845 --> 01:22:12,724
Speaker 1: Archers come up, is a matter of life and death,

1470
01:22:12,845 --> 01:22:14,965
Speaker 1: like the second film that's always mentioned.

1471
01:22:15,085 --> 01:22:17,805
Speaker 3: No third or four word, but third or fourth.

1472
01:22:18,365 --> 01:22:22,485
Speaker 1: So there's you know, there are other films, maybe even

1473
01:22:22,485 --> 01:22:25,965
Speaker 1: in this tournament, that are more beloved, but you do

1474
01:22:26,045 --> 01:22:30,125
Speaker 1: hear a lot of praise for that one. Fantasia is

1475
01:22:30,165 --> 01:22:34,485
Speaker 1: really I'm just not sure there's clearly more affection for

1476
01:22:34,525 --> 01:22:36,605
Speaker 1: that than I was aware of. And so yeah, that

1477
01:22:36,685 --> 01:22:38,684
Speaker 1: is a tough one to weigh those two against each other.

1478
01:22:39,365 --> 01:22:42,125
Speaker 2: So lu Bitch and Wells, the Shop around the Corner

1479
01:22:42,205 --> 01:22:46,125
Speaker 2: and the Magnificent Anderson's I have no bearing on how

1480
01:22:46,165 --> 01:22:48,765
Speaker 2: those two would fare against each other. I also don't

1481
01:22:48,805 --> 01:22:50,685
Speaker 2: really know how Meet Me in Saint Louis will do

1482
01:22:50,805 --> 01:22:54,045
Speaker 2: against the Lost Weekend. The Lost Weekend is not considered

1483
01:22:54,765 --> 01:22:57,045
Speaker 2: usually for people in the top five or seven of

1484
01:22:57,125 --> 01:23:01,365
Speaker 2: wild Billy Wilder films. But also, I know Meet Me

1485
01:23:01,405 --> 01:23:04,445
Speaker 2: in Saint Louis is the more popular or more well

1486
01:23:04,485 --> 01:23:07,525
Speaker 2: known title of the two, but I don't think most

1487
01:23:07,565 --> 01:23:10,844
Speaker 2: people listening love that film as much as our producer

1488
01:23:10,845 --> 01:23:14,165
Speaker 2: Sam van Holgren does, So I'm putting it in this

1489
01:23:14,365 --> 01:23:16,965
Speaker 2: in this category, and then the last one I'll mention, Josh,

1490
01:23:17,005 --> 01:23:19,564
Speaker 2: I do I worry a little bit about how the

1491
01:23:19,605 --> 01:23:23,525
Speaker 2: o Zoo will do late spring up against a hitchcock

1492
01:23:23,925 --> 01:23:26,245
Speaker 2: in round one with Spellbound.

1493
01:23:26,645 --> 01:23:27,325
Speaker 3: Remind me of.

1494
01:23:27,285 --> 01:23:30,365
Speaker 1: The lesson I learned last time, because one of the

1495
01:23:30,365 --> 01:23:33,605
Speaker 1: strategies that I used to employ in predicting these was,

1496
01:23:34,365 --> 01:23:38,285
Speaker 1: you know, if a director has multiple films in the tournament,

1497
01:23:38,565 --> 01:23:40,644
Speaker 1: and I think I've learned over the years that doesn't matter.

1498
01:23:41,525 --> 01:23:45,045
Speaker 1: And I think I've also learned it especially doesn't matter

1499
01:23:45,085 --> 01:23:51,765
Speaker 1: this early on. So my guess is Ozugos, it.

1500
01:23:51,725 --> 01:23:56,285
Speaker 2: Could happen, so less mentioned here. The committee regrets I

1501
01:23:56,325 --> 01:23:59,045
Speaker 2: figured this out, that I figured this out within minutes

1502
01:23:59,605 --> 01:24:02,965
Speaker 2: after the bracket went live, and it couldn't be changed. Somehow,

1503
01:24:03,005 --> 01:24:07,085
Speaker 2: the selection committee failed to pit Hamlet against to be

1504
01:24:07,285 --> 01:24:08,604
Speaker 2: or not to be in the first round.

1505
01:24:09,365 --> 01:24:11,365
Speaker 3: Wow, I mean, what are then.

1506
01:24:11,885 --> 01:24:14,445
Speaker 2: It should be off? The whole tournament should be off.

