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Speaker 1: Hi, Casey, how's it going. Hi Millie? Where's your Wait?

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Speaker 1: Wait wait wait, where's your little cookie guy? Where's your

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Speaker 1: little cookie guy?

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Speaker 2: Here?

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Speaker 1: He is here, he is.

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Speaker 2: Casey has complained about the amount of times that I

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Speaker 2: bang my desk when we record.

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Speaker 1: Mm hmm, I'm ton I'm tone policing your my gesticulations.

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Speaker 2: My passion is what exactly. So he's like, go grab

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Speaker 2: something or go like fix the problem.

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Speaker 1: And so I just actually I think, yeah, you you

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Speaker 1: came up with the solution.

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Speaker 2: The solution was. I turned around in my office and

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Speaker 2: I pulled this pillow that I have in my office,

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Speaker 2: which is basically a pillow of a giant cartoon cookie

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Speaker 2: that is like a little it feels like a you know,

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Speaker 2: how have you ever you have kids? You know what

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Speaker 2: a squish mellow is? Yes, right, it's like a square

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Speaker 2: a shmallow consistency. It feels like one of those things.

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Speaker 1: And he's an intimate part of our recording process. And

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Speaker 1: he's like kind of like the third host of this show.

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Speaker 2: Yes, And if you've seen a picture of him, he's

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Speaker 2: got like it's like a little brown cookie goblin with

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Speaker 2: like a big tooth and like a little raised eyebrow,

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Speaker 2: like he's up to no good, which he is. He

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Speaker 2: is up to no good and I love him. And

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Speaker 2: it's like the thing. It's like my little my little

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Speaker 2: safety blanket, so that I don't ruin our podcast now.

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Speaker 1: You said that also, we were talking about this before recording,

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Speaker 1: and then you said, and this is why I love

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Speaker 1: BTS more now, And I was like, what are you

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Speaker 1: talking about. This machine has many moving parts, as you know,

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Speaker 1: that's the BTS, the band, uh huh.

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Speaker 2: Meaning the machine. Okay, so you might be a cog

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Speaker 2: in this machine. I fully that, I fully admit that.

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Speaker 2: Maybe we'll talk about that more in an upcoming episode.

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Speaker 2: We'll see, we.

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Speaker 1: May have something on the schedule to talk about k

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Speaker 1: pop specifically.

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Speaker 2: So, yeah, and how the whole reason why I even

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Speaker 2: know about it is because I have long COVID and

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Speaker 2: that is my main symptom. So the members of this

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Speaker 2: band Beats Yes, whom you probably know, they created their

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Speaker 2: own They're kind of.

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Speaker 1: Like Hello Kitty, I don't know, Hello Sanrio.

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Speaker 2: Yeah, they're not technically Sanrio, but they have there's another

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Speaker 2: company that manufactures them, I see. But basically, each member

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Speaker 2: created their own likeness in a little Sanrio esque character.

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Speaker 1: I think he's cute, He's up to no good, he.

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Speaker 2: Plays basketball, he hates milk. There's a lot of like

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Speaker 2: very cute, adore things. It is the littlest He's like

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Speaker 2: the little guy that hangs out usually on people's shoulders.

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Speaker 2: The other characters shoulders and shit. But I actually think

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Speaker 2: that the little characters, I mean, I.

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Speaker 1: Am a cog.

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Speaker 2: It made me kind of like the band more. I

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Speaker 2: was like, I kind of like this little character universe.

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Speaker 2: I'm not like very whimsical, you know, like I've never

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Speaker 2: really been like a toy person, and I've sure I

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Speaker 2: haven't played i haven't really like invested in even the

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Speaker 2: san real world in a long time. Were you into

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Speaker 2: that in the nineties. That was a very nineties thing.

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Speaker 1: But now I think that was, you know, more of

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Speaker 1: a girl thing, or considered a girl thing. You didn't

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Speaker 1: like bats Maru. That's the way I was like said,

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Speaker 1: I mean, I thought they were cool. I kind of

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Speaker 1: admired them. They were sort of mysterious to me.

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Speaker 2: As Asian people have have suddenly become the apple of

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Speaker 2: everyone's eye across the It really makes me remember how

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Speaker 2: cute their pop culture stuff is, Like Asian people love

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Speaker 2: cute shit, and they all have little cartoon character things

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Speaker 2: in every country in the continent. And I'm just like,

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Speaker 2: I don't know. As much as I'm sitting here going,

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Speaker 2: am I really like a forty six year old woman

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Speaker 2: that's holding a cookie pillow right now, I'm like, I

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Speaker 2: don't know.

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Speaker 1: I'm half Asian. Doesn't that tell me the rights? Yes,

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Speaker 1: you're celebrating your heritage, but inherent cute ge Yes. Well, Millie,

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Speaker 1: this is an insane way to start this specific episode

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Speaker 1: because we are talking today about the director David Kronenberg

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Speaker 1: and his twenty twenty four movie The Shrouds. I would

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Speaker 1: say David Cronenberg is one of the least cute directors

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Speaker 1: out there.

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Speaker 2: I would wholeheartedly agree with that, probably the opposite end

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Speaker 2: of that entire spectrum.

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Speaker 1: And then after that, this is all David Cronenberg episode.

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Speaker 1: I got a little Cronenberg quiz for you, Millie, Okay, I.

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Speaker 2: Might be ready. Yeah, I'm actually scared, to be honest,

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Speaker 2: because I feel like you're.

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Speaker 1: A huge fan. I'm a huge fan, bigger than me.

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Speaker 1: Perhaps this is this is one of my this is

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Speaker 1: one of my guys. Yeah, I love him.

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Speaker 2: Yeah, I'm scared about what this quiz will be like,

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Speaker 2: but I'll give it my all.

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Speaker 1: I think it'll be a fun more discuss I don't

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Speaker 1: like some of these. Well, we'll get into it later,

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Speaker 1: but yeah, exciting episode. Can't wait to get into it.

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Speaker 1: I wish I had a little stuffed animal that I

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Speaker 1: could hug right now, but I don't.

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Speaker 2: Okay, while the credits role, I want you to be

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Speaker 2: thinking of David Cronenberg's Sanrio line. Mm hm, you have

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Speaker 2: at least fifteen to twenty seconds on that note. Let's

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Speaker 2: get things going. This is the podcast for you, Dear Movies.

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Speaker 3: I love you, Dear, I love you, and I've got

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Speaker 3: to know if you love me to check the boox.

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Speaker 2: Oh yes, that's right. This is the film podcast, Dear Movies,

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Speaker 2: I Love you. We are for those who are in

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Speaker 2: a relationship with movies, and that relationship can be tenuous

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Speaker 2: at times, it can sometimes be disturbing, but there is

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Speaker 2: underneath the surface a lot of love somewhere expresses itself,

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Speaker 2: maybe in a very dark way. My name is Millie.

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Speaker 1: To Chericho, my name is Casey O'Brien, and uh.

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Speaker 2: Yeah, I you know the moment that I said, what

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Speaker 2: I said about David Cronenberg's Hello Kitty line. I just

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Speaker 2: kept I was like, okay, so the fly has got

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Speaker 2: to be one.

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Speaker 1: Yes, I actually was. It kind of got my mind

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Speaker 1: reeling when you said that, Yeah, the fly, that's a

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Speaker 1: good one. Brundle Brundle fly, Sanrio character? What else? I

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Speaker 1: feel like, you know, the brood? Yes, I think those

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Speaker 1: little guys would be really good Sanrio characters. Those little

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Speaker 1: killer I don't even know what you'd call those little monsters,

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Speaker 1: they would be good.

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Speaker 2: Imagine like a little Samantha.

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Speaker 1: Egger sure, like opening up her oh fuck for the

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Speaker 1: brood or whatever. Like can you.

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Speaker 2: Imagine that being like on some stationary or like a

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Speaker 2: little keychain.

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Speaker 1: Yeah, or like a stuffed animal that has like velcrow

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Speaker 1: that you open up the end that's in there. You know.

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Speaker 1: So that's good. This is good. I feel like there's

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Speaker 1: some merch that could be made here, but it'd have.

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Speaker 2: To be like, like, okay, I'm thinking James Woods splitting

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Speaker 2: his abdomen open and pulling out like maybe it's not

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Speaker 2: a gun. Maybe it's like a little a little lollipop

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Speaker 2: or maybe a little piece of toast with like some bubble.

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Speaker 1: Oh, that's good. That's cute. There's so many I'm the

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Speaker 1: mind reels.

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Speaker 2: We'll start the design phase this weekend. We'll come up

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Speaker 2: with some sketches and we'll move forward.

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Speaker 1: But yeah, what could be from the movie crash? Anyways,

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Speaker 1: let's let's move on, Millie. Such an exciting episode. We

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Speaker 1: just got to get right into it. We got to

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Speaker 1: get into the movie diary.

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Speaker 2: Talk the movies we watched from the past week, Millie,

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Speaker 2: what do you got for us? Hold on, I'm still

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Speaker 2: reeling from opening that extremely heavy Yes, we'll cover well.

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Speaker 2: You can count on me to watch one and a

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Speaker 2: half movies this week.

