Speaker 1: Welcome to Movie Crush, a production of I Heart Radio.
Speaker 1: Hey everybody, and welcome to Movie Crush. We got Maddie
Speaker 1: back in the house in the world, not in my house.
Speaker 1: Here in the house, we're being safe. I like it
Speaker 1: that room, man, it's very warm. It looks like super cozy.
Speaker 1: Oh it is pretty great. It's got all of my
Speaker 1: dorky things going on back here, all my video games
Speaker 1: and board games, music stuff. Oh yeah, and there's a
Speaker 1: mind calendar back there too, which is just in case
Speaker 1: you need one. Wait, I thought the world ended. Hold on,
Speaker 1: wait a minute. I know we're still going somehow, but
Speaker 1: it's so we're not far away. Well, welcome back to
Speaker 1: the show. Brother. It's been a while. It's funny. When
Speaker 1: we went into lockdown, I sort of got into a
Speaker 1: rotation of people and then something was missing and it
Speaker 1: was you stuff. I'm not sure what happened. It just
Speaker 1: sort of fell off my radar. And then I was like,
Speaker 1: wait a minute, Maddie, what happened? We were we were
Speaker 1: on a roll there. It's all good man, you know,
Speaker 1: we we really milked for all that it was worth.
Speaker 1: Actually that's not true. There's so many other We'll go
Speaker 1: back there, but yeah, we're we're definitely. I missed it
Speaker 1: a lot, hanging out with you mostly, but also just
Speaker 1: getting to talk about a movie like for a while.
Speaker 1: I don't do that ever. Nobody talks with me about
Speaker 1: movies and so for you, so thank you. Well you're
Speaker 1: back in the rotation. So uh, we decided or you
Speaker 1: decided to jump back to yea for a movie that
Speaker 1: I loved and of called The Fisher King from director
Speaker 1: Terry Gilliam. Um, he did not write this one, though.
Speaker 1: I think this is the first movie that he did
Speaker 1: not write that he directed. Right. Yeah, it was written
Speaker 1: by Richard la Gravants. Gravents. I don't know how to
Speaker 1: say it correctly. Um, an excellent writer, just prolific wrote Parisia,
Speaker 1: tem The Horse Whisper, a bunch of other movies that
Speaker 1: you know about. Yeah, he's It's funny. I looked him
Speaker 1: up because I've never heard of him, and I was
Speaker 1: trying to think of a way to describe his career
Speaker 1: without sounding like an insult. But you know all those
Speaker 1: movies over the years that are big movies that you know,
Speaker 1: but are sort of just uh, they're kind of nondescript
Speaker 1: in that there's not because he's directed some of these
Speaker 1: two but nondescript, and that he's one of these directors
Speaker 1: it seems like and writer that just sort of writes
Speaker 1: movies and that it's not like this has a real
Speaker 1: Richard uh like greben As feel to it. But they're
Speaker 1: a just a lot of big movies in here, living
Speaker 1: out loud, the ref unstrung heroes. He wrote Bridges of
Speaker 1: Madison County, The Mirror has two faces, beloved freedom writers.
Speaker 1: I think, yeah, Water for Elephants. I mean, these are
Speaker 1: all like big big He's had a huge career because
Speaker 1: I was like when I first saw his name, I
Speaker 1: was like that she he's one of these guys that
Speaker 1: wrote one movie that he and and then went away.
Speaker 1: But that is just not true at all. But the
Speaker 1: fact that he wrote all those movies and then he
Speaker 1: wrote this movie. I think about the difference between The
Speaker 1: Fisher King and all those other movies that we mentioned. Yeah,
Speaker 1: I mean there's there's a I think a romantic comedy
Speaker 1: line that kind of goes through there, and and the
Speaker 1: drama kind of mixing um. But overall of the the
Speaker 1: whimsy that exists within this screenplay, I want to say
Speaker 1: is brought heavily by Gilliam. Right, it feels that way
Speaker 1: for sure, Um, because you know you do you I
Speaker 1: hope everyone listening is familiar with Terry Gilliam. But the fuss,
Speaker 1: the the imagination that exists within that man's head, um
Speaker 1: is just glorious to behold on screen. And it's there's
Speaker 1: no exception here with the Fisher King. Yeah. Absolutely. And
Speaker 1: the other thing about the writer, um, he he strikes
Speaker 1: me as someone and looking at his his list of
Speaker 1: credits as a screenwriter who really just is so solid
Speaker 1: with that Hollywood form, which is to say, act one,
Speaker 1: Act two, Act three thirty minutes to get your plot
Speaker 1: point ninety minutes or you know, depending on how long
Speaker 1: your movie and get your second plot point. You've got
Speaker 1: the characters overcoming adversity and gaining redemption and overcoming the obstacles.
Speaker 1: I mean, it's in the best way. It is as
Speaker 1: true to the Hollywood sort of trophies gript form that
Speaker 1: that you can imagine. And and I've talked about it before,
Speaker 1: but that's a a tried and true thing because almost
Speaker 1: just because it is like people are conditioned to see
Speaker 1: movies this way. And that's why when movies don't do it.
Speaker 1: They're seen as sort of avant garde, are really sort
Speaker 1: of artie. But this is right down the middle the
Speaker 1: Fisher King. As far as just being a great story
Speaker 1: of characters redemption love, it really hits all the notes, really,
Speaker 1: really well. The hero's journey is strong with this one,
Speaker 1: and it's in fact doubled like it is. And that
Speaker 1: was one of the criticisms that Roger Ebert. He only
Speaker 1: gave this two stars, and he was sort of like,
Speaker 1: he just throws the kitchen sink in there. We have
Speaker 1: two redemption stories into love stories. And I was like, yeah,
Speaker 1: but it's it's great. Yeah. They mirror each other in
Speaker 1: these beautiful ways. When you we're thinking about um, well,
Speaker 1: let's just say Jack, I guess the main character, traditional
Speaker 1: main character that exists within this story, Um played by
Speaker 1: Jeff Bridges, and then Perry the I guess the the
Speaker 1: secondary in in a way, but also the kind of
Speaker 1: the most important character in a lot of ways. Robin Williams,
Speaker 1: you know, uh, And just like the acting in this movie,
Speaker 1: I think each of them was nominated for an Oscar
Speaker 1: Mercedes Rule won the Oscar very deservedly. She's so good
Speaker 1: in this dude. Mercedes. Yeah, and I I hate to
Speaker 1: admit this, but it's not that I didn't remember her
Speaker 1: in that role. It's just I think when I was
Speaker 1: originally watching this role, I was so obsessed with Robin Williams,
Speaker 1: and I was watching it for Robin Williams. Same here,
Speaker 1: and um, I guess just with with a little bit
Speaker 1: of time and age, you see all of these parts,
Speaker 1: including Amy, Amanda Plumber, oh my god, as as a lady. Like,
Speaker 1: all of them together as an ensemble knocked it out
Speaker 1: of the park. Some of the scenes, some of the
Speaker 1: scenes with with Mercedes and Jack or sorry Mercedes, Mercedes
Speaker 1: and Jeff Bridges, Um, the two of them together just um,
Speaker 1: there was just there, like sparks, There's there's such a
Speaker 1: connection there, you know, it's real. Yeah, their relationship was
Speaker 1: so upsetting at times, especially watching it as an older guy. Um,
Speaker 1: because like you said, I think when I first saw
Speaker 1: this movie, and I saw it quite a few times
Speaker 1: back then I was in college, I think, like my
Speaker 1: second yar in college and then watch it quite a
Speaker 1: few times on video just because I loved it so much.
Speaker 1: But us and it was all about Robin Williams and
Speaker 1: of course I love Jeff Bridges, and I thought Mercedes Rule.
Speaker 1: I was like, man, she's a hot older woman, you know,
Speaker 1: and like I was Leopard hot pants and she's in
Speaker 1: her forties and I was like twenty years old now
Speaker 1: that I'm a little older. It's just their relationship was
Speaker 1: so sad to me because although it works out in
Speaker 1: a really sweet way, she was so willing to accept
Speaker 1: so little from him as a partner and the only
Speaker 1: way she could get him was as damaged goods. And uh,
Speaker 1: and you see how cruelly he leaves her when he
Speaker 1: starts to get his life back together. And man, that
Speaker 1: stuff just hit me right in the gut this viewing. Yeah,
Speaker 1: oh yeah. And and just the immediacy at which he
Speaker 1: decided to leave her after things started on a slight
Speaker 1: up tick for his life. He's out of there like
Speaker 1: so quickly. But again, like, let's I don't want to
Speaker 1: get too far a head shuck, because I just I guess,
Speaker 1: let's establish that character of jack there's some interesting things
Speaker 1: going on just in our lives reflected with with jack
Speaker 1: Um not not saying that we are we have the
Speaker 1: same qualities that he does, flaws that character has, but
Speaker 1: we're not shocked shocks. No, we're not shocked shocks, but
Speaker 1: we are broadcasters. And um, you know we just starting
Speaker 1: out with Hit the Road Jack playing right. Um, that's
Speaker 1: the way this movie begins. Hit the Road Jack. Uh,
Speaker 1: don't you come back no more? Ray Charles and the
Speaker 1: ray Lettes are are just rocking out, and it's him
Speaker 1: in the studio as Jack Lucas this rock jock, and
Speaker 1: he is. They just hit you with it immediately in
Speaker 1: the beginning. It's such a great setup. Mm hmm. They
Speaker 1: give you his character everything you need to know just
Speaker 1: by showing him in his environment. Yeah, without showing his
Speaker 1: face though, which I thought was kind of interesting. Oh,
Speaker 1: it was really cool just and and it really mirrors
Speaker 1: a big theme in this or at least for Jack personally,
Speaker 1: the concept of the face that's always heard but never seen,
Speaker 1: and how badly he wants this TV show so he
Speaker 1: can be a face and a voice, which Harry Shear
Speaker 1: later gets. Yeah, very cool little cameo exactly he wants
Speaker 1: to be what was it called on the error? I
Speaker 1: think is the fake? Very funny stuff. But yeah, the
Speaker 1: way they set it up is so clean, and I
Speaker 1: always talk about efficiency of set up in the In
Speaker 1: the first like five minutes, you know exactly who this
Speaker 1: guy is, and you get that great um movie tragedy
Speaker 1: that happens where his life has turned upside down. And
Speaker 1: then we later learned, you know, obviously many other people's
Speaker 1: lives are turned upside down. Oh yeah, with that Mats shooting,
Speaker 1: with which at the time was I remember seeing this
Speaker 1: and it was just unfathomable that somebody would walk into
Speaker 1: our restaurant and shoot people up. And it's so sad
Speaker 1: now that that's you know, commonplace. Oh yeah, yeah, man, um,
Speaker 1: you know, I was, I guess around eight when this
Speaker 1: movie came out. I didn't see it for a long time.