1507
01:24:14,845 --> 01:24:17,485
Speaker 1: Well, you know, I withhold all criticisms of the selection

1508
01:24:17,565 --> 01:24:19,965
Speaker 1: committee for fear that I might be placed upon it.

1509
01:24:20,045 --> 01:24:22,764
Speaker 1: So I actually take that back. I think that's fine.

1510
01:24:23,005 --> 01:24:25,564
Speaker 2: The upset I'm rooting for the most is letter from

1511
01:24:25,605 --> 01:24:28,205
Speaker 2: an unknown woman over rope. That's the one I'm moving

1512
01:24:28,285 --> 01:24:30,325
Speaker 2: for the most. I don't think it'll happen, but I

1513
01:24:30,365 --> 01:24:32,045
Speaker 2: would love to see it.

1514
01:24:32,045 --> 01:24:35,525
Speaker 1: It's I don't know, it's the clear correct choice and honestly,

1515
01:24:35,765 --> 01:24:38,525
Speaker 1: you know, a litmus test for our listeners. So I

1516
01:24:38,565 --> 01:24:42,085
Speaker 1: think if that doesn't happen, you guys, you guys might

1517
01:24:42,085 --> 01:24:44,445
Speaker 1: have failed the test. Can I love it?

1518
01:24:44,485 --> 01:24:46,644
Speaker 3: Speaking of it on THEMSH.

1519
01:24:46,005 --> 01:24:49,045
Speaker 1: Yeah, speaking of you know, putting these in classroom terms,

1520
01:24:49,085 --> 01:24:51,525
Speaker 1: Can I do some homework reporting because you know, yes,

1521
01:24:52,125 --> 01:24:54,805
Speaker 1: this is the prime reason for many of us to

1522
01:24:54,845 --> 01:24:57,405
Speaker 1: do madness is to excuse to catch up with films.

1523
01:24:57,805 --> 01:25:02,884
Speaker 1: It also falls into my unfortunately easiest to pick personally category. Okay,

1524
01:25:02,965 --> 01:25:06,805
Speaker 1: I watched Frank Capra's Arsenic and Old Lace for the

1525
01:25:06,845 --> 01:25:10,245
Speaker 1: first time. Settled in for a fun night, was looking

1526
01:25:10,285 --> 01:25:18,325
Speaker 1: for something light. Carrie Grant beloved farce screwball comedy. Oh

1527
01:25:18,365 --> 01:25:21,365
Speaker 1: it was a bit of a rough go, I have

1528
01:25:21,405 --> 01:25:24,844
Speaker 1: to say, a bit of a chore saved by Kerry Grant.

1529
01:25:25,205 --> 01:25:27,845
Speaker 1: He is the reason to watch this movie, the double

1530
01:25:27,965 --> 01:25:32,405
Speaker 1: and you know, triple takes he offers really throughout are

1531
01:25:32,765 --> 01:25:35,765
Speaker 1: something to behold. He's not on the screen nearly enough,

1532
01:25:35,845 --> 01:25:39,165
Speaker 1: even though the movie runs almost two hours. It's maybe

1533
01:25:39,285 --> 01:25:43,804
Speaker 1: the loudest screwball comedy I've ever seen, and I allowed

1534
01:25:43,805 --> 01:25:47,125
Speaker 1: for volume going in. I know, I know what I'm getting,

1535
01:25:47,165 --> 01:25:49,965
Speaker 1: and I usually like what I'm getting in that degree,

1536
01:25:50,005 --> 01:25:52,245
Speaker 1: but this one left me a little wanting. And so

1537
01:25:52,445 --> 01:25:54,724
Speaker 1: you put it up against speaking of archers, the Life

1538
01:25:54,765 --> 01:25:58,125
Speaker 1: and Death of Colonel Blimp, and I personally, you know

1539
01:25:58,165 --> 01:25:59,604
Speaker 1: that's not even my favorite archers, but.

1540
01:25:59,605 --> 01:26:01,564
Speaker 2: I was gonna say, even though you don't think that's

1541
01:26:01,605 --> 01:26:04,645
Speaker 2: the masterpiece, that I out behold it as that's an

1542
01:26:04,685 --> 01:26:05,684
Speaker 2: easy pick for you.

1543
01:26:05,565 --> 01:26:07,885
Speaker 1: Now certainly enjoy it more than our senic and old lace.