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Speaker 1: All right, So the full.

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Speaker 2: Movie that I saw in theaters now, I think I

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Speaker 2: saw The Naked Gun from twenty to twenty such. Okay,

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Speaker 2: First of all, the crowd was delightful.

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Speaker 1: Oh what a dream.

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Speaker 2: It was like all older people. It was awesome. It

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Speaker 2: felt like we were like, yeah, it's us, like we're here,

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Speaker 2: it's Friday night, and like it's like a.

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Speaker 1: Forty plus crowd.

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Speaker 2: It was awesome.

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Speaker 1: That's great. These people know how to appreciate a film.

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Speaker 2: Yeah, and I went with a group of friends, like

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Speaker 2: I have to tell you, like, this is the bomb.

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Speaker 2: That we need right now, the bomb, the bomb. We

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Speaker 2: need something like this, just the stupidest shit that is,

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Speaker 2: like maybe something from our childhood affiliated, you know, like

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Speaker 2: I don't know, bring back, like just some of the

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Speaker 2: like dumbest things, like you mentioned Austin Powers. I think

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Speaker 2: that when we talked about this last time, I would

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Speaker 2: kill for like an Austin Powers or a Wayne's World

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Speaker 2: two or some kind of like dumb thing like that,

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Speaker 2: just like bring it back. It was so funny and stupid.

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Speaker 2: I loved it. I loved it.

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Speaker 1: Everyone is saying it's great, yeah, and I want to

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Speaker 1: see it. There was a.

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Speaker 2: This one, but first of all, the the whole like

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Speaker 2: Liam Neeson as the kind of he's like the son

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Speaker 2: of Leslie Neilson or whatever. That's really great. I am

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Speaker 2: so impressed by how funny Danny Houston was.

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Speaker 1: Really, Oh I'm knocked.

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Speaker 2: He was so deadpan funny, like it's like he it

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Speaker 2: was that kind of thing where it's like, you know

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Speaker 2: the movie Villains, they always put in a guy that

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Speaker 2: you have only seen in kind of more serious roles

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Speaker 2: and then they kill They fucking kill at being funny, Yes,

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Speaker 2: just by being serious. And that's exactly what he did, Like,

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Speaker 2: there's this exchange that he has with the Liam Neeson

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Speaker 2: character at one point about a band. I won't tell

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Speaker 2: you what band it is that I was cackling. I

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Speaker 2: was cackling in the period.

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Speaker 1: Oh god, I yeah. I mean I saw an interview

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Speaker 1: with Liam Neeson where he was talking about like I

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Speaker 1: it was very important for me to play this like

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Speaker 1: it's a drama, Like that's like, that's why Leslie Nielsen

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Speaker 1: was good, and like what this is like it needs

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Speaker 1: to be taken very seriously.

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Speaker 2: Yeah, I mean, I will say Danny Houston's character, like

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Speaker 2: his whole vibe was giving to me, like Val Kilmer

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Speaker 2: and mcgruber in that way where it's like, you know,

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Speaker 2: you always have seen Bell Kilmer and these like kind

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Speaker 2: of serious, intense roles, and then he plays this like

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Speaker 2: buffoon villain and he's just he plays it just like

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Speaker 2: his other roles and you're just like laughing. And that's it.

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Speaker 2: I mean, as long as you play an absurd character

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Speaker 2: with as much seriousness as possible, it'll be funny. I'm

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Speaker 2: kind of hoping now for a little bit more. I

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Speaker 2: want I want more of this slapsticky, like really funny

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Speaker 2: broad yeah, I hope that this ushers in a new

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Speaker 2: era of just like I even kind of enjoyed like

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Speaker 2: the Nutty Professor and the Clumps stupid stuff, you know,

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Speaker 2: like I'm ready bring back like scary movie and yes,

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Speaker 2: I would care for Awayn's Brother's parody.

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Speaker 1: That would be so fussy. So like I'm hoping that.

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Speaker 1: I feel like we got to a point where it's

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Speaker 1: like comedies needed to be so grounded and improvised, and

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Speaker 1: I'm and like natural dialogue. I'm just like, yeah, it's

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Speaker 1: it's like when.

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Speaker 2: We were talking about the mockumentary stuff with The Office,

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Speaker 2: where everything feels like it's it's a mockumentary. This is

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Speaker 2: absolutely the opposite. This is very like over the top,

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Speaker 2: like really like a site gags as far as I

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Speaker 2: can see, and this is it's like very you know,

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Speaker 2: almost kind of like overproduced, but in a funny way.

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Speaker 1: You know. Well, I'm a big I was always such

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Speaker 1: a huge fan of Jim Carrey and like he like

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Speaker 1: that type of comedy that he was in in the

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Speaker 1: nineties does not exist now, and I'd love for that

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Speaker 1: to come back. Maybe we'll have maybe Jim Carrey will

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Speaker 1: come back. I would love that yeah, we.

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Speaker 2: Need it, we need it badly. It'll heal the world.

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Speaker 1: But it'll take the world.

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Speaker 2: So so, and then the half movie that I saw

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Speaker 2: was and I fully intended to finish this, but I

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Speaker 2: simply fell asleep. And it's it's not because this movie

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Speaker 2: made me sleep, it just was it was late, and

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Speaker 2: it was my fault, my bad.

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Speaker 1: When did you start this movie?

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Speaker 2: Probably like eleven thirty PM.

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Speaker 1: WHOA, yeah, way too late, I know.

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Speaker 2: And it's because lately I've just been feeling this. I

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Speaker 2: just wanted to catch a vibe, a very specific vibe,

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Speaker 2: and the moment I tell you what movie it is,

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Speaker 2: you'll understand why. So I watched half of the one

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Speaker 2: car Wy movie Fallen Angel from nineteen ninety.

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Speaker 1: Five, and the vibe was caught until it wasn't until

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Speaker 1: an Angel fell asleep.

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Speaker 2: Well, and this is like I'm right now. I guess

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Speaker 2: I'm in a nostalgia for sure, nineties filmmaking my era,

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Speaker 2: like my shit heead phase, my like late nineties, sort

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Speaker 2: of a film school era. And I don't know. For

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Speaker 2: some reason, I feel like there was some clips of

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Speaker 2: Fallen Angels that I saw on Instagram or something like that,

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Speaker 2: and I was like, Oh, I want to live there.

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Speaker 2: I want to live here, and.

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Speaker 1: I feel like Fallen Angels specifically. I don't know, maybe

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Speaker 1: this is a weird thing to say, but I feel

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Speaker 1: like it's like his coolest film in a way, or

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Speaker 1: like it's very stylized in a nineties way that his

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Speaker 1: other movies don't necessarily feel that way. Like I feel

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Speaker 1: like there's like the use of wide angle lenses more

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Speaker 1: and there's like it's like very green, nighttime urban feeling

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Speaker 1: and which was like you would see that in a

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Speaker 1: lot of nineties movies. I feel like, and so, but

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Speaker 1: it's also won car wise, so it has its other

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Speaker 1: cool kind of vibe coming in. So I totally understand

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Speaker 1: wanting to live there.

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Speaker 2: And it's it's really a it's really a movie that

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Speaker 2: just it doesn't really like spend a ton of time

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Speaker 2: with characters. It's just kind of like giving you people

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Speaker 2: to be sat in front of and like it's just

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Speaker 2: it'll just wash over you. I mean, honestly, like the

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Speaker 2: fucking oh my god that the whole cigarette dangling out

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Speaker 2: of the mouth of Takeshi Canashiro is just eternally hot

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Speaker 2: to me, Like I'm just like, holy shit, like that's

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Speaker 2: a that's a total mood, and I wanted to read

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Speaker 2: really quickly, so I was like looking. I was looking

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Speaker 2: because I've seen it before, obviously, but I was like

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Speaker 2: looking up stuff about it. And there's let me read

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Speaker 2: you the little couple sentences from the Roger Ebert dot

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Speaker 2: com review. This is written by Roger because I guess

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Speaker 2: this was.

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Speaker 3: Like in the nineties.

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Speaker 2: Yeah, this is what he said about Fallen Angels. It's

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Speaker 2: kind of exhausting and kind of exhilarating. It will appeal

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Speaker 2: to the kinds of people you see in the Japanese

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Speaker 2: animation section of the video store with their sleeves cut

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Speaker 2: off so you can see their tattoos, and those who

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Speaker 2: subscribe to more than three film magazines and to members

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Speaker 2: of garage bands and to art students. Ain't wrong, head,

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Speaker 2: he read us to philth Roger did.

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Speaker 1: Got as I like Falling Ages is cool because it

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Speaker 1: was like kind of like the throwaway bits of chunking

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Speaker 1: Express right and made into a movie, and it kind

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Speaker 1: of feels that way, but it feels different. I don't know.

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Speaker 1: I love I love this movie.

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Speaker 2: Grittier, greatch Doyle, beautiful, camera workful and that's all I

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Speaker 2: saw this week Fallen Angels nineteen ninety five, very good.