Speaker 1: Um gosh, it was. It was around the time I
Speaker 1: was watching all these movies in high school, um, like
Speaker 1: all the ones that we've been talking about on this
Speaker 1: show prior to this. Uh, and I was just really
Speaker 1: getting into movies. But I was always into Robin Williams.
Speaker 1: I think it was a Laddin for me that got
Speaker 1: me there, and my dad made me watch Good Morning
Speaker 1: Vietnam early on good movie and then I just like
Speaker 1: just stuck with everything. I watched anything and everything that
Speaker 1: he was in. Yeah, people that Robin Williams haters. I
Speaker 1: just I don't know, get away from me. Those exist. Yeah,
Speaker 1: there's some Robin Williams haters that kind of thought he
Speaker 1: overdid it and overacted, And I just I just thought
Speaker 1: he was a treasurer and like, what a great great man.
Speaker 1: My brother worked with him on just one day as
Speaker 1: an a d on a job he was in and
Speaker 1: he just had chatted him up for like two minutes
Speaker 1: at the craft service tables, the only interaction you ever
Speaker 1: had with him. And he was just the kindest, sweet, sweetest,
Speaker 1: sweetheart of a guy. From what everyone said, I'm missing
Speaker 1: so much. Yeah, yeah, me too. Do this sad? What happened? Oh,
Speaker 1: there's so many things I wanna talk about. I feel
Speaker 1: like they feel like it's a good transition. There's so
Speaker 1: many other things to connect that maybe you don't know
Speaker 1: about if you're listening to this, But I would just say,
Speaker 1: if you haven't watched Fisher King and you are listening
Speaker 1: to this, do yourself a favor. It's on Amazon Prime
Speaker 1: right now. If you have Amazon Prime and you get Showtime,
Speaker 1: you get a free trial and watch it right now.
Speaker 1: Maybe on Hulu as well, but I watched it on
Speaker 1: Amazon Prime. Yeah, just do it and then maybe come
Speaker 1: back here. Um, just do it. They're just speaking about,
Speaker 1: um memories of Robin Williams and some of the scenes
Speaker 1: that he gives to us in this in this movie, Um,
Speaker 1: I teared up so many times, and it was just
Speaker 1: watching him and remembering that he's gone, but also watching
Speaker 1: him on screen. I don't know if there was a
Speaker 1: very emotional thing for me. There's the scene where, uh,
Speaker 1: where the two couples Perry, Perry and Lydia, Jack and
Speaker 1: Anne are at the Chinese restaurants. Such a great great
Speaker 1: it's a great scene, just the whole I mean, this
Speaker 1: whole scene is great. Um, I guess can we do
Speaker 1: you mind if we just talked about the one really quickly,
Speaker 1: no man helping over all this other stuff. We're gonna
Speaker 1: jump all around. It's all good, Okay. So first of all,
Speaker 1: all of a sudden, there are wipe wipe transitions, like
Speaker 1: all all of a sudden in the movie, white transitions occurring. Yeah. Well,
Speaker 1: it's like they just got coverage of that wide shot
Speaker 1: at the table and they just wanted to show. It's
Speaker 1: almost like that to me, like the the direction and
Speaker 1: an editor they were just like, well, let's just like
Speaker 1: cut around a little more and let's just stay here.
Speaker 1: They may have had that that that location for like
Speaker 1: two hours or something, you know exactly, but but they
Speaker 1: they really pulled it off, just showing the the mirroring
Speaker 1: that Perry's character is doing to Lydia whenever she's being
Speaker 1: clumsy with the china and the glass and the dumplings
Speaker 1: and everything, and he's just mirroring her as an attempt
Speaker 1: to make her feel less uncomfortable. It's so goddamn sweet,
Speaker 1: I know it really is. And they're showing you all
Speaker 1: of this through this series of transitions and cuts there.
Speaker 1: And then there's a moment I can't remember if Perry
Speaker 1: begins singing first, or if we get this. I can't
Speaker 1: remember if they if he sings first, or you get
Speaker 1: this moment with Jack and and but there's a moment
Speaker 1: where and is kind of just watching them interact and
Speaker 1: is so amused by what they're doing. And she kind
Speaker 1: of glances over at Jack and notices that her red
Speaker 1: bra is slightly down on her arm, just slightly down
Speaker 1: on her arm, and she, like you know, glances at
Speaker 1: Jack and pulls it up. And then Jack kind of
Speaker 1: just reaches over his finger and just pulls it back
Speaker 1: to such a great little moment and just gives her
Speaker 1: kiss on the arm and they just, I mean, the
Speaker 1: the sweetness that existed there, that was so genuine, um,
Speaker 1: maybe so happy, but it was also this tremendously like sensual,
Speaker 1: like beautiful thing like that. That a moment that I
Speaker 1: think I've experienced before in the almost very very similarly
Speaker 1: um and maybe a lot of us have, where there's
Speaker 1: just it's a hint of of sexuality expressed between them,
Speaker 1: but it's mostly just this, um, it's it's expressing love
Speaker 1: without saying I love you from Jack to Anne, which
Speaker 1: he you know, doesn't say until the end. So it
Speaker 1: was very meaningful, exactly. It's so meaningful. And at the
Speaker 1: same time, while all that's happening, you've got Perry expressing
Speaker 1: his just happiness to be around Lydia by singing that
Speaker 1: song Lydia, Lydia the Tattooed Lady Okay, And it's and
Speaker 1: it's kind of a raunchy song, but the way he's
Speaker 1: singing it is so it's beautiful. And as the music
Speaker 1: that score swells in to fill in the rest of
Speaker 1: the song. While he's singing, and the cameras pulling back
Speaker 1: and you see all of the employees there in the
Speaker 1: Chinese restaurant. They're clearly they're after hours. Yeah, and that
Speaker 1: beautiful like when you finally pull back, you like, it's
Speaker 1: a beautiful shot anyway, but that the lighting and just
Speaker 1: that that set in that frame is so gorgeous um
Speaker 1: just so vibrant with colors, and there's so much great
Speaker 1: color in this movie that that whole sequence is just
Speaker 1: off the charts. That date from the beginning in the
Speaker 1: apartment where they're trying to get Perry ready and it's
Speaker 1: just like an animal at that table, like trying to
Speaker 1: look down her dress and staying up on the table
Speaker 1: like you're too good of a woman to go to waste,
Speaker 1: all the way through a date itself, and how nervous
Speaker 1: he is to uh, post date when Jack and Anne
Speaker 1: are just riding high and it's so in love and
Speaker 1: Perry and Lydia have that heartbreaking scene where she tells
Speaker 1: him how bad it's going to go and he gets
Speaker 1: that first kiss anyway, and then the PTSD meltdown immediate.
Speaker 1: I mean that that's the sequence of the movie. I think,
Speaker 1: you know, oh, it really is um and and it's
Speaker 1: it's a big theme of the movie, achieving, finally achieving
Speaker 1: what you think you want, what you think you need UM,
Speaker 1: and then something coming through and telling you that you
Speaker 1: can't have it or it's out, it's out of reach,
Speaker 1: or that's not what you need UM, even though it
Speaker 1: is true, it's what Perry it's it is what Perry needs,
Speaker 1: a companionship, someone who will be who will function with him,
Speaker 1: not for him or not someone that he's functioning for
Speaker 1: UM in the same way that the relationship he had
Speaker 1: with his wife, right um that we only get to
Speaker 1: see a sliver of. We only get to see a
Speaker 1: tiny sliver of Perry and his his wife. The brutal scene,
Speaker 1: the flashback. Yeah, yeah, because he's not allowed to have
Speaker 1: this stuff because of what he went through, his his PTSD,
Speaker 1: like his legiti mental illness. And that comes out later
Speaker 1: when about sort of not having permission to to feel
Speaker 1: a certain way when he finally comes out of the
Speaker 1: comment in the end in his catatonic state, and uh,
Speaker 1: he asked, and god, that scene is so great, But
Speaker 1: he asked Jack if he can miss her now? And
Speaker 1: that's another thing, like giving himself permission to miss her.