1544
01:26:08,445 --> 01:26:12,125
Speaker 2: Okay, so we can't wait to start seeing the results

1545
01:26:12,325 --> 01:26:15,285
Speaker 2: pour in and get to Round two. A reminder, Round

1546
01:26:15,325 --> 01:26:17,845
Speaker 2: one Pulls and the Bracket Challenge live right now. They

1547
01:26:17,845 --> 01:26:20,604
Speaker 2: close eleven fifty nine pm Monday, March twenty third, that's

1548
01:26:20,605 --> 01:26:24,405
Speaker 2: Central time. Round two polls open Tuesday at noon Central time,

1549
01:26:24,805 --> 01:26:27,604
Speaker 2: and all the madness can be found at film Spotting,

1550
01:26:27,765 --> 01:26:28,685
Speaker 2: Madness dot com.

1551
01:26:28,845 --> 01:26:29,925
Speaker 3: Josh that's our show.

1552
01:26:30,565 --> 01:26:34,525
Speaker 1: Share all your madness consternation with us on social. You

1553
01:26:34,565 --> 01:26:39,245
Speaker 1: can find Adam and the show on Instagram, Facebook, letterboxed, YouTube.

1554
01:26:39,285 --> 01:26:42,445
Speaker 1: He's at film Spotting. I'm at those places as well,

1555
01:26:42,565 --> 01:26:46,805
Speaker 1: Larsen on film We are independently produced and listeners supported.

1556
01:26:46,965 --> 01:26:49,085
Speaker 1: You can support the show by joining the Film Spotting

1557
01:26:49,205 --> 01:26:52,564
Speaker 1: Family at Filmspotting Family dot com. You can listen early

1558
01:26:52,645 --> 01:26:56,605
Speaker 1: and ad free. You'll get monthly bonus episodes, a weekly newsletter,

1559
01:26:56,845 --> 01:26:59,925
Speaker 1: and access to the entire show archive. For show t

1560
01:27:00,085 --> 01:27:03,885
Speaker 1: shirts and other merch go to film Spotting dot dot slash.

1561
01:27:03,405 --> 01:27:08,165
Speaker 2: Shop, streaming vod Peaky Blinders, The Immortal Man with Barry

1562
01:27:08,245 --> 01:27:10,605
Speaker 2: Kyogan and Tim Roth and Killian Murphy of course and

1563
01:27:10,765 --> 01:27:14,245
Speaker 2: Rebecca Ferguson. That is on Netflix out wide. You can

1564
01:27:14,325 --> 01:27:18,644
Speaker 2: see the popular picture book series The Poutpoutfish with Nick Offerman,

1565
01:27:18,805 --> 01:27:21,885
Speaker 2: Rand Auto and Amy Sedaris. Ready You Not To Here

1566
01:27:21,965 --> 01:27:24,685
Speaker 2: I Come, the sequel to twenty nineteen's Ready or Not

1567
01:27:25,125 --> 01:27:28,125
Speaker 2: with Tomorrow Weaving, Sarah, Michelle Geller and my Notes tell

1568
01:27:28,165 --> 01:27:32,925
Speaker 2: me David Cronenberg not directing but with him in the cast. Okay,

1569
01:27:33,405 --> 01:27:37,125
Speaker 2: And yes, Ryan Gosling and Lorden Miller's project Hail Mary,

1570
01:27:37,165 --> 01:27:40,924
Speaker 2: which we'll talk about next week in addition to Meek's cutoff,

1571
01:27:40,925 --> 01:27:43,965
Speaker 2: and we'll have to share some of our favorite matchups

1572
01:27:44,205 --> 01:27:46,285
Speaker 2: in round two of film Spotting Madness.

1573
01:27:46,525 --> 01:27:49,365
Speaker 1: Film Spotting is produced by Golden, Joe Desso and Sam

1574
01:27:49,445 --> 01:27:52,725
Speaker 1: Van Halgren without Sam and Golden Joe. This show wouldn't go.

1575
01:27:53,085 --> 01:27:56,604
Speaker 1: Our production assistant is Sophie Kempinar. Special thanks to everyone

1576
01:27:56,645 --> 01:28:01,365
Speaker 1: at WB easy Chicago. More information is available at wbeazy

1577
01:28:01,725 --> 01:28:04,685
Speaker 1: dot org. For film spotting, I'm Josh Larson.

1578
01:28:04,525 --> 01:28:08,205
Speaker 3: And I'm Adam Kempinar. Thanks for listening. This conversation can

1579
01:28:08,245 --> 01:28:11,245
Speaker 3: serve no purpose anymore, but Barne