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Speaker 2: I watched one movie this week and I'd never seen

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Speaker 2: it before, and I was always like interested in it

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Speaker 2: as a kid, and I was like, this can't live

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Speaker 2: up to the expectation I have built for this movie

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Speaker 2: in my head that I built when I was a child.

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Speaker 2: But it did and more.

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Speaker 1: And I really loved this movie, and I don't I

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Speaker 1: feel like I thought it was good legitimately, and that

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Speaker 1: is nineteen ninety nine's mystery men. Oh have you seen

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Speaker 1: this movie?

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Speaker 2: I saw the movie theater when it came out.

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Speaker 1: I was stunned at how creative it was. And there's

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Speaker 1: like so many ideas in it, and it like the

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Speaker 1: production design is pretty incredible and the costumes are like outrageous,

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Speaker 1: and it just had a good styled to it that

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00:19:01,240 --> 00:19:04,840
Speaker 1: I was like impressed by, and it like really catapulted

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Speaker 1: me into this world that I enjoyed living in. And

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Speaker 1: it's very silly, and I don't know, I had a

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Speaker 1: great time. I had a blast watching it. I was

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Speaker 1: just like so delighted watching it.

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Speaker 2: Yeah, it's fun and it's like there's good people in it.

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Speaker 3: Wow.

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Speaker 2: And Paul Rubins and Greg Kaneer isn't here in that movie.

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Speaker 1: Too, Greg Kaneer, yes, Kel Mitchell of All That Fame

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Speaker 1: is in there. Uh yeah.

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Speaker 2: I oh, hey Cazaria, yeah, William H.

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Speaker 1: Macy, Yes, William H. Macy. Uh yeah. Just like a

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Speaker 1: great cast and I don't know, I had a really

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Speaker 1: good time. I really liked the Vera Drew movie, That

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Speaker 1: People's Joker, and I felt like they're sort of similar worlds,

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Speaker 1: like sort of this like dark. I mean, the People's

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Speaker 1: Joker is supposed to be Gotham City, so it is

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Speaker 1: like Gotham but more outrageous, and uh yeah. I really

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Speaker 1: enjoyed Mystery Men. I loved it.

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Speaker 2: Oh good, that was a delight good. I got to

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Speaker 2: see that again and it was fun.

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Speaker 1: You know here in the All Star by smash Mouth,

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Speaker 1: it's good to hear that again. A Vibe a Vibe

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00:20:21,680 --> 00:20:23,959
Speaker 1: Vibe and you know they name check the Mystery Men

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Speaker 1: in the lyrics of that song, so huh I did that. Yeah,

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Speaker 1: another blockbuster that has an original song a part of it,

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Speaker 1: which we talked about recently, so you know, I love it. Anyways,

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Speaker 1: that's it. That's all I got.

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Speaker 2: Oh, that's it.

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00:20:39,600 --> 00:20:41,159
Speaker 1: Huh yeah, just the one.

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Speaker 2: Damn, what's short this week?

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Speaker 1: Light week little light. But that's okay, I.

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Speaker 2: Guess we can close it all up up.

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Speaker 1: I also, I've been watching a lot of The X

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Speaker 1: Files lately. I'm back on the X Files.

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Speaker 2: Ah, don't even We're going to have to like make

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Speaker 2: a side quest podcast about the.

349
00:20:59,800 --> 00:21:04,280
Speaker 1: X You like the X Files? Dog, she's mad.

350
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Speaker 3: No.

351
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Speaker 2: You wouldn't have known this because you didn't know me

352
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Speaker 2: in the nineties, But I did it. I was a

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Speaker 2: huge fan. I used to watch it every Sunday with

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Speaker 2: my roommate David Hornbuckle and my other roommate John Thompson,

355
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Speaker 2: who actually would come in and watch Buffy before.

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Speaker 1: What a tandem. I know they're kind of similar a

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Speaker 1: little bit.

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Speaker 2: Yeah, he was always trying to get us to watch

359
00:21:30,160 --> 00:21:31,080
Speaker 2: Buffy by the way.

360
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Speaker 1: He was like, you don't want to come.

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Speaker 2: In a little early into the living room, like hmm no,

362
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Speaker 2: and I and it kind of for shame because actually

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Speaker 2: now I feel like I probably would have liked Buffy

364
00:21:41,840 --> 00:21:44,399
Speaker 2: and I've seen it like a couple of episodes here

365
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Speaker 2: and there, but I feel like, I don't know, I

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Speaker 2: don't know why I didn't like it back in the nineties,

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Speaker 2: but now I feel like I could probably dig it,

368
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Speaker 2: so I should.

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Speaker 1: It's fun, it's good. I like Buffy. I like X

370
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Speaker 1: Files more. Yeah, we Tricia and I watched like the

371
00:22:01,920 --> 00:22:05,760
Speaker 1: first five seasons and then the movie, and then we

372
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Speaker 1: needed to take a break because it was getting so confusing,

373
00:22:09,640 --> 00:22:13,920
Speaker 1: and after doing extensive research, I sort of understand what's

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Speaker 1: going on with colonists and black oil and all that stuff.

375
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Speaker 1: So we're on season six and we're having a great time,

376
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Speaker 1: and I love that show so much.

377
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Speaker 2: Yeah, my favorite episodes I think tended to be the

378
00:22:30,040 --> 00:22:32,119
Speaker 2: like little one offs that would tell me the monster

379
00:22:32,200 --> 00:22:36,479
Speaker 2: of the week. Yes, yes, yes, although I did like

380
00:22:36,520 --> 00:22:39,760
Speaker 2: the cigarette smoking Man's stuff was yeah. Interesting.

381
00:22:40,200 --> 00:22:43,919
Speaker 1: The mythology gets very calmvoluted, and it's funny when you

382
00:22:43,960 --> 00:22:47,560
Speaker 1: like look up answers online. It's never like some of

383
00:22:47,600 --> 00:22:50,320
Speaker 1: these things aren't fully explained, and like the explanation online

384
00:22:50,320 --> 00:22:53,320
Speaker 1: will be like it's either this or this, and it's

385
00:22:53,359 --> 00:22:57,680
Speaker 1: like there is. It's not as cut and dry as

386
00:22:58,320 --> 00:23:00,920
Speaker 1: I feel like a show would have to be. Now

387
00:23:01,080 --> 00:23:02,200
Speaker 1: that comes out, so.

388
00:23:02,280 --> 00:23:04,800
Speaker 2: Oh, I had to tell you. I really hung in

389
00:23:04,840 --> 00:23:07,280
Speaker 2: there with the X Files even after Fox Mulder left

390
00:23:07,280 --> 00:23:09,720
Speaker 2: and then They brought in special Agent John Doggett, who

391
00:23:09,760 --> 00:23:13,480
Speaker 2: is of course played by Robert Patrick aka the Liquid

392
00:23:13,600 --> 00:23:18,160
Speaker 2: Cop from Terminator to amongst many other things, and Annabeth

393
00:23:18,240 --> 00:23:22,680
Speaker 2: Gish special agent Monica Reis. I think she was I

394
00:23:22,720 --> 00:23:24,600
Speaker 2: don't know who she was. She had like some kind

395
00:23:24,600 --> 00:23:27,680
Speaker 2: of weird psychic ability and I've never figured that.

396
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Speaker 1: Looking forward to it.

397
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Speaker 2: Wait, you've not seen these No, I haven't seen the

398
00:23:32,040 --> 00:23:32,520
Speaker 2: whole series.

399
00:23:32,560 --> 00:23:35,239
Speaker 1: I know that he leaves, though, I mean that's not

400
00:23:35,320 --> 00:23:37,320
Speaker 1: I'm not really worried about spoil I mean we're in

401
00:23:37,320 --> 00:23:39,600
Speaker 1: season six. That's where we're at right now, so we

402
00:23:39,680 --> 00:23:40,880
Speaker 1: got a long ways to go, right.

403
00:23:41,760 --> 00:23:44,960
Speaker 2: Well, anyway, I am with you on a lot of

404
00:23:44,960 --> 00:23:47,920
Speaker 2: this stuff, not that this is an X Files podcast,

405
00:23:47,920 --> 00:23:49,960
Speaker 2: but you know, for a while I did think that

406
00:23:51,440 --> 00:23:54,080
Speaker 2: Jillian Anderson and David d'covney, we're going to do the

407
00:23:54,119 --> 00:23:58,760
Speaker 2: whole like Anthony Edwards and Mayor winningham Thing and Miracle Mile,

408
00:23:58,800 --> 00:24:01,680
Speaker 2: and they were going to like get together later in life.

409
00:24:01,520 --> 00:24:03,760
Speaker 1: After they were co stars. I would love that.

410
00:24:04,359 --> 00:24:06,359
Speaker 2: I kind of want that for them too, and like

411
00:24:06,400 --> 00:24:09,080
Speaker 2: they they play around with it. I mean they might

412
00:24:09,080 --> 00:24:14,360
Speaker 2: have actually dated. I think they definitely boned. Let's get serious. Uh,

413
00:24:14,359 --> 00:24:16,919
Speaker 2: but like you know, they theyre always like played around

414
00:24:16,960 --> 00:24:22,000
Speaker 2: with it, and I was always like, just get together forever. Yeah,

415
00:24:22,040 --> 00:24:24,680
Speaker 2: look at what's happening with all of these other slims.