Speaker 1: It was just so powerful, so great down the quote
Speaker 1: he said, he yeah, he his hands are clasped on
Speaker 1: this trophy that he believes is the Holy Grail and
Speaker 1: he's still comatose, and then his hands like slowly start
Speaker 1: to move up and he physically realizes what it is
Speaker 1: before he mentally does, and then he wakes up. Jack
Speaker 1: is passed out, kind of laying across him a little
Speaker 1: bit um, and he just sits up and he says,
Speaker 1: I had this dream Jack, I was married. I was
Speaker 1: married to this beautiful woman and you were there too.
Speaker 1: I really miss her, Jack. Is that okay? Can I
Speaker 1: miss her now? Jesus thank you? There he goes away
Speaker 1: and You're just like, ah, don't you cry, Matt. I'm
Speaker 1: not going to. I will not cry. Yeah. The way
Speaker 1: they played that out that was so great. Like Jeff
Speaker 1: Bridge is not acknowledging because he just lays motionless, but
Speaker 1: his eyes are open, and that like single tier comes down. Uh.
Speaker 1: Just such a heartwarming and tragic movie all at the
Speaker 1: same time. So much. Well, a mirror is what they
Speaker 1: provide to each other because there's there's the moment in
Speaker 1: that same bed where like right before this before Jack
Speaker 1: goes in gets the grail where yelling at him, Well, yeah,
Speaker 1: he's yelling at him, but he's he is I think
Speaker 1: more so pouring his heart out to him, saying like
Speaker 1: especially what he where he comes to with it, like
Speaker 1: if I if I do this, I'm not you know,
Speaker 1: I'm not doing it because I feel guilty or responsible
Speaker 1: in some way. If I do this, I'm doing it
Speaker 1: because I want to do it for you. That's all
Speaker 1: for you. Yeah, that's and that's the change that needs
Speaker 1: to happen for him to be redeemed, because he runs
Speaker 1: the gamut from ignoring this guy to realizing who he
Speaker 1: is to trying to literally pay him off and buy
Speaker 1: him out like that will work, and he's trying to
Speaker 1: Like it takes him that that long in the movie
Speaker 1: to realize that You've got to do the work, and
Speaker 1: it's got to be for the right reasons. You can't
Speaker 1: buy him off. You can't buy your way out of this.
Speaker 1: You can't uh, you can't absolve your guilt. It has
Speaker 1: to be a selfless act. And that selfless act is
Speaker 1: breaking into the Carmichael's Park Avenue Armory, which somehow I've
Speaker 1: never gone to that building in New York, and next
Speaker 1: time I go to New York, I'm going there immediately
Speaker 1: and like taking pictures of me in front of it.
Speaker 1: Do you think we'll ever go to New York again? Yeah?
Speaker 1: I hope so we will. Matt Okay. Uh. It was
Speaker 1: cracking up the whole time you're talking because of just
Speaker 1: the concept of Jack trying to buy out Perry's um,
Speaker 1: the guilt that he feels towards Perry, the moment when
Speaker 1: he gives Perry fifty bucks and then a twenty on
Speaker 1: top of it. Yeah, and then Perry immediately turns around
Speaker 1: and there's a guy with a shopping cart and he's
Speaker 1: got a phone, and Perry comes up, hands in the
Speaker 1: money and he goes bye bye. Yeah. That moment is
Speaker 1: great because you know, Jack sees it and I was
Speaker 1: giving you the money. I was giving you the money,
Speaker 1: and it's it's a lesson that he doesn't even pick
Speaker 1: up on, but Perry's giving him a lesson right there.
Speaker 1: And then he gives so many lessons through the movie,
Speaker 1: um of And I think that's what I love about
Speaker 1: this character and made me miss Robin Williams even more,
Speaker 1: is that there was something very Robin Williams about it,
Speaker 1: especially once you know that he suffered through Louis body
Speaker 1: dementia and depression and took his own life like Perry
Speaker 1: is a is a is a wreck of a human.
Speaker 1: But he's still trying to like put goodness into the world. Yeah,
Speaker 1: he emanates or he emits yes, and he does it
Speaker 1: without maybe even intentionally doing it. It feels that way.
Speaker 1: He's just the way he reacts to things, the thoughts
Speaker 1: that he has about any situation that he finds himself in.
Speaker 1: He just appears to be doing the right thing and
Speaker 1: in a weird way, perhaps the way we imagine a
Speaker 1: night would you know, Like really he's the chivalrous human
Speaker 1: that is there to protect, to help, to you know,
Speaker 1: save people. Um, he really does act that way. Yeah.
Speaker 1: And and the way he loves Lydia without even knowing
Speaker 1: her is the way that Jack should love Anne. Like again,
Speaker 1: he's like this lesson right in front of Jack's face
Speaker 1: that he he know. He follows Lydia around and and
Speaker 1: just rebels in every small little thing she does, from
Speaker 1: eating the dumplings wrong to buying the trashy romance novel
Speaker 1: and getting swept up in the revolving door, and it's
Speaker 1: like right there in front of Jack's face the whole time. Yeah,
Speaker 1: it really is. But Chuck, we have to talk about this.
Speaker 1: Isn't it a little creepy by the way Perry's character
Speaker 1: goes after Lydia. I mean, my note here says, you know,
Speaker 1: he's basically stalking her, but uh, you know you can't
Speaker 1: look at it through that lens. It's it's a sweet
Speaker 1: romantic gesture. Uh. But I wrote a note of that
Speaker 1: when when they're having this tender moment after the date,
Speaker 1: when they're there at the stoop, it's like I've been
Speaker 1: following you. He's he describes her entire life and routine,
Speaker 1: everything about her, and she's looking at him and you
Speaker 1: can see in her eyes like, what really, you're watching
Speaker 1: me do all of that, and it is creepy. For
Speaker 1: a moment you feel that it's creeping, you realize it's creepy.
Speaker 1: But for me, again, I think it's the performances as
Speaker 1: well here where you can see that what it really
Speaker 1: means is that he knows her better than anyone on
Speaker 1: this on this planet, even better than herself perhaps, and
Speaker 1: like you said, he adores every little part of it. Somehow,
Speaker 1: for some reason, he adores all of these little eccentricities
Speaker 1: that she has. And and I really do think in
Speaker 1: some philosophical level that is where we're in true love
Speaker 1: lies like the acceptance of flaws, the almost, the almost
Speaker 1: the it's more than appreciation of them. It's a fascination
Speaker 1: with flaws or something like that. I don't know. I
Speaker 1: can't haven't put my finger on this whole love thing, guys,
Speaker 1: but uh, there's something to it that that exists right there. Well,
Speaker 1: and even you know, these are superficial little flaws, like
Speaker 1: real human flaws. That's why people couple up, you know,
Speaker 1: because going through life is very hard alone, and two
Speaker 1: people that are messed up in their own unique ways
Speaker 1: can come together and and ideally lift each other up
Speaker 1: and help each other out. Well, that's why Jack and
Speaker 1: is so important. So that's why, you know, I'd love
Speaker 1: to talk to Roger Ebert about that. Like, that's why
Speaker 1: these two storylines are so important. It's showing you total
Speaker 1: kinds of love and affection and problems within relationships and
Speaker 1: how those are navigated incorrectly most of the time. But
Speaker 1: then you know, with with time and communication, you can
Speaker 1: fix a lot of that almost all of that. Yeah,
Speaker 1: I mean they're saving each other throughout the whole movie.
Speaker 1: They're alternating sort of saving each other. Jeff Bridges is
Speaker 1: trying to say Perry, uh, because he's trying to save himself.
Speaker 1: But Perry this whole time is just sending up just
Speaker 1: like big, Hey, this is how you should be. He's
Speaker 1: got this great woman. You can't buy your way out,
Speaker 1: And Jeff Bridges even says Jack says, at one point,
Speaker 1: I just wish there was some way I could pay
Speaker 1: the fine and go home. Yeah, And that's that's that
Speaker 1: character in a nutshell. He wants the easy way out
Speaker 1: and he can't. Life doesn't work that way. Yeah, it's true.
Speaker 1: But you know I can also I can also very
Speaker 1: much identify with that feeling of just wishing there was
Speaker 1: some there was something I could do, or a series
Speaker 1: of things I could do to make myself not feel
Speaker 1: so bad about something. I definitely identify with that. But
Speaker 1: but you know it's okay, man, this is the philosophy
Speaker 1: of this movie and the symbols it uses to tell
Speaker 1: to get us to some of these answers. I guess
Speaker 1: it is so beautiful. Um, I kind of want to, oh, man,
Speaker 1: I wanted to jump to another scene here, you would
Speaker 1: if you'd allow. Um. The just when we're talking about
Speaker 1: the philosophy everything we're talking about the title of the movie,
Speaker 1: the Fisher King, the actual story of the Fisher King, UM,
Speaker 1: and the way that Perry tells it because he's a
Speaker 1: history professor. He knows all of this stuff. He has
Speaker 1: a history professor, right. I think he might have been English,
Speaker 1: but one of the two. He's Yeah, he's a professor
Speaker 1: in a college there. And when they're sitting in Central
Speaker 1: Park there, this is the first time they find them
Speaker 1: well is it the first time. It's the time they
Speaker 1: find themselves in Central Park at night for the first time.
Speaker 1: Perry is naked. I think Perry is naked, but Jack
Speaker 1: is not. And Jack just refuses and he's about to leave,
Speaker 1: but he ends up coming back and just laying there
Speaker 1: to cloud bust very great, which is a real thing
Speaker 1: and was really weird and hilarious and ragon energy and
Speaker 1: check out stuff they don't want you to know if
Speaker 1: you want to learn about orgon energy and cloud busting. UM.
Speaker 1: But Perry tells tells Jack the entire story of the
Speaker 1: Fisher King, and it really is exactly the movie just
Speaker 1: in it's the the whole movie is right here in
Speaker 1: the Fisher King that exists within the middle of the movie. Yeah,
Speaker 1: it's fascinating. Yeah, it's really beautiful. Um. And I think
Speaker 1: that's even the name of his manuscript that Jack digs
Speaker 1: out right in his basement, um sort of boiler room apartment.
Speaker 1: What's his name, Henry more right? No, like his real name? Yeah,
Speaker 1: I can't remember. Oh, man, I thought it was Henry
Speaker 1: Merriam or wrong. That whole sequence is Henry. Yeah, Henry
Speaker 1: sane when he when he first discovers uh. And again
Speaker 1: it's right, just like clockwork, at that thirty minute point
Speaker 1: in the movie when he discovers that Perry was was
Speaker 1: in that restaurant that night that it was shot up
Speaker 1: and he lost his wife, and you know, that's where
Speaker 1: the hero's journey begins. That's where he knows where his
Speaker 1: night's quest shall lie, even though he doesn't choose to
Speaker 1: accept it immediately. Like that's the big sort of thread
Speaker 1: of this movie is Perry is he is the night
Speaker 1: that is a accepting any quest, and Jack is the
Speaker 1: night that refuses to accept the request. That's so obvious
Speaker 1: right in front of his face, but he does begrudgingly
Speaker 1: because he thinks again that is where his salvation will lie.
Speaker 1: Uh and in fact it does, but he has to
Speaker 1: come by it honestly. Yeah, you're right, man. I thought
Speaker 1: one of the most fun parts of this whole movie
Speaker 1: too was how Jack is thrust into this world of uh,
Speaker 1: these mentally ill people, homeless people, mentally ill people, whether
Speaker 1: it's in the hospital or like out on the streets,
Speaker 1: uh in like New York's version of skid Row, and
Speaker 1: how he he clearly fits in better there. That's where
Speaker 1: he's most like, sort of happiest almost even though like
Speaker 1: in his mind and you know that these would be
Speaker 1: his words. He's just like among a bunch of loony's.
Speaker 1: But uh, he he ends up when he you know,
Speaker 1: when he gets his career back and he's a rich
Speaker 1: guy again. Uh Um, he's not happy and he even
Speaker 1: says like, I keep why is it that everything I have?
Speaker 1: And I still feel like I'm missing something. And then
Speaker 1: when he's most at home again and happiest at the
Speaker 1: end of the movie, when he's when he's leading the
Speaker 1: chorus in the in the institution and all these men singing,
Speaker 1: it's like it's such a great moment. And you know,
Speaker 1: for better for worse. It's a very dressed up Hollywood
Speaker 1: version of mental illness. Uh that is sort of light
Speaker 1: and fluffy, so we don't want to ignore that. But
Speaker 1: it's a fairy tale. It's what this movie is. Yeah,
Speaker 1: oh yeah, for sure. I mean they're there. There are
Speaker 1: a lot of problematic things with it, but at the
Speaker 1: heart of it, I mean I think, and you know,
Speaker 1: if you're listening, correct me if I'm wrong, But at
Speaker 1: the heart of this movie, it feels like there's a
Speaker 1: a true appreciation for the situations that many, many people
Speaker 1: that is depicting find themselves in. Yeah, I think he's
Speaker 1: saying they have value. Yeah, absolutely, and the hardships, you know,
Speaker 1: being being kicked out of a facility because there's no money,
Speaker 1: because like someone who cannot get help simply because the
Speaker 1: the instant the institutions of the state or local level
Speaker 1: or the federal level aren't providing things for someone who's
Speaker 1: unable to you know, provide for themselves. Um. And again
Speaker 1: it just kind of ripples through all of this, all
Speaker 1: of this movie from the punks that show up at
Speaker 1: the very beginning. You yeah, then they call him. I
Speaker 1: think they called him punks in the screenplay, but the
Speaker 1: evil son's abit shous uh and then too to the
Speaker 1: fleshed out characters that are very much, you know, tertiary
Speaker 1: characters that exist within this world, but they're so amazing.
Speaker 1: Can we just for a second talk about I think
Speaker 1: I think he's I think he's labeled as the cabaret
Speaker 1: singer Michael Jeter. Oh my god, man, Oh my god.
Speaker 1: A revelation this man, perhaps, And Michael Jeter is a
Speaker 1: great actor. He was a very special guy. He was.
Speaker 1: He was one of the few, um openly gay actors
Speaker 1: in Hollywood. Um and at a time where you didn't
Speaker 1: kind of do that stuff. He was. He's most well known,
Speaker 1: I think for many years on the Evening Shade TV
Speaker 1: show with Burt Reynolds, which I never really watched that much,
Speaker 1: but I know Michael Jeter as as this guy. And yes,
Speaker 1: in the scene, I mean all he steals every scene
Speaker 1: he's in, but the scene where he goes and sts
Speaker 1: to Lydia in the office is one of my favorite
Speaker 1: scenes in any movie ever. Well, even the way he
Speaker 1: when he's going in in the high heels and he's
Speaker 1: just sort of running through the office and he hangs
Speaker 1: his coat on the one guy and he goes Lydia,
Speaker 1: Lydia Barnett it this way and he just looks. It's
Speaker 1: so great. He looks, I mean he he's got tags
Speaker 1: on all of the costumes that or pieces of the
Speaker 1: costume that he's and he just it's pure joy, just
Speaker 1: goes for it to this entire I think it's a
Speaker 1: publishing house of some sort, or at least an imprint
Speaker 1: of a publishing house in the middle of New York
Speaker 1: City and this giant high rise building and he's singing
Speaker 1: to her about how she's one of free membership well
Speaker 1: like video Spot, which is so ridiculous that a video
Speaker 1: store would send a guy to an office, but it's
Speaker 1: like it somehow works in this movie. It's so great.
Speaker 1: And the other the other part I loved was before
Speaker 1: that happens when he's first getting to know Jack. Yes,
Speaker 1: when he's sitting in his lap like a baby, cradling
Speaker 1: him like a little baby, and he's talking about how
Speaker 1: he used to do summer stock and ye. But there's
Speaker 1: dude that the movie does this thing where it hits
Speaker 1: you with truth. It does it a couple of times
Speaker 1: it does it right in that scene, and then almost
Speaker 1: immediately after it, it does it with Tom Waits, um
Speaker 1: and so so first, so first, just just a hit,
Speaker 1: um our our cabaret singer's character, what's his name in
Speaker 1: the movie that's bugging me now? I think I was
Speaker 1: looking at him IMDb and I looked at Michael. I
Speaker 1: think it says homeless cabaret singer for Michael Jeter said
Speaker 1: they didn't even give him a name. Didn't even give
Speaker 1: him a name. Um. And I wonder if it if
Speaker 1: the character got bigger in the movie or something, because
Speaker 1: Michael Jeter was so damn the show really so. But
Speaker 1: we're in this moment where they're at the hospital because
Speaker 1: Michael Jeter's character, you know, needed help. They found him,
Speaker 1: I think, in the dirt and horse crap and he
Speaker 1: was just crying for help, and so Perry and Jack
Speaker 1: take him to the hospital and they're sitting there, like
Speaker 1: you said, Um, I'm Michael Jeter is laying across Jack
Speaker 1: there and Jack says, when you, uh, did you lose
Speaker 1: your mind all of a sudden or was it a
Speaker 1: slow gradual process? But he but he doesn't say it
Speaker 1: like an asshole. Yeah, because he's feeling himself also interacting,
Speaker 1: like you said, with with what he thinks people listing
Speaker 1: his mind. He thinks he's losing money. He's interacting with
Speaker 1: people that society would say are mad? Are are you know?
Speaker 1: Out of the rhyns um And he's just kind of
Speaker 1: wondering where that line is and what's the truth to this?
Speaker 1: And he he just kind of sits there for a moment, says, well,
Speaker 1: I'm a singer by trade. He talks about summer Stock.
Speaker 1: I could do gypsy every part back, forwards and backwards.
Speaker 1: Then one night, right in the middle of singing funny,
Speaker 1: suddenly it hit me, what does all of this mean?
Speaker 1: And then but he hits you with the truth right here,
Speaker 1: and he sits up. When he like he kind of
Speaker 1: climbs up. He says that plus the fact that I
Speaker 1: had watched all my friends die and the truth of
Speaker 1: immediate AIDS epidemic, and it doesn't have to say anything
Speaker 1: to explain any of that stuff. Now you understanding, You
Speaker 1: get it if you're a living human that pays attention. Yeah,
Speaker 1: And it does that all the time in this movie
Speaker 1: where it'll it references something in regards to a character
Speaker 1: that they've already established or they're establishing um with these
Speaker 1: little things. Yeah, what was the time waits when there
Speaker 1: was another good one with him where he's he's sort
Speaker 1: of do you have the quote where he's got the
Speaker 1: whole thing here? Yeah? He his character is disabled veteran.