416
00:24:25,320 --> 00:24:27,960
Speaker 1: I remember that there's like a famous clip of Gillian Anderson.

417
00:24:28,760 --> 00:24:30,160
Speaker 1: Is it Gillian or Jillian?

418
00:24:31,880 --> 00:24:36,479
Speaker 2: No, maybe I'm wrong, I say Jillian, Gillian, I'll say Jillian.

419
00:24:36,720 --> 00:24:38,720
Speaker 1: Ah. There's a clip of her at the Emmys. I

420
00:24:38,760 --> 00:24:41,240
Speaker 1: think she won an Emmy and she kisses David d'covney

421
00:24:41,240 --> 00:24:44,120
Speaker 1: on the mouth and then her husband and like goes

422
00:24:44,160 --> 00:24:45,679
Speaker 1: and accepts the award. Listen.

423
00:24:46,280 --> 00:24:51,200
Speaker 2: That bitch is my girl. She is. I love her

424
00:24:51,280 --> 00:24:54,360
Speaker 2: so much. She is wild in these streets and I'm

425
00:24:54,400 --> 00:24:57,080
Speaker 2: here for every single fucking moment of it. She's like,

426
00:24:57,200 --> 00:25:01,840
Speaker 2: honestly the type of lady to be. Really Yeah, she's

427
00:25:02,040 --> 00:25:06,919
Speaker 2: so awesome. So that doesn't surprise me at all that

428
00:25:07,080 --> 00:25:09,480
Speaker 2: she's uh, you know, kiss a lot of men on

429
00:25:09,480 --> 00:25:09,960
Speaker 2: the loops.

430
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Speaker 1: Mm hmmm. So anyways, Xius has sort of taken over

431
00:25:15,000 --> 00:25:18,879
Speaker 1: my life again. And God, and you love CDs again.

432
00:25:19,080 --> 00:25:21,000
Speaker 1: You're like a nineties.

433
00:25:20,560 --> 00:25:21,359
Speaker 2: Boy right now.

434
00:25:22,280 --> 00:25:24,160
Speaker 1: Yeah, it's true.

435
00:25:24,000 --> 00:25:25,320
Speaker 2: In a nineties kind of world.

436
00:25:25,640 --> 00:25:27,200
Speaker 1: We're talking about Hello, Kitty.

437
00:25:28,359 --> 00:25:32,440
Speaker 2: Telling you, let's just this is the end of Dear Movies,

438
00:25:32,480 --> 00:25:34,520
Speaker 2: I Love You, And now we're going to transition to

439
00:25:34,560 --> 00:25:37,639
Speaker 2: our new podcast, Dear Nineties, I Love You.

440
00:25:54,640 --> 00:25:59,000
Speaker 1: It's time for our main discussion, which is covering my

441
00:25:59,160 --> 00:26:06,320
Speaker 1: boy David Cronenberg and also the movie The Shrouds which

442
00:26:06,359 --> 00:26:11,960
Speaker 1: came out last year, which maybe David Cronenberg's last movie. Yeah,

443
00:26:13,160 --> 00:26:14,840
Speaker 1: and if it was his last movie, it's kind of

444
00:26:14,880 --> 00:26:17,240
Speaker 1: a good one to go out on. I thought I

445
00:26:17,240 --> 00:26:19,440
Speaker 1: felt sort of there was a finality to it.

446
00:26:19,800 --> 00:26:24,119
Speaker 2: I felt, yes, I think death is pretty final. Death

447
00:26:24,200 --> 00:26:27,080
Speaker 2: is final as a topic, but as in a concept.

448
00:26:28,800 --> 00:26:31,359
Speaker 2: And yeah, I don't know he puts out. I mean, gosh,

449
00:26:31,400 --> 00:26:33,800
Speaker 2: for he's like one of those guys his age that

450
00:26:33,840 --> 00:26:35,760
Speaker 2: are like cranking out movies.

451
00:26:36,200 --> 00:26:40,080
Speaker 1: Yeah, you know, yeah, but I know he had trouble

452
00:26:40,320 --> 00:26:43,600
Speaker 1: finding funding. He has trouble finding funding, which is kind

453
00:26:43,640 --> 00:26:46,600
Speaker 1: of crazy, like he's like one of our masters. It

454
00:26:46,640 --> 00:26:48,840
Speaker 1: seems like, I know this happened with Jim Jarmush too,

455
00:26:48,840 --> 00:26:52,680
Speaker 1: where it's like it's hard to get money for their movies,

456
00:26:52,960 --> 00:26:54,439
Speaker 1: and that just seems so wild to me.

457
00:26:54,640 --> 00:26:58,119
Speaker 2: So I want to talk about this financing bit because yeah,

458
00:26:58,160 --> 00:26:59,959
Speaker 2: one of the things that really popped out to me.

459
00:27:00,640 --> 00:27:04,080
Speaker 2: And after doing a little bit of research on this,

460
00:27:04,240 --> 00:27:06,960
Speaker 2: now I have realized that they've done other things. But

461
00:27:07,440 --> 00:27:13,600
Speaker 2: did you notice that Saint Laurent Productions was at the

462
00:27:13,640 --> 00:27:16,600
Speaker 2: top of the heap in terms of, you know, producers

463
00:27:16,720 --> 00:27:22,040
Speaker 2: of the film like Saint Laurent meaning Eve, Saint Laurent,

464
00:27:22,480 --> 00:27:23,359
Speaker 2: the fashion house.

465
00:27:23,800 --> 00:27:24,880
Speaker 1: I didn't notice that.

466
00:27:25,040 --> 00:27:29,960
Speaker 2: Well, it's interesting because I was going, oh, I didn't

467
00:27:30,000 --> 00:27:34,880
Speaker 2: realize that Saint Laurent aka Saint Laurent produced movies.

468
00:27:35,800 --> 00:27:36,440
Speaker 1: I didn't know that.

469
00:27:36,520 --> 00:27:40,840
Speaker 2: I thought I thought they made, you know, high end

470
00:27:41,040 --> 00:27:45,320
Speaker 2: clothing in handbags and belts and things of this. Gu right,

471
00:27:46,040 --> 00:27:49,719
Speaker 2: And then it started making me think, Okay, so I

472
00:27:49,760 --> 00:27:54,879
Speaker 2: remember Tom Ford directed a movie a few and I

473
00:27:54,960 --> 00:27:59,520
Speaker 2: know that fashion and movies go hand in hand, but

474
00:27:59,600 --> 00:28:01,800
Speaker 2: I was like, wow, I can't believe they produced this

475
00:28:01,880 --> 00:28:04,959
Speaker 2: Kroodaberg movie. And then I went and looked at the

476
00:28:05,000 --> 00:28:10,560
Speaker 2: things that they've produced, and they've done a lot of things,

477
00:28:10,640 --> 00:28:15,960
Speaker 2: like they produced Amelia Perez and the Amaldivar. Remember that

478
00:28:16,040 --> 00:28:19,800
Speaker 2: Amaldivar short Strange Way of Life with Paedro Pascal and

479
00:28:19,840 --> 00:28:26,720
Speaker 2: Ethan Hawk. What was it Luxaturna? I mean, I was like, oh,

480
00:28:26,760 --> 00:28:30,480
Speaker 2: so they've been in this game for a minute at least.

481
00:28:31,040 --> 00:28:33,760
Speaker 2: And then I was like really down a rabbit hole,

482
00:28:34,080 --> 00:28:35,520
Speaker 2: and I just was like, Okay, I want to know

483
00:28:35,560 --> 00:28:41,320
Speaker 2: what other like consumer brands have gotten into movie productions producing,

484
00:28:41,760 --> 00:28:43,680
Speaker 2: and I think that and I just like seeing all

485
00:28:43,680 --> 00:28:47,560
Speaker 2: these trend articles, It's like, oh, yeah, neutrigenas in the

486
00:28:47,720 --> 00:28:50,600
Speaker 2: film game, what the fuck are you talking about? Like

487
00:28:51,040 --> 00:28:54,880
Speaker 2: all of these like companies that again are making like

488
00:28:55,240 --> 00:28:58,320
Speaker 2: consumer products are now trying to get into movies and like,

489
00:28:58,640 --> 00:29:01,800
Speaker 2: you know, not just stuff like Nike and things, but

490
00:29:01,920 --> 00:29:06,800
Speaker 2: like yeah, newt Regina and you know, like I don't know,

491
00:29:06,960 --> 00:29:11,280
Speaker 2: maybe like fucking mister Clean is gonna have a couple

492
00:29:11,240 --> 00:29:12,680
Speaker 2: of movies coming out next year.

493
00:29:12,720 --> 00:29:15,520
Speaker 1: I mean, who knows. I mean it's crazy, but you

494
00:29:15,680 --> 00:29:19,640
Speaker 1: Saint Laurent. It's like a fashion house, so it makes sense,

495
00:29:19,720 --> 00:29:23,360
Speaker 1: like and I feel like David Cronenberg is kind of fashionable.