Speaker 1: They're in Central Station. Yeah, I think it's outside of
Speaker 1: Grand Central Station, Grand Central. Yeah, and um, he's you know,
Speaker 1: he's got a cup out and he opens the line
Speaker 1: with somebow. Do you hear about Jimmy Nichols. He got
Speaker 1: picked up yesterday for pisting on a bookstore, and then
Speaker 1: you just talk about anarchy, It's like it's social anarchy
Speaker 1: when people start pissing on bookstores. And what happens is
Speaker 1: as this is all happening, he's he's conversing with Perry
Speaker 1: don't remember Jack because Jack is is upset because they
Speaker 1: don't even like make eye contact with him, and he's like,
Speaker 1: as long as they pay, they don't have to look
Speaker 1: at me or something like that. Yeah, And I think
Speaker 1: that's something Jack begins to notice throughout again like part
Speaker 1: of his arc there. So he watches a woman make
Speaker 1: eye contact with him, put change, and another guy just
Speaker 1: throw change as he's going by, and he's like, asshole,
Speaker 1: didn't you look at you? And he just he says
Speaker 1: that he's paying so he don't have to look, which
Speaker 1: then mirrors back the way Jack had been trying to
Speaker 1: handle things right, And it just like goes in these
Speaker 1: cycles of um not repeating, I guess repeating in a way,
Speaker 1: but each time it repeats a little lesson or something
Speaker 1: like this, we get a little more light on the subject,
Speaker 1: a little more of the picture. Yeah, and it is
Speaker 1: related because it that kind of harkens back to the beginning,
Speaker 1: when the very beginning when Jack is in the limo
Speaker 1: with David, with his agent, David Hyde Pierce, and he says, uh,
Speaker 1: you know, the guy's asking for money. He's what differences
Speaker 1: a couple of quarters make anyway, And and that thread
Speaker 1: is like very tied up very nicely later on. I
Speaker 1: mean the screenplay, like I said, it is very by
Speaker 1: the numbers, but in the most perfect ways. Everything is
Speaker 1: tied up just so neatly throughout the movie, and this
Speaker 1: message that these people have value is there without hitting
Speaker 1: you over the head with it. And in fact, that's
Speaker 1: what um, that's what drives Jack away at the end
Speaker 1: for his ultimate redemption is he's in the office getting
Speaker 1: pitched this sitcom about homeless people, but really fun homeless people,
Speaker 1: and it's called home Free, and that's why he finally
Speaker 1: snaps because he identifies with this, um these people that
Speaker 1: society has turned their back on. Now like there's people
Speaker 1: in a way, it's really interesting. It really is home free.
Speaker 1: I remember cringing so hard that that was an actor
Speaker 1: that I recognized his face playing that. Yeah went off,
Speaker 1: he's uh, he's been and stuff. There were a couple
Speaker 1: of little cameos like that before they were super famous.
Speaker 1: Kathy the Jimmy early on in the PoCA Dotted Dress
Speaker 1: video store. She nailed back yeah with with the and
Speaker 1: of course that scene has the patented classic Terry Gilliam
Speaker 1: fisheye lens shot, which you know you're going to get
Speaker 1: in any Terry Gilliam movie. And the way if a
Speaker 1: character is drunk or a little off and Jack has wasted. Yeah,
Speaker 1: he plays such a good drunk too. I meant to
Speaker 1: mention that, um, he plays it really realistically. I think
Speaker 1: the way he talks and that whole sequence where he's
Speaker 1: drunk and then goes to goes to you know, jump
Speaker 1: off the bridge with his cinder block cinder block shoes. Yeah. Man, dude,
Speaker 1: that whole thing with Pinocchio tied up there. Yeah, that's
Speaker 1: a This is a thread through the movie too, who's
Speaker 1: given to him by an extremely wealthy man. Man's son
Speaker 1: who is arguing with a homeless man and a son
Speaker 1: give him the doll. The sun almost I can't tell
Speaker 1: if the Sun thinks that maybe he too is homeless
Speaker 1: or can't help, but I think that's what it's saying
Speaker 1: in the kid just sees a man who looks like
Speaker 1: he needs help, and he gives him the Pinocchio doll. Again,
Speaker 1: we're mirroring everything people. It's it's it's perfect. Just this
Speaker 1: the innocence of this kid just sees what he sees.
Speaker 1: There doesn't have to be any kind of motivation body. Yeah,
Speaker 1: and then that doll is is paid forward because that's
Speaker 1: what he ends up bringing. Well, first of all, he
Speaker 1: tells Perry he can keep it when he leaves the
Speaker 1: boiler rim, but then it comes back later and he
Speaker 1: brings the doll to the to the hospital when he's
Speaker 1: sort of I guess they call it a coma, but
Speaker 1: it seems a little more like catatonia um um really quickly.
Speaker 1: Just because you mentioned the video store thing and we're
Speaker 1: talking about Katheen to Jimmy, can we there's one line
Speaker 1: in there, uh from Jack I know what you're gonna say.
Speaker 1: Go ahead, you know that line, Chuck, I'm gonna I'm
Speaker 1: gonna read the crazed video customer again. That's how IMDb
Speaker 1: calls it. Here here, here you go. What I'm in
Speaker 1: the mood for is a sort of Katherine Hepburny carry
Speaker 1: granty kind of thing. Nothing heavy, I couldn't take heavy.
Speaker 1: Something zany, I'm looking. I'm looking for something zany or
Speaker 1: something modern would be fine too, like a Goldie Hawny,
Speaker 1: Chevy Chasey kind of thing. You know, funny. I want
Speaker 1: to laugh. I wanna laugh tonight. Really? Oh do you
Speaker 1: have anything with that comedian? Oh, he's the one on
Speaker 1: that show on the radio, You know, the guy who says, hey,
Speaker 1: forgive me, I get such a kick out of the way.
Speaker 1: He says that he's so goddamn adorable. That would be perfect.
Speaker 1: Did he make a movie? And then that Jeff Bridges
Speaker 1: gives her some porn ordinary people's ordinary peoples and says,
Speaker 1: this is more of a big titty, spread, cheeky kind
Speaker 1: of thing. You're gonna love it, and she's just traumatized. Well,
Speaker 1: and the other thing, it's funny, it's very sly. But
Speaker 1: the other thing that little exchange does is it indicates
Speaker 1: that not only did uh that person do a TV show,
Speaker 1: but then they went on to do a movie, and
Speaker 1: that's where Jack would be um instead of working in
Speaker 1: a video store. And by the way, does this movie
Speaker 1: not make you miss video stores? It's almost like a
Speaker 1: love song to video stores. Like every meeting is in
Speaker 1: the porn room, like every closed door. You don't even
Speaker 1: realize it. You don't realize at first until the one
Speaker 1: guy is in there and she's like, get out of here.
Speaker 1: What do you what do you what do you want
Speaker 1: to take this story? What do you want story here?
Speaker 1: Take this? It is one like three things, and are
Speaker 1: so many scenes that sort of just kind of dumb
Speaker 1: recurring bit of the video boxes falling and that happens
Speaker 1: a couple of times with Lydia and Perry, and then
Speaker 1: at the end when Jack and a come back together
Speaker 1: and they're kissing and all the boxes fall down on
Speaker 1: top of them. But man, it really makes me miss
Speaker 1: walking around a video store looking at those boxes. Man,
Speaker 1: and it's nostalgia, I guess, because it's so easy to
Speaker 1: stream something. But man, it was great. It was a
Speaker 1: social scene, you know. It was people vying for the
Speaker 1: same thing. It was. It was checking that Blockbuster cart
Speaker 1: of things that were returned but not shelved yet to
Speaker 1: see if the movie that was not on the shelf
Speaker 1: was there. Yes, exactly, because you're excited. Then the excitement
Speaker 1: of not knowing whether what you want is going to
Speaker 1: be there. Yeah, it's almost like, I don't know. Den
Speaker 1: the possibility of being denied something is a human thing
Speaker 1: that's been lost in a lot of ways, you know,
Speaker 1: like you you don't there's no chance. I mean very
Speaker 1: few things aren't available to stream. I guess it's supposed
Speaker 1: there are some if you're really going to go deep
Speaker 1: into some weird like little known art house movie, but
Speaker 1: generally you can get whatever you want whenever you want
Speaker 1: it in the in a second. And the possibility of
Speaker 1: racing to that store because you and your friends are like,
Speaker 1: oh dude, we need to watch whatever, like is it
Speaker 1: gonna be there? Yeah, there was something about that that
Speaker 1: was exciting. No, you're you're absolutely right, and just thinking
Speaker 1: about the fact that this movie, now you all you
Speaker 1: have to do is start a free trial of a
Speaker 1: thing that most people already have. So you didn't even
Speaker 1: have a She didn't have a the VCR. Yeah, Lydia
Speaker 1: doesn't have a VCR. He said, well you're gonna get when,
Speaker 1: no problem it comes with the VCR. Aunt slaps um
Speaker 1: real quick that you know. She mentioned Katherine Hepburn and
Speaker 1: that just reminded me. And remember one of my favorite
Speaker 1: lines from Michael Jeter when he's was sitting in Jack's
Speaker 1: lap and he finally just sized and goes, why can't
Speaker 1: I be Katherine Hepburn? Yeah, dude, so great man. And
Speaker 1: uh so maybe we should talk about The Red Knight
Speaker 1: for a little bit. When you first get that glimpse
Speaker 1: of the Red Knight, it's so awesome. So Terry Gilliam, like,
Speaker 1: this is a pretty straight ahead movie for him, but
Speaker 1: he still has his flashes of gilliam esque, you know, fantasy,
Speaker 1: and the design of that Red Knight is just fucking amazing.
Speaker 1: I wrote down it's yeah, it looks and Currel I
Speaker 1: wrote down a description if you would if you wouldn't
Speaker 1: mind me just saying it and holds up like it.
Speaker 1: It looks no less cool like thirty years later or whatever.
Speaker 1: Come on, incredible and well there's more to talk about
Speaker 1: with the Red Knight. I just wrote down when he
Speaker 1: when that when we first get him, after Jack starts
Speaker 1: to try and talk to Perry about his other personality
Speaker 1: who he used to be. Yeah, he triggered the PTSD
Speaker 1: and I just wrote down full metal armor, helmet, horns,
Speaker 1: flames emitting from his head, wields a sword, tattered flags
Speaker 1: draped behind him. They look like blood and sinew spray
Speaker 1: from a shotgun blast, but a moving still image. He
Speaker 1: rides a crimson horse with black armored garments. The horse
Speaker 1: expels smoke from its nostrils. This is truly terrifying. Yeah,
Speaker 1: it really is. I mean it's it's scary, and I
Speaker 1: think that's one of the things that he had to
Speaker 1: do for this movie was to make it genuinely scary
Speaker 1: in those scenes, to be genuinely scary and really um
Speaker 1: upsetting for the viewer. Oh yeah, it couldn't have been
Speaker 1: any like, like less scary and had the same impact.
Speaker 1: But you know, I never thought about how it is
Speaker 1: a symbol symbolic thing of of the man who killed
Speaker 1: his wife. Um. But but I I always thought of
Speaker 1: it that way. I was like, oh, yeah, so that's
Speaker 1: the stand in for the fear that he has, the PTSD,
Speaker 1: death coming and loss. But at the same time, the
Speaker 1: red and the way again, I think it's something to
Speaker 1: do with those tattered flags, that kind of envelope the
Speaker 1: Red Knight and the way they flow. It looks very
Speaker 1: similar to the scene that we are that we get
Speaker 1: in the moment when Rob when Robin Williams character Perry
Speaker 1: gives up when he's back at the bridge and he
Speaker 1: just he gives in to the sadness, to the pain,
Speaker 1: to all of it. When the Red Knight shows back
Speaker 1: up with those guys, the same guys and they take
Speaker 1: the switchblade to him. Um, I realized that because in
Speaker 1: that moment you actually, for the first time get to
Speaker 1: see his wife get shot, and you see the way
Speaker 1: her head, her brains, her blood and everything splatters directly
Speaker 1: onto his face. And something about that image it just
Speaker 1: it's so symbolic of the way the Red Knight flows. Yeah,
Speaker 1: I mean that was he that was his manifestation of
Speaker 1: his PTSD and that and you see that in his
Speaker 1: uh in the boiler room when he has drawn it out. Um,
Speaker 1: every every image of the Red Knight that he's drawn
Speaker 1: out has that it looks like a head exploding. It
Speaker 1: looks like blood splatter or blood spatter coming out. And
Speaker 1: then it all ties up when you see how it
Speaker 1: really went down, and that's and that's how it manifested itself.
Speaker 1: It's so creative and smart the way they did that.
Speaker 1: I think I just never got it in my younger
Speaker 1: I don't think as fully as Yeah I did this time. Yeah, absolutely, dude.
Speaker 1: The shadow on the wall in that same scene where
Speaker 1: they're under the bridge again, he's like giving up. Uh,
Speaker 1: the shadow of the Red Knight on the wall as
Speaker 1: the punks show up in their jeep. Yeah, got weapons.
Speaker 1: It's just gorgeous in just awfully terrifying. Um. Oh man,
Speaker 1: the whole sequence where what is I think Perry says
Speaker 1: he's afraid of you, Jack. I think it's pretty early
Speaker 1: on when they see the encounter of the Red Knight
Speaker 1: and they're chasing the Red Knight through Central Park. Um,
Speaker 1: and you get to watch in slow motion as the
Speaker 1: Red Knight is galloping like just beyond the trees when
Speaker 1: you can't really see him he's just out of focus.
Speaker 1: He's just out of you. Um. That makes things, you know.
Speaker 1: I think we've talked about this before, but not fully
Speaker 1: being able to see makes it so much scarier and
Speaker 1: so much more intense. And the excitement of chasing that
Speaker 1: the childlike excitement that Perry had knowing that something was
Speaker 1: happening to where his fear was. It was running away
Speaker 1: for some reason. Um, yeah, and it was. And he
Speaker 1: does say, it's afraid of you, Jack, And what he's
Speaker 1: saying is that you're the one who can heal me,
Speaker 1: like you can literally chase away my PTSD through through
Speaker 1: your eventual selfless act. M. Yeah, Like I think Perry
Speaker 1: knows that Jack is capable that Jack doesn't know it. Yes,
Speaker 1: but in a weird way. And just tell me what
Speaker 1: you think about this. The guy, the actual killer that
Speaker 1: was his name Edwin Edwin. He was essentially a follower
Speaker 1: of Jack, a big fan of Jack, someone who could
Speaker 1: be controlled by Jack in all likelihood and was controlled
Speaker 1: by Jack. Um the man. The man believed Jack's words
Speaker 1: so much that he went out and he committed a
Speaker 1: mass shooting because of Jack's words. And in this weird way,
Speaker 1: he Edwin would have been afraid of Jack. If Jack
Speaker 1: would have told him a different thing, if Jack would
Speaker 1: have guided him in a different way, he probably would
Speaker 1: have gone that way. Yeah, which is funny. I never
Speaker 1: really thought about it until just now, but it's he's
Speaker 1: also mentally ill edwin is and um, the undercurrent of
Speaker 1: mental illness through this whole thing, and the and the
Speaker 1: different representations of it is really fascinating. I think, well, yeah,
Speaker 1: And and the question it asked a couple of times,
Speaker 1: including the one where we get to see Tom Waits
Speaker 1: and even Jack in the beginning and a couple of
Speaker 1: other people, is who are really the mentally ill within
Speaker 1: our society? Right? Is it the slightly more eccentric people
Speaker 1: who actually you know who that we're seeing representations of
Speaker 1: in this film, or is it you know as as
Speaker 1: the disabled veteran says, again, that's the character name? Is
Speaker 1: it the person going to work nine to five, the
Speaker 1: person spending all of their time and money or all
Speaker 1: of their time and efforts for someone else's dream? What
Speaker 1: are they actually achieving? What are they getting with all
Speaker 1: the material wealth that there finding through those uh, through
Speaker 1: those endeavors? Um? Like, what does what does all any
Speaker 1: of that mean? And isn't that person crazy or isn't
Speaker 1: that person at least off because society says it's right
Speaker 1: and the thing we should do. But what's right about that? Yeah?
Speaker 1: And you can even make the case that Lydia is
Speaker 1: a depressive agoraphobe. Um kind of clearly is. And then
Speaker 1: you know she has that. The way that she and
Speaker 1: Mercedes rule their relationship and the way that that is
Speaker 1: played is so great because you know, Mercedes rule initially
Speaker 1: is like who's this Lydia? Who's this Lydia? She's kind
Speaker 1: of jealous. Then she finds out, but she's still not,
Speaker 1: Oh yeah, like we totally should help them. She's kind
Speaker 1: of like fighting in a little bit. You know, you
Speaker 1: get your membership for you know, for a year, and
Speaker 1: they're they're kind of going at it in the video store.
Speaker 1: She's like, and then it costs me money. She's like, yeah,
Speaker 1: it costs you two nine per rental. And you know
Speaker 1: they have this whole sort of tete a tete and
Speaker 1: then end up at the apart it together and that
Speaker 1: scene is so great when they bond, they finally start drinking,
Speaker 1: and the line where it turns is, uh, she's trying
Speaker 1: to give Lydia confidence, and she does so by saying,
Speaker 1: you may not know this about yourself, but you can
Speaker 1: be a real bitch. And Lydia hears that. It's kind
Speaker 1: of like I can, like, oh my god, like because
Speaker 1: that gives her power. You know, it's not a drugatory
Speaker 1: term in that sense. It's like what she means is
Speaker 1: you can be a real feisty person. Yeah, exactly, exactly.
Speaker 1: I loved that scene, and especially when we cut away
Speaker 1: from essentially that moment back to Perry getting his his
Speaker 1: pants Staples suit taylored, Yeah, giant baggy linen suit. Yeah,
Speaker 1: it was really great. But the moment when the guys
Speaker 1: come back to the apartment and just discover them clearly
Speaker 1: tipsy on tequila and having entirely too much fun. Yeah,
Speaker 1: the enters you from that moment forward in that scene
Speaker 1: that we already went over to Chinese restaurant is just glorious. Yeah,
Speaker 1: And it's sort of right before that. I wanted to
Speaker 1: point this out, as you know, Jack has a very small,
Speaker 1: small line and moment where it's clear that he's fully
Speaker 1: kind of turned into um, accepting Perry and all all
Speaker 1: of the other people as real people and people with
Speaker 1: value is when and he doesn't make a big deal
Speaker 1: about it, but Ann says something about this moron, and
Speaker 1: he goes, he's not a moron, and that's he defends
Speaker 1: him for the first time. To Ann, Uh, it's not
Speaker 1: like I'm trying to help this crazy guy. Like he's like,
Speaker 1: he's not a moron. He and the the ellipsus is
Speaker 1: he's a man with value and he's a man who
Speaker 1: was a professor and who had something taken away from
Speaker 1: him because of me. Like that's all said in that
Speaker 1: one line. It's just so beautiful. I love that part.