496
00:29:23,480 --> 00:29:26,280
Speaker 1: His movies are kind of cool, look, you know, and

497
00:29:26,320 --> 00:29:29,560
Speaker 1: so like, did they design the shrouds in this see?

498
00:29:29,600 --> 00:29:31,400
Speaker 2: I think that they did. I think that was po

499
00:29:31,480 --> 00:29:34,960
Speaker 2: part of it. But then also it's like the creative

500
00:29:35,040 --> 00:29:40,320
Speaker 2: director of Saint Laurent is apparently a big centophile and

501
00:29:40,560 --> 00:29:45,479
Speaker 2: is just like wanting to make movies with like people

502
00:29:45,520 --> 00:29:49,480
Speaker 2: he thinks are cool, like and obviously like a Meldavar

503
00:29:49,960 --> 00:29:53,320
Speaker 2: and like gasper Noah, and like, yeah, I.

504
00:29:53,280 --> 00:29:56,680
Speaker 1: Mean I just am like, I mean, it probably costs

505
00:29:56,840 --> 00:30:00,640
Speaker 1: as much to make the shrouds, for example, as it

506
00:30:00,680 --> 00:30:05,280
Speaker 1: does to produce like a perfume commercial with Natalie Portman

507
00:30:05,400 --> 00:30:07,640
Speaker 1: or whatever, you know, And it's so it's like it

508
00:30:07,720 --> 00:30:12,760
Speaker 1: is a way to get their brand out there in

509
00:30:12,800 --> 00:30:16,320
Speaker 1: a way that is interesting, you know, even if it

510
00:30:16,400 --> 00:30:19,680
Speaker 1: isn't a commercial specifically, it's like to be associated with

511
00:30:20,200 --> 00:30:21,440
Speaker 1: a movie makes sense.

512
00:30:22,320 --> 00:30:24,080
Speaker 2: Yeah, I mean, I don't know. Now that I think

513
00:30:24,080 --> 00:30:26,280
Speaker 2: about it, I'm like, oh yeah, I remember like fucking

514
00:30:28,120 --> 00:30:30,280
Speaker 2: Mac and Me or whatever. It's like all of these

515
00:30:30,400 --> 00:30:39,080
Speaker 2: like you know, companies that make movies about their products essentially. Yeah,

516
00:30:39,120 --> 00:30:41,800
Speaker 2: I was just an interesting little world. But anyway, I

517
00:30:41,840 --> 00:30:42,880
Speaker 2: noticed that right.

518
00:30:42,760 --> 00:30:44,080
Speaker 1: Off that's interesting.

519
00:30:44,120 --> 00:30:47,200
Speaker 2: But then I did notice there was like a shit

520
00:30:47,400 --> 00:30:49,280
Speaker 2: ton of production credits.

521
00:30:49,320 --> 00:30:52,080
Speaker 1: There's like fifteen of them, and I swear to god,

522
00:30:52,160 --> 00:30:56,280
Speaker 1: one is like in there twice, Like yeah, it felt

523
00:30:56,280 --> 00:30:58,240
Speaker 1: like there. That's just like you had to cobble this

524
00:30:58,320 --> 00:31:01,480
Speaker 1: all together to get money. And also this didn't feel

525
00:31:01,520 --> 00:31:03,160
Speaker 1: like a super expensive movie to make.

526
00:31:04,120 --> 00:31:08,920
Speaker 2: I wouldn't say yeah, I mean, there's so crazy Millie.

527
00:31:10,040 --> 00:31:15,760
Speaker 1: David Cronenberg, h are you familiar with this guy? And

528
00:31:15,840 --> 00:31:19,360
Speaker 1: if so, what's your where did when did the relationship begin?

529
00:31:19,480 --> 00:31:21,840
Speaker 1: And what's your relationship to him? Now? What do you

530
00:31:21,880 --> 00:31:24,959
Speaker 1: think of this fella? Well?

531
00:31:25,320 --> 00:31:29,600
Speaker 2: I don't want to. I don't want to necessarily point

532
00:31:29,640 --> 00:31:32,959
Speaker 2: to something that I've already done, I've already written about,

533
00:31:33,840 --> 00:31:39,280
Speaker 2: but I have. I've loved Cronenberg since I was in college,

534
00:31:39,600 --> 00:31:42,920
Speaker 2: and one of the first I mean, I mean, I

535
00:31:42,920 --> 00:31:45,440
Speaker 2: think I saw The Fly technically when I was a

536
00:31:45,480 --> 00:31:49,120
Speaker 2: younger person, like maybe in high school, but I wasn't

537
00:31:49,160 --> 00:31:52,720
Speaker 2: really it wasn't really synthesized until much later when I

538
00:31:52,800 --> 00:31:55,600
Speaker 2: actually understood what The Fly was actually about. And then

539
00:31:55,640 --> 00:31:58,280
Speaker 2: it realized that it made me cry every time I

540
00:31:58,320 --> 00:32:02,600
Speaker 2: watched it. But I went to a screening of video

541
00:32:02,720 --> 00:32:07,200
Speaker 2: Drome when I was in college, and I just was radicalized.

542
00:32:08,720 --> 00:32:13,280
Speaker 2: Every every shithead in my film program loved Videodrome, of course,

543
00:32:14,320 --> 00:32:16,520
Speaker 2: and then you just kind of run down the list.

544
00:32:16,720 --> 00:32:21,680
Speaker 2: And I did a thing for the Academy Museum in

545
00:32:21,840 --> 00:32:26,840
Speaker 2: LA last year they had an exhibit about cyberpunk.

546
00:32:26,680 --> 00:32:30,000
Speaker 1: And oh, I didn't know that I loved cyberpunk. Yeah,

547
00:32:30,080 --> 00:32:31,600
Speaker 1: I don't love William Gibson.

548
00:32:32,080 --> 00:32:33,760
Speaker 2: I don't think you were living there anymore.

549
00:32:33,880 --> 00:32:34,320
Speaker 1: I wasn't.

550
00:32:34,480 --> 00:32:38,120
Speaker 2: Yeah, Well, the Academy Museum reached out to me and

551
00:32:38,120 --> 00:32:40,160
Speaker 2: asked me if I wanted to write a piece about

552
00:32:40,440 --> 00:32:44,600
Speaker 2: Video Drome for the book that came with the you

553
00:32:44,640 --> 00:32:48,920
Speaker 2: know you could whatever that came with the exhibit, And

554
00:32:49,400 --> 00:32:53,800
Speaker 2: I wrote about Video Drome a because it was really

555
00:32:53,840 --> 00:32:56,080
Speaker 2: the first Kroneberg movie that I really loved. But then

556
00:32:56,120 --> 00:33:01,320
Speaker 2: it became such a important movie and really kind of

557
00:33:01,320 --> 00:33:05,720
Speaker 2: an important reference for me when I had surgery, which

558
00:33:05,720 --> 00:33:09,200
Speaker 2: is unsurprising because you know, obviously Kroneberg's main themes are

559
00:33:09,240 --> 00:33:14,040
Speaker 2: about the body, right, But yeah, I had surgery in

560
00:33:14,040 --> 00:33:16,960
Speaker 2: twenty eighteen where I was basically cut down the middle.

561
00:33:17,480 --> 00:33:20,360
Speaker 2: I've talked about this, like I had an exploratory laprimotomy,

562
00:33:21,160 --> 00:33:26,160
Speaker 2: which is essentially what James Woods has in down his

563
00:33:27,120 --> 00:33:30,720
Speaker 2: belly that he pulls the guns and the tapes from

564
00:33:30,720 --> 00:33:34,280
Speaker 2: and things like that. So in my mind, Video Drum

565
00:33:34,360 --> 00:33:36,840
Speaker 2: felt like suddenly super personal to me, and I would

566
00:33:36,920 --> 00:33:39,120
Speaker 2: actually tell people They're like, well, I heard you in

567
00:33:39,120 --> 00:33:40,720
Speaker 2: the hospital for a couple of weeks. I was like, yeah,

568
00:33:40,720 --> 00:33:42,400
Speaker 2: I just got like a video drum scar. Now it's

569
00:33:42,400 --> 00:33:45,520
Speaker 2: all good and everyone's just like, oh, that's fucked up.

570
00:33:45,720 --> 00:33:50,480
Speaker 2: But anyway, So now like his career has I guess

571
00:33:50,480 --> 00:33:53,960
Speaker 2: maybe since I've gone through my own body horror, suddenly

572
00:33:54,080 --> 00:33:57,240
Speaker 2: his work is like way in focus for me.

573
00:33:58,000 --> 00:33:58,480
Speaker 1: And then.

574
00:33:59,840 --> 00:34:02,120
Speaker 2: I don't know now, I mean I've rocked with him

575
00:34:02,160 --> 00:34:04,600
Speaker 2: for years. I mean he's making movies all over the

576
00:34:04,600 --> 00:34:07,520
Speaker 2: place and so and I watch them and I see

577
00:34:07,560 --> 00:34:10,359
Speaker 2: everyone when they come out for the most part, and

578
00:34:10,680 --> 00:34:12,879
Speaker 2: I still think he's a great filmmaker. Like he's still

579
00:34:12,880 --> 00:34:15,320
Speaker 2: making fucking crazy movies, don't you think.