Speaker 1: So let's talk about the elephant in the room, which
Speaker 1: is the Grand Central Station. Waltz. Okay, this is this
Speaker 1: is the elephant. I didn't realize this. This was the
Speaker 1: elephant to me. This is the shot and the sequence
Speaker 1: of the movie and and one of and and I'm
Speaker 1: not being hyperbolic here. I think one of the great
Speaker 1: iconic New York movie sequences of all time is because
Speaker 1: that room is so iconic and if you've ever stood
Speaker 1: in that room, it's just you can't do it ever
Speaker 1: again without thinking of this. Every time I stand in
Speaker 1: that room, the main hallway of Grand Central Station, I
Speaker 1: can only think of people waltzing. Uh, And it's um
Speaker 1: a room that's always impossibly crowded because it's such a
Speaker 1: hub of of trains, the commuter trains and subways. And
Speaker 1: to be able to even logistically pull this off with
Speaker 1: four hundred extras waltzing from I think they shot it
Speaker 1: from like, you know, nine or ten at night to
Speaker 1: five am when the trains reopened, and they they're like,
Speaker 1: there's how much time. You got a very incredibly difficult
Speaker 1: thing to pull off. And the way they set it
Speaker 1: up is so beautiful, like her sort of weaving through
Speaker 1: the people, and it's not this It happens gradually. It's
Speaker 1: not this big thing that's all of a sudden happening.
Speaker 1: You see just a couple of people dancing behind her,
Speaker 1: and and when you first see the movie, you're like,
Speaker 1: what was that? And then more people are dancing and more,
Speaker 1: and it builds and builds with the music, and then
Speaker 1: you can get the crescendo of that big wide overhead
Speaker 1: shot with the mirror ball, and it's just fucking perfect.
Speaker 1: It's got chills. Yeah, yeah, I agree. The the sea
Speaker 1: of humans moving as one in that iconic space with
Speaker 1: our two protagonists um or at least are or the
Speaker 1: person we're following as a hero. In that moment, Perry
Speaker 1: just enchanted, not even noticing that all of this is
Speaker 1: happening around him yet it's in his mind. You know,
Speaker 1: this is one of the fantasy aspects of the movie
Speaker 1: where it's not based in reality at all, and he's
Speaker 1: they're still sort of bobbing through the people, and and
Speaker 1: then the way they get out of that scene, how
Speaker 1: it just sort of rushes all back to normal. It's
Speaker 1: just it's it's so masterful. It's one of my favorite
Speaker 1: sequences in a movie. It feels like something in a
Speaker 1: movie now you'd use uh, special effects for absolutely, dude,
Speaker 1: this this was These were real. These were four people
Speaker 1: nuns and sailors and business people and Hasidic Jews and
Speaker 1: you know, homeless people. And they were all dancing, you know,
Speaker 1: men dancing with men. It was just uh. And in fact,
Speaker 1: I think the first people you see are two men
Speaker 1: waltzing behind Lydia. Yeah, and she comes in with nuns
Speaker 1: and a priest. I never noticed that before. I wonder
Speaker 1: if that's symbolic in some way that I just didn't
Speaker 1: really sure it has something, but then yeah, like you said,
Speaker 1: the representation of of couples that are just dancing or
Speaker 1: just people who are dancing together. Um, they do that.
Speaker 1: They do that same thing a couple of times in
Speaker 1: the movie with um Perry and Jack joking about men
Speaker 1: with men in a couple of scenes and like that
Speaker 1: when they're naked together, like essentially just saying it does
Speaker 1: not matter. That's to me what the movie says the
Speaker 1: entire time. Does not matter who you were, It doesn't
Speaker 1: matter you know, Yeah, what your orientation and any of
Speaker 1: that stuff is. It's just love. In the end, It's
Speaker 1: love and that's it. Well, because the Jeep guys are
Speaker 1: using homophobic slurs. Uh, Michael Jeter's character is is clearly
Speaker 1: gay and Jack is like cradling him like a little baby.
Speaker 1: Uh so yeah, that's another message. There's so many sort
Speaker 1: of subtle messages that I didn't really as a twenty
Speaker 1: year old pick up on with valuing the homeless and
Speaker 1: U and the message about being gay and being accepted.
Speaker 1: It's it's really a sweet, sweet movie is about this
Speaker 1: is the thing I wanted to tell you. Oh dang it,
Speaker 1: I've lost it here. The one scene, according to according
Speaker 1: to an interview I was watching on the YouTube's the
Speaker 1: one scene that was not written by lager events Um,
Speaker 1: the writer of the screenplay, was that Grand Central station scene. Yeah,
Speaker 1: and you know that. Did you see what the original
Speaker 1: scene was? I remember it was similar, but it was not.
Speaker 1: It was in a different place, right. It was a
Speaker 1: big yeah, I mean it was. It was also a
Speaker 1: scene that could have been very sweet and symbolic in
Speaker 1: the in that same way was I think that they
Speaker 1: were going to be on a subway and this homeless
Speaker 1: black woman starts singing this really beautiful song that like
Speaker 1: people aren't really noticing, but Jack really locks in on
Speaker 1: and has a special moment, and that could have been
Speaker 1: a nice scene. But I think the story goes is
Speaker 1: that it was at Grand Central and Terry Gilliam there
Speaker 1: when they were scouting, was up on there you can
Speaker 1: get up on the top steps and sort of looked
Speaker 1: down from that angle and he saw that big sea
Speaker 1: of people and he said, what if they just started
Speaker 1: dancing and waltzing and we're and everyone was in love.
Speaker 1: And he was like, what a sweet scene that would be.
Speaker 1: And he said that's the only thing that he changed,
Speaker 1: and and it was a big change. I mean as
Speaker 1: far as logistics and costs, like, I'm sure a pretty
Speaker 1: expensive tough thing to pull off. Yeah, compared to the
Speaker 1: first iteration, Well, what a vision to be able to
Speaker 1: see it yeah and make it, you know, make it happen.
Speaker 1: So Harry ends up in his coma, which really sets
Speaker 1: up that final leg of the Redemption so well. I mean,
Speaker 1: it's a movie that's close to two and a half
Speaker 1: hours long, and you can make an argument that that
Speaker 1: last twenty minutes you could have done another way. But
Speaker 1: I think it's a richer movie because of it, with
Speaker 1: the silliness of breaking in, with getting that chalice with Perry,
Speaker 1: which ends up being like a trophy or something. But
Speaker 1: it doesn't matter. You know, it's the symbol um. You
Speaker 1: want me to tell you what it said? Yeah, well,
Speaker 1: in it down just because I found it so amusing. Uh.
Speaker 1: It says to little Lanny Carmichael for all his work
Speaker 1: ps like public school to Christmas pageant, Christmas padget that's right.
Speaker 1: But what you also get because they do it this
Speaker 1: way is he uh, he saves the old man's life.
Speaker 1: Remember that great little newspaper headline thwarted Burglary saves uh,
Speaker 1: Like accidental overdose or whatever accidental suicide thwarted by night Prowler.
Speaker 1: It could have been spelled K and I g h
Speaker 1: D too, you know, I think that's the play on words.
Speaker 1: But one of the things I love so much about
Speaker 1: how they do it is that you get Perry in
Speaker 1: that catatonic state and Jack comes back, and there's that
Speaker 1: moment where he sees Lydia and realizes she's been going there.
Speaker 1: One of the most brutally sweet and sad parts of
Speaker 1: the movie is that this man that she had one
Speaker 1: kiss with, uh, this like homeless guy like right afterward,
Speaker 1: sort of loses his mind with PTSD and goes into
Speaker 1: a catatonic state, and she's been going every day like
Speaker 1: she's his wife, I know, dude, And it's she talks
Speaker 1: about lime sheets like I brought limes sheets for watermelons
Speaker 1: on them and I just need to make sure they're clean,
Speaker 1: and and they're like, yeah, they were dirty. There's like
Speaker 1: a hypo. There's a problem with the hypo and the
Speaker 1: doctor and all. All she is concerned about is whether
Speaker 1: or not he's okay. Well, yeah said, and when you
Speaker 1: see him, he's you know, stands out against all those
Speaker 1: white bed linens and white and white pajamas with his
Speaker 1: colorful stuff, and it's because of her. It's really a
Speaker 1: great moment, and and underplayed like it's not. He didn't
Speaker 1: make a big deal about it as a director. I
Speaker 1: think it's just sort of there in the background, and
Speaker 1: and Jack is sort of hiding from her, you know,
Speaker 1: he didn't want to be seen. Yet. Can I jump
Speaker 1: around for one moment here in that same moment where
Speaker 1: we where we get the cabaret singer talking about why
Speaker 1: can't I be Catherine and Heathurn and all of that,
Speaker 1: whether here in the hospital, Harry, as he does throughout
Speaker 1: the movie and many scenes, is trying to get people
Speaker 1: to sing with him New York and June, Yeah, I like, okay,
Speaker 1: I can't say, but he's trying to get all of
Speaker 1: these patients to sing. And this guy says, I'm in
Speaker 1: the wrong place. He's in a straight jacket, and Perry says,
Speaker 1: aren't we all? And then uh, there's the whole time
Speaker 1: you're getting this shot. There is a person who looks
Speaker 1: comatose in the foreground, very close to you, and and
Speaker 1: I can't remember if he's in focus or not focus.
Speaker 1: With Rob Williams and everyone, but he's got a terrible
Speaker 1: head wound and he's just he's taking up most of
Speaker 1: the frame, just sitting there staring at you. This whole time,
Speaker 1: all of this is going on, and Perry's trying to
Speaker 1: get everyone to sing, and then uh, Perry goes over
Speaker 1: to the person in the foreground and just kind of
Speaker 1: like looks at him like, it's your turn to sing.