580
00:34:15,680 --> 00:34:18,120
Speaker 1: Oh, I mean the last two movies Crimes of the Future,

581
00:34:18,120 --> 00:34:19,920
Speaker 1: which came out I think in twenty twenty two, and

582
00:34:19,960 --> 00:34:22,520
Speaker 1: then The Shrouds. I was like, these are bangers. I'm like,

583
00:34:22,560 --> 00:34:25,319
Speaker 1: these rock these are just as these are up there

584
00:34:25,320 --> 00:34:29,160
Speaker 1: with his other like best movies. Like it's amazing how

585
00:34:29,239 --> 00:34:30,880
Speaker 1: he's still he's still got it.

586
00:34:31,520 --> 00:34:35,200
Speaker 2: Yeah, he's still got it. He's still like yeah, this

587
00:34:35,360 --> 00:34:37,400
Speaker 2: is kind of like a mantra for the film, but

588
00:34:37,440 --> 00:34:40,279
Speaker 2: he goes really dark, like he's still he's like in

589
00:34:40,320 --> 00:34:41,880
Speaker 2: his eighties, and he's dark as fuck.

590
00:34:41,920 --> 00:34:44,799
Speaker 1: I love that, but also I feel like he's so

591
00:34:45,000 --> 00:34:48,360
Speaker 1: good at balancing this tone of like it goes like,

592
00:34:48,640 --> 00:34:54,040
Speaker 1: so he's exploring the darkest shit, yes, but there is

593
00:34:54,280 --> 00:34:57,480
Speaker 1: he has a very interesting sense of humor because his

594
00:34:57,560 --> 00:35:00,200
Speaker 1: movies are funny, and I would say to Shrouds made

595
00:35:00,239 --> 00:35:03,480
Speaker 1: me laugh at several points in the movie, and it's

596
00:35:03,480 --> 00:35:07,560
Speaker 1: like he is able to bring in there's almost like

597
00:35:07,640 --> 00:35:11,880
Speaker 1: a a knowing, like we know this is insane, what

598
00:35:11,920 --> 00:35:14,520
Speaker 1: has happened? Like the depths we are going and so

599
00:35:14,640 --> 00:35:20,640
Speaker 1: it never feels like emotionally taxing in a way for me.

600
00:35:20,920 --> 00:35:25,560
Speaker 1: But even though they're exploring such dark themes, what what did?

601
00:35:25,880 --> 00:35:29,680
Speaker 2: How did you become drawn to him as because of that?

602
00:35:30,080 --> 00:35:30,840
Speaker 2: Of the topics?

603
00:35:31,000 --> 00:35:34,960
Speaker 1: I think my dear friend Patrick Mallin turned me on

604
00:35:35,560 --> 00:35:41,319
Speaker 1: to David Cronenberg, And at first his movies like disturbed me,

605
00:35:41,560 --> 00:35:43,440
Speaker 1: like they were like nothing I'd ever seen. I think

606
00:35:43,560 --> 00:35:46,440
Speaker 1: Video Drona was the first David Cronenberg movie I saw,

607
00:35:47,040 --> 00:35:51,759
Speaker 1: and I was like so confounded and disturbed and like

608
00:35:51,880 --> 00:35:56,240
Speaker 1: grossed out. But then I just kept watching his movies

609
00:35:56,760 --> 00:36:00,960
Speaker 1: and you know, much like a character in a Cronenberg film.

610
00:36:01,040 --> 00:36:06,200
Speaker 1: I began to mesh with these films, and then they

611
00:36:06,239 --> 00:36:09,040
Speaker 1: became some of my favorite films because I'm very interested

612
00:36:09,080 --> 00:36:14,840
Speaker 1: in technology and how technology and machines interact with humans

613
00:36:15,000 --> 00:36:19,400
Speaker 1: and the human body and the effect that technology has

614
00:36:19,520 --> 00:36:23,680
Speaker 1: on people. And all of his movies are essentially about

615
00:36:24,400 --> 00:36:26,360
Speaker 1: well not all of his movies, but like, it's a

616
00:36:26,400 --> 00:36:28,640
Speaker 1: theme he comes back to all the time, is like

617
00:36:29,280 --> 00:36:37,359
Speaker 1: the human body colliding with machinery and technology, and oftentimes

618
00:36:37,600 --> 00:36:42,520
Speaker 1: there is a violent collision of those two elements. And

619
00:36:42,560 --> 00:36:45,960
Speaker 1: I just, yeah, I just find his movies endlessly fascinating,

620
00:36:46,080 --> 00:36:53,640
Speaker 1: endlessly watchable, and incredibly disturbing and incredibly unique. Like there's

621
00:36:53,680 --> 00:36:57,760
Speaker 1: no movie, There's truly no movies like these David Cronenberg films.

622
00:36:57,880 --> 00:37:03,719
Speaker 2: Yeah, he's really really singular in that way. Did you

623
00:37:03,320 --> 00:37:05,960
Speaker 2: when you were living in La did you go to that?

624
00:37:06,960 --> 00:37:08,960
Speaker 2: Do you remember when it was? It beyond a fest

625
00:37:09,120 --> 00:37:13,719
Speaker 2: over at the Cinema Tech aka the Egyptian When they

626
00:37:13,760 --> 00:37:16,319
Speaker 2: did like all the Crodenberg movies, it was like a

627
00:37:16,400 --> 00:37:17,200
Speaker 2: huge marathon.

628
00:37:17,920 --> 00:37:21,399
Speaker 1: I'm knowingly nodding. I was right in the midst of that.

629
00:37:21,520 --> 00:37:23,399
Speaker 1: I went to five movies in one day.

630
00:37:23,600 --> 00:37:25,960
Speaker 2: I did too were we at the same levies.

631
00:37:26,760 --> 00:37:30,000
Speaker 1: Oh my god, this is I went on the day

632
00:37:30,040 --> 00:37:39,319
Speaker 1: that it was like the Brood, Shivers, Rabid, dead Ringers. Yep,

633
00:37:39,440 --> 00:37:43,560
Speaker 1: there's another one for me. It was just those four.

634
00:37:43,680 --> 00:37:46,239
Speaker 1: That's still a lot for one day. But I was there.

635
00:37:46,280 --> 00:37:48,480
Speaker 1: I watched like four movies in a row.

636
00:37:48,640 --> 00:37:52,440
Speaker 2: Oh yeah. I went with like a crew of like

637
00:37:52,680 --> 00:37:56,480
Speaker 2: dirty minded individuals and we I think we watched five.

638
00:37:57,600 --> 00:37:59,200
Speaker 2: Dead Ringers was in there though.

639
00:37:59,480 --> 00:38:02,719
Speaker 1: Dead Ringers was the last one. Oh, Scanners I think

640
00:38:02,760 --> 00:38:05,400
Speaker 1: was the other one. Yeah, and I can't I don't remember.

641
00:38:05,440 --> 00:38:06,920
Speaker 1: How did they do them?

642
00:38:08,440 --> 00:38:09,160
Speaker 2: I don't remember that.

643
00:38:09,160 --> 00:38:10,920
Speaker 1: It was like one right after another.

644
00:38:11,880 --> 00:38:12,400
Speaker 2: Yeah.

645
00:38:13,320 --> 00:38:16,480
Speaker 1: I remember running to the McDonald's on Hollywood Boulevard just

646
00:38:16,480 --> 00:38:20,759
Speaker 1: to get fuel. Oh my god, I Casey, this is

647
00:38:20,880 --> 00:38:25,560
Speaker 1: crazy a McDonald's to do the same. God, wouldn't it

648
00:38:25,600 --> 00:38:28,160
Speaker 1: be wild If I wish we had a time machine.

649
00:38:28,280 --> 00:38:31,839
Speaker 2: Oh my god, it would be like that Selene's song

650
00:38:31,920 --> 00:38:35,120
Speaker 2: movie where we brushed against each other and somehow now

651
00:38:35,160 --> 00:38:36,480
Speaker 2: we do a podcast together.

652
00:38:36,719 --> 00:38:40,320
Speaker 1: Oh my god, this is an incredible discovery.

653
00:38:40,400 --> 00:38:42,279
Speaker 2: I know, no, I it's so funny. I have I

654
00:38:42,400 --> 00:38:44,239
Speaker 2: just was like going through my Instagram account the other

655
00:38:44,320 --> 00:38:48,600
Speaker 2: day and I saw a photo that I took a

656
00:38:48,600 --> 00:38:51,799
Speaker 2: selfie of me and my friends watching at the Cronenberg

657
00:38:52,000 --> 00:38:54,880
Speaker 2: Fest thing, and I was like, oh god, that was awesome.

658
00:38:55,440 --> 00:38:57,880
Speaker 2: Like I watch five David Cronenberg movies that day.

659
00:38:57,880 --> 00:39:00,400
Speaker 1: That's so insane. So do were you the for the

660
00:39:00,440 --> 00:39:04,919
Speaker 1: Michael Ironside interview? That might have been a different day.

661
00:39:05,239 --> 00:39:08,320
Speaker 2: Yeah, see, I can't remember what day I was there.

662
00:39:09,120 --> 00:39:12,200
Speaker 1: That's so funny. Yes I was. I was right, I

663
00:39:12,280 --> 00:39:14,840
Speaker 1: was all up in that and I loved every second

664
00:39:14,840 --> 00:39:15,080
Speaker 1: of it.

665
00:39:15,600 --> 00:39:19,759
Speaker 2: I think it was Shiver's Rabbit, the Brood, Scanner's Dead

666
00:39:19,840 --> 00:39:20,600
Speaker 2: Ringers one.

667
00:39:20,520 --> 00:39:23,680
Speaker 1: Day, yes, and then I think I was there that day.

668
00:39:23,640 --> 00:39:29,480
Speaker 2: Fly Naked Lunch Video Drome Existence, and then they did

669
00:39:30,200 --> 00:39:34,520
Speaker 2: at the Arrow. It was like history of Violence, Each Promises,

670
00:39:34,560 --> 00:39:35,719
Speaker 2: Spider Crash.

671
00:39:36,360 --> 00:39:39,880
Speaker 1: Okay, yeah, No, I was definitely there for The Scanner's Rabbit,

672
00:39:40,040 --> 00:39:42,520
Speaker 1: Shivers Brood day.

673
00:39:42,760 --> 00:39:43,920
Speaker 2: I was too.

674
00:39:44,400 --> 00:39:50,200
Speaker 1: Wow, incredible sliding doors sliding, so exciting. But yeah, I'd

675
00:39:50,239 --> 00:39:53,200
Speaker 1: like I love him, and I like he's so inspiring

676
00:39:53,280 --> 00:39:57,000
Speaker 1: to me just to be like his hit the confidence

677
00:39:57,080 --> 00:40:03,520
Speaker 1: to do his like absurd weird things in his movies

678
00:40:04,040 --> 00:40:07,520
Speaker 1: is inspiring and he and he really has something to say. Yeah,

679
00:40:07,520 --> 00:40:11,600
Speaker 1: and I don't know. It's he's really an amazing artist

680
00:40:11,600 --> 00:40:13,680
Speaker 1: and I love him. Well.

681
00:40:13,719 --> 00:40:17,040
Speaker 2: I was thinking maybe you could give a synopsis of

682
00:40:17,080 --> 00:40:18,040
Speaker 2: the Shrouds in the weekend.

683
00:40:18,200 --> 00:40:23,600
Speaker 1: Yes, get dirt to get dirty. Okay, this is gonna

684
00:40:23,640 --> 00:40:33,600
Speaker 1: be a tough one because there's not like this happens

685
00:40:33,640 --> 00:40:37,759
Speaker 1: then this happens sort of thing in this movie. I'll

686
00:40:37,760 --> 00:40:41,600
Speaker 1: do my best here. The names in this too, Okay.

687
00:40:42,360 --> 00:40:48,000
Speaker 1: Karsh our main character named Karsh, played by Vincent Cassell,

688
00:40:48,280 --> 00:40:51,160
Speaker 1: who I thought really looked like David Cronenberg at times

689
00:40:51,160 --> 00:40:53,520
Speaker 1: in this movie. Oh, I think he did that on purpose,

690
00:40:53,719 --> 00:40:57,000
Speaker 1: of course. Yes, he's still mourning the death of his

691
00:40:57,040 --> 00:41:01,839
Speaker 1: wife Becca, who died four years ago cancer. As part

692
00:41:01,880 --> 00:41:06,359
Speaker 1: of this morning, he has invented a device called Gravetech,

693
00:41:06,520 --> 00:41:10,080
Speaker 1: a device in a company, and it is a tombstone

694
00:41:10,120 --> 00:41:14,320
Speaker 1: with a screen on it that broadcasts real interactive video

695
00:41:14,560 --> 00:41:17,759
Speaker 1: of like your loved one's rotting corpse, so you can

696
00:41:17,800 --> 00:41:19,799
Speaker 1: and you can access it with your phone too, so

697
00:41:19,840 --> 00:41:23,320
Speaker 1: you can look at the rotting remains of your dead

698
00:41:23,520 --> 00:41:27,560
Speaker 1: loved one anytime if you want to do that, because

699
00:41:28,480 --> 00:41:32,080
Speaker 1: and some people do, including him, And that's what inspite

700
00:41:32,160 --> 00:41:35,200
Speaker 1: he's like I wanted to be there with her, so

701
00:41:35,440 --> 00:41:39,360
Speaker 1: the images are captured with a shroud that envelops the corpse.

702
00:41:40,000 --> 00:41:45,279
Speaker 1: It's kind of like this imaging sheet slash bodysuit thing.

703
00:41:46,239 --> 00:41:50,759
Speaker 1: This is a controversial company. One day, Karsh notices some

704
00:41:50,800 --> 00:41:54,080
Speaker 1: strange growths developing on Becca's bones when he's inspecting her

705
00:41:54,200 --> 00:41:58,239
Speaker 1: rotting corpse. They look almost mechanical. But before he can

706
00:41:58,239 --> 00:42:01,800
Speaker 1: figure that out, several of his gravest are destroyed, including Becca's,

707
00:42:01,800 --> 00:42:03,680
Speaker 1: and the whole system is hacked so he can't view

708
00:42:03,680 --> 00:42:07,680
Speaker 1: Becca's body anymore. He employs his dufus ex brother in

709
00:42:07,760 --> 00:42:10,880
Speaker 1: law Morey he played by Guy Pierce, to help figure

710
00:42:10,880 --> 00:42:15,200
Speaker 1: out who hacked him. He also grows closer to his

711
00:42:15,239 --> 00:42:20,960
Speaker 1: wife's identical twin, Terry, played by Diane Krueger. Dan Krueger

712
00:42:21,000 --> 00:42:25,640
Speaker 1: plays his dead wife the twin, and she also is

713
00:42:25,680 --> 00:42:30,000
Speaker 1: the voice behind the AI digital assistant. Honey, I'm sure

714
00:42:30,040 --> 00:42:33,960
Speaker 1: we'll get to more of that later. Hell yeah. Slowly,

715
00:42:34,040 --> 00:42:37,680
Speaker 1: he begins to learn more about his wife, including possible

716
00:42:37,719 --> 00:42:41,080
Speaker 1: experiments that were conducted on her by her oncologist ex

717
00:42:41,280 --> 00:42:45,960
Speaker 1: boyfriend during her treatment. There's also just like kind of

718
00:42:46,000 --> 00:42:49,960
Speaker 1: like a ton of like conspiracy theories or like conspiracies

719
00:42:49,960 --> 00:42:52,800
Speaker 1: that are sort of thrown out that involved like Russian

720
00:42:52,840 --> 00:42:57,640
Speaker 1: and Chinese governments getting involved with the like gravetech in

721
00:42:57,760 --> 00:43:04,359
Speaker 1: order to spy on other countries using that technology. It's

722
00:43:04,440 --> 00:43:08,279
Speaker 1: very hard to entangle the shrouds that you did the

723
00:43:08,280 --> 00:43:10,440
Speaker 1: best you could, bruh. I did the best I could?

724
00:43:10,640 --> 00:43:14,239
Speaker 2: Yeah, what did you think of all that? By the way,

725
00:43:14,360 --> 00:43:19,560
Speaker 2: I first of all, this movie is like two hours? Yeah, yeah,

726
00:43:20,400 --> 00:43:25,760
Speaker 2: pretty standard at this point. Yeah, there were times where

727
00:43:27,440 --> 00:43:30,399
Speaker 2: I think at a certain point, I was like, am

728
00:43:30,400 --> 00:43:32,960
Speaker 2: I actually getting this? Am I Am I trying?

729
00:43:33,000 --> 00:43:33,120
Speaker 3: Like?

730
00:43:33,280 --> 00:43:37,960
Speaker 2: Am I getting There's a lot of everyone's kind of connected,

731
00:43:39,120 --> 00:43:43,600
Speaker 2: and I'm like, do I am I following correctly, especially

732
00:43:43,640 --> 00:43:47,640
Speaker 2: when it moves into like these like European investors and shit,

733
00:43:48,040 --> 00:43:50,680
Speaker 2: Like I'm just like, okay, I don't understand maybe that

734
00:43:50,840 --> 00:43:55,680
Speaker 2: part and how everyone's connected. But for the most part,

735
00:43:56,080 --> 00:43:59,960
Speaker 2: I did really think. I was like, wow, I mean

736
00:44:01,239 --> 00:44:06,279
Speaker 2: it felt very personal. Yeah, and I think that you know,

737
00:44:06,400 --> 00:44:10,799
Speaker 2: if you kind of know the history of David Cronenberg

738
00:44:10,840 --> 00:44:11,959
Speaker 2: and you know his.

739
00:44:11,920 --> 00:44:14,960
Speaker 1: Wife passed away, right, Yeah, that was the inspiration for this.

740
00:44:15,000 --> 00:44:17,720
Speaker 1: She passed away in twenty seventeen, and I think.