Speaker 1: And there's the perfect pause and there's no cut. It
Speaker 1: is the perfect pause, and he says, don't hold back,
Speaker 1: and then he just keeps going. That's one of the
Speaker 1: great Robin Williams moments. I mean, I think he adhered
Speaker 1: to the scripts pretty faithfully, but there are a few
Speaker 1: moments where Robin Williams is Robin Williams. That in the
Speaker 1: uh Oh, I Got a Heart on for you the
Speaker 1: size of Florida, it's so Robin Williams and it kind
Speaker 1: of annoyed me. Roger Ebert in that same review made
Speaker 1: an argument that Robin Williams is best when he doesn't
Speaker 1: do movies that are made for Robin Williams, and this
Speaker 1: movie was made for him, and he's better when he
Speaker 1: doesn't do that. And I'm like, man, he's great all
Speaker 1: the time, like he's great in Dead Poets, Society and
Speaker 1: movies where he plays against type of bit because he
Speaker 1: was a great actor. But he's also one of the
Speaker 1: great comics of our time, and so let him be
Speaker 1: Robin Williams. There's nothing wrong with that. Roger Ebert, Well,
Speaker 1: I I could couldn't agree more. And the reason why
Speaker 1: it's so important that he has that dichotomy, those two
Speaker 1: things going for him at all times is that scene
Speaker 1: you're talking about, a crass line such as I've got
Speaker 1: a heart on yes for you the size of Florida
Speaker 1: is followed by but I don't want just one night,
Speaker 1: and then he he tells you about the rest of
Speaker 1: the stuff and he he goes down to, um, I
Speaker 1: love you, I love you, and I think you're the
Speaker 1: greatest thing since Spice Racks, which is silly, that's great,
Speaker 1: And lady says, and I've been knocked out several times
Speaker 1: and if I could just have that first kiss, yeah,
Speaker 1: I mean, he's never more together than he is with
Speaker 1: her that night. Um, she has his redemption. And you know,
Speaker 1: he has a great line where he says, you know,
Speaker 1: we just met, made love and broken up all in
Speaker 1: the span of like thirty seconds when she's saying of
Speaker 1: like how bad it's gonna go? There they are each
Speaker 1: other's redemption. Jack and Perryer each other's redemption, and and
Speaker 1: Jack each other's redemption. I love redemption stories, and this
Speaker 1: is it all over the place. It's redemption. You know,
Speaker 1: it's great. It's like, it's not too much. It's really
Speaker 1: not too much. Oh h well, then you know we
Speaker 1: end with the the great call back to the when
Speaker 1: they're both naked in the park. That's that great final
Speaker 1: scene when Jack has his clothes off, and just that
Speaker 1: sweet conversation they have, and the way they end it
Speaker 1: with the buildings lighting up and the fireworks. It's just
Speaker 1: it's just such a celebration I think of people and
Speaker 1: people helping people. The way it ends is just so uplifting.
Speaker 1: I think, Yeah, Jack says, hey, look they're moving. Am
Speaker 1: I doing that? So? Are you crazy? Oh? Shoot? That's one.
Speaker 1: That's the thing that happens throughout the whole movie, the
Speaker 1: times when Jack speaks to God or does a throwaway
Speaker 1: to somebody else he's thinking about, and just who are
Speaker 1: you talking to? That is really great. That's a great
Speaker 1: effect that that has. Yeah, that's wonderful stuff because like
Speaker 1: Jack's the one that's crazy all of a sudden. Yeah,
Speaker 1: it just makes you feel It really does make you
Speaker 1: feel good. And you know, they're like a lot of
Speaker 1: the movies we've been looking at from the nineties together
Speaker 1: Truck that it does have some problems with, you know,
Speaker 1: just some of the terminology, some of the things that
Speaker 1: tries to tackle um, some of the views. Like I mean,
Speaker 1: it does the whole movie. Nothing would happen in this
Speaker 1: movie if it weren't for a mass shooting event, right,
Speaker 1: So there are tough things to look at in this
Speaker 1: movie and ways to pick little things apart. But I
Speaker 1: think overall the intentions behind it, behind the writing, behind
Speaker 1: the direction, behind the performances that you get, it just
Speaker 1: ends up being this beautiful picture of what caring about
Speaker 1: other people looks like and how to do it and yeah,
Speaker 1: I can't buy your way out of it. Yeah, and
Speaker 1: all the riches in the world and all the success
Speaker 1: in the world doesn't matter if you're not living your
Speaker 1: best life, you know. And he and Anne coming together
Speaker 1: at the end, it's so great that scene where she's
Speaker 1: doing all the talking. She's like, you can't do this.
Speaker 1: You can't just come in here and just stand there
Speaker 1: and make me do all the work. Uh. And he's
Speaker 1: just like a little kid. The thing is, you know,
Speaker 1: I love you. She shuts, she shuts the door to
Speaker 1: their porn rooms. Like I didn't get that. I didn't
Speaker 1: quite get that great moment. Mercedes Rule is just so
Speaker 1: great in this movie. Man, God, she destrot that Oscar.
Speaker 1: He gives her the flowers in that moment, and I
Speaker 1: wrote down flowers who cares. Yeah, she's so great and
Speaker 1: so real, Like I want to think that he got
Speaker 1: his success and she ended up with that great apartment
Speaker 1: and they ended up together and and live next door
Speaker 1: to Lydia and Jack you know or Barry. Yeah, oh yeah,
Speaker 1: that's how this movie ends in my mind. It really
Speaker 1: did they all just lived together. Maybe they maybe they
Speaker 1: move into the castle. Yeah, I don't know. All to
Speaker 1: everybody together happily ever after so good and I don't
Speaker 1: want to keep going back and we need we need
Speaker 1: to take off of and I know we have to
Speaker 1: end here. We're talking forever, and I would talk about
Speaker 1: this movie a lot more. Uh. There's a scene just quickly,
Speaker 1: there's a scene where Anne appears to be having a
Speaker 1: conversation with Jack and she's braiding him, just like like
Speaker 1: I made this lasagna. I'm waste, You're a waste of
Speaker 1: good lasagna. I did all this, I'm cooking, I'm doing
Speaker 1: all this. And you get that lovely pullback where, oh,
Speaker 1: you realize she's just talking to herself or the absent
Speaker 1: Jack conversation. She can't really tell him off in real
Speaker 1: life like she wants to, and she wants you so
Speaker 1: many times. But in the end, he does deserve wait,
Speaker 1: he completely deserves it. But to her there's something like
Speaker 1: we keep talking about that's deeper, that's moving deeper, and
Speaker 1: she cares about him more than he hurts her, which
Speaker 1: is tough. Again, it's like it's a tough thing to tackle.
Speaker 1: But yeah, Jesus, movie does it. Good stuff? Brother man,
Speaker 1: We always have great talks about these movies, Mannie. I
Speaker 1: couldn't agree more. Man, it's one of my favorite things.
Speaker 1: That's one of my favorite things to do me too.
Speaker 1: So do you have an idea of the next one
Speaker 1: or you gotta ruminate? Oh lord, I I I don't
Speaker 1: unless you want to do something off the wall like
Speaker 1: Nicolas Cage style, like like any Nicolas Cage. Have you
Speaker 1: seen some of his recent stuff that's like more borderline horror,
Speaker 1: like Man out of Space. We're the sweetheart, guys. We
Speaker 1: gotta talking about these fun movies. I think we should
Speaker 1: do something else from the nineties. Okay, let's let's stick
Speaker 1: in the nineties, don't we can go go anywhere in
Speaker 1: the nineties, because it's an interesting dichotomy because I'm seeing
Speaker 1: these movies in college. You're seeing these movies as a kid.
Speaker 1: But somehow we you know, I think we're like minded folks,
Speaker 1: so it sort of works in an interesting way. I
Speaker 1: think dig it. All right, I'm I'm gonna look in
Speaker 1: the early nineties era just to see if there's something there.
Speaker 1: All Right, Um, when was Good Morning Vietnam? Have you
Speaker 1: already done that? Have not great movie? I mean, we
Speaker 1: don't have to stick with Rob Williams, but that movie,
Speaker 1: um affected me pretty heavily as the same and it's
Speaker 1: like a it's a drama, but it's also just got
Speaker 1: such comedy to it. Oh, I'm feeling like we might
Speaker 1: have to do it. I'm gonna think a little more. Okay,
Speaker 1: We're gonna do a Robin Williams. Sweet We don't have
Speaker 1: to I just man, he's one of my faiths. So
Speaker 1: there's no thing in that he looks a lot like
Speaker 1: my dad, or I should say my dad like Robin Williams,
Speaker 1: especially in this era in the in the nineties. Interesting, um,
Speaker 1: and I had this thing going on. I don't know
Speaker 1: if you were talking about this year, but I like
Speaker 1: saw my father on screen. And my father was an
Speaker 1: actor and a director and he did a lot of
Speaker 1: these things. So every time I watched Robin on screen,
Speaker 1: a part of me sees my dad and it's this
Speaker 1: weird thing, but it works. It makes me happy. That's awesome. Man.
Speaker 1: All right, well can seeing you, my friend, and thanks
Speaker 1: to everyone for listening, and we look forward to Maddie
Speaker 1: coming back, right everybody, right, sure, get on here, Hey, alright,
Speaker 1: Thanks by everyone. Movie Crash was produced and written by
Speaker 1: Charles Bryant and Roll Brown, edited and engineered by Seth
Speaker 1: Nicholas Johnson, and scored by Merl Brown here in our
Speaker 1: home studio at Pontsy Market, Atlanta, Georgia. For I Heart Radio.
Speaker 1: For more podcasts for my Heart Radio, visit the iHeart
Speaker 1: Radio app, Apple podcast, or wherever you listen to your
Speaker 1: favorite US