741
00:44:17,560 --> 00:44:21,040
Speaker 2: She had cancer. Am I wrong about that, and so

742
00:44:21,800 --> 00:44:24,040
Speaker 2: I don't know. When you think about that, and they.

743
00:44:23,880 --> 00:44:29,120
Speaker 1: Were together for so long, Yeah.

744
00:44:27,920 --> 00:44:32,120
Speaker 2: When you think about that and you think about like

745
00:44:33,160 --> 00:44:37,840
Speaker 2: the idea that the Vincent Cassell character sort of looks

746
00:44:38,000 --> 00:44:41,960
Speaker 2: like him, it felt like it was kind of like

747
00:44:42,120 --> 00:44:43,920
Speaker 2: he was working through grief.

748
00:44:44,280 --> 00:44:49,680
Speaker 1: Did you feel that? Absolutely? Oh? Absolutely? And I think

749
00:44:49,719 --> 00:44:53,520
Speaker 1: it's cool, you know, like he has the confidence of

750
00:44:53,560 --> 00:44:57,319
Speaker 1: an artist, as an artist to be like, yeah, I'm

751
00:44:57,360 --> 00:44:59,879
Speaker 1: gonna I'm my wife died and I need to work

752
00:45:00,080 --> 00:45:02,480
Speaker 1: through that. I'm going to make a movie about a

753
00:45:02,520 --> 00:45:06,240
Speaker 1: guy whose wife died that looks just like me. Yeah,

754
00:45:06,239 --> 00:45:10,520
Speaker 1: And like the character of Karsh, he's like an industrial

755
00:45:10,600 --> 00:45:14,040
Speaker 1: video producer, which it's like that's kind of could be

756
00:45:14,239 --> 00:45:20,640
Speaker 1: what Cronenberg would be called maybe. And also there's like

757
00:45:20,680 --> 00:45:23,640
Speaker 1: these quotes in there that I'm like, this is directly,

758
00:45:24,200 --> 00:45:27,759
Speaker 1: so directly addressing Kronenberg and kind of his career. Like

759
00:45:27,840 --> 00:45:33,680
Speaker 1: at one point Terry, the twin of his wife, said

760
00:45:34,320 --> 00:45:37,160
Speaker 1: you've made a career of bodies, and I was like,

761
00:45:37,200 --> 00:45:39,920
Speaker 1: that is like David Croneberg, like all of his movies

762
00:45:39,960 --> 00:45:44,760
Speaker 1: deal with the human body. And so it was really

763
00:45:45,360 --> 00:45:49,359
Speaker 1: interesting because it is so personal and it is so

764
00:45:49,719 --> 00:45:54,120
Speaker 1: directly addressing real his real life in such a direct

765
00:45:54,160 --> 00:45:55,760
Speaker 1: way that I thought was really interesting.

766
00:45:56,600 --> 00:46:00,640
Speaker 2: Yeah, and for that is alone, I was like, I

767
00:46:00,640 --> 00:46:03,799
Speaker 2: think this movie's great because I was like, you know,

768
00:46:03,960 --> 00:46:07,839
Speaker 2: obviously it's so interesting to me too, because he there

769
00:46:07,840 --> 00:46:12,400
Speaker 2: seems to be this generation of filmmakers that are around

770
00:46:12,400 --> 00:46:17,520
Speaker 2: his age that were part of probably like a new Hollywood,

771
00:46:17,600 --> 00:46:22,200
Speaker 2: the whole, like you know, seventies auteur era who are

772
00:46:22,280 --> 00:46:27,200
Speaker 2: now eighty something years old or getting there. Because I

773
00:46:27,200 --> 00:46:29,279
Speaker 2: don't know if you've ever seen did you see the

774
00:46:29,400 --> 00:46:33,480
Speaker 2: last Paul Schroder movie, Oh Canada with Richard Gear No?

775
00:46:33,680 --> 00:46:35,760
Speaker 1: I didn't.

776
00:46:36,280 --> 00:46:41,160
Speaker 2: That movie was also I mean, Paul Schrader has made similarly,

777
00:46:41,239 --> 00:46:45,760
Speaker 2: like Cronenberg makes pretty personal films, and they're always usually

778
00:46:47,200 --> 00:46:50,480
Speaker 2: on a theme. They're about religion and things of that nature.

779
00:46:50,560 --> 00:46:55,080
Speaker 2: But that movie was also about him kind of working

780
00:46:55,200 --> 00:46:59,279
Speaker 2: through his feelings about mortality and death. Apparently he had

781
00:46:59,280 --> 00:47:03,839
Speaker 2: gotten COVID like multiple times and was death was all

782
00:47:03,880 --> 00:47:07,359
Speaker 2: around him when he was writing that movie, and he

783
00:47:07,480 --> 00:47:12,600
Speaker 2: like made that movie to process his feelings about being

784
00:47:12,640 --> 00:47:16,920
Speaker 2: old and dying. And so it's that feeling of it

785
00:47:16,960 --> 00:47:19,440
Speaker 2: feels like this entire generation of filmmakers that we grew

786
00:47:19,560 --> 00:47:23,080
Speaker 2: up studying and loving are now kind of all a

787
00:47:23,160 --> 00:47:26,520
Speaker 2: similar place in life, and so it feels like these

788
00:47:26,600 --> 00:47:29,880
Speaker 2: later movies that they've been making are all these like

789
00:47:30,080 --> 00:47:35,799
Speaker 2: introspective yeah, films about big subjects like death. Does that

790
00:47:35,840 --> 00:47:36,360
Speaker 2: make sense?

791
00:47:36,960 --> 00:47:42,400
Speaker 1: Yeah? Absolutely, and like I think also his career, yeah,

792
00:47:42,440 --> 00:47:45,200
Speaker 1: and like that, you know, and death and his career

793
00:47:45,719 --> 00:47:49,960
Speaker 1: are kind of intertwined because his career is coming to

794
00:47:50,000 --> 00:47:52,600
Speaker 1: an end soon, yes, you know, and so his his life.

795
00:47:52,840 --> 00:47:55,759
Speaker 1: Did you see did you see The Fableman's Steven Spielberg's

796
00:47:55,760 --> 00:47:56,160
Speaker 1: a Fableman?

797
00:47:56,320 --> 00:47:56,360
Speaker 3: No?

798
00:47:56,560 --> 00:47:59,680
Speaker 1: I missed that one of It's really good. Yeah, it

799
00:48:01,320 --> 00:48:04,080
Speaker 1: doesn't deal with death. It's a weirder movie too than

800
00:48:04,520 --> 00:48:10,160
Speaker 1: like the things. The relationships are interesting, but it's dealing

801
00:48:10,200 --> 00:48:14,640
Speaker 1: with kind of looking back on a career in movies

802
00:48:14,920 --> 00:48:16,839
Speaker 1: in sort of a similar way. I kind of feel

803
00:48:16,920 --> 00:48:20,520
Speaker 1: like The Shrouds is. I mean, there's such different movies

804
00:48:20,560 --> 00:48:23,560
Speaker 1: it's insane to even compare the two. But he's he's

805
00:48:23,640 --> 00:48:25,600
Speaker 1: but he's like that, probably around the same age as

806
00:48:25,640 --> 00:48:29,840
Speaker 1: David Cronenberg, and they're kind of reflecting. Yeah, you know, it's.

807
00:48:29,719 --> 00:48:32,279
Speaker 2: Like all of our filmmakers from film school are going

808
00:48:32,320 --> 00:48:33,920
Speaker 2: through it at the same time, and we're.

809
00:48:33,800 --> 00:48:36,160
Speaker 1: Here for it. I mean, the thing and the movies

810
00:48:36,160 --> 00:48:38,479
Speaker 1: are good too, because those kind of movies suck.

811
00:48:38,800 --> 00:48:43,000
Speaker 2: Yeah. I the thing that David Kroneberg has always been

812
00:48:43,040 --> 00:48:48,359
Speaker 2: really good at is, at least for me personally, is

813
00:48:48,600 --> 00:48:56,040
Speaker 2: scaring me to death about the possibilities of technology. Yeah,

814
00:48:56,640 --> 00:48:59,839
Speaker 2: like this whole grave tech thing.

815
00:49:01,040 --> 00:49:03,279
Speaker 1: Yeah, would you you want? You want this? Right?

816
00:49:06,000 --> 00:49:08,800
Speaker 2: I'd like to eat at the five star Michelin restaurant

817
00:49:08,840 --> 00:49:09,759
Speaker 2: that's attached to it.

818
00:49:10,160 --> 00:49:12,120
Speaker 1: We have to talk about the first scene at some point,

819
00:49:12,120 --> 00:49:14,160
Speaker 1: but continue.

820
00:49:13,560 --> 00:49:20,400
Speaker 2: Okay, like this gravetech thing. So hopefully this isn't going

821
00:49:20,480 --> 00:49:23,240
Speaker 2: to be confusing to those who By the way, spoiler alert,

822
00:49:23,280 --> 00:49:26,080
Speaker 2: we're doing another new movie. If you haven't seen it

823
00:49:26,120 --> 00:49:27,560
Speaker 2: and you don't want to know anything about it, I

824
00:49:27,560 --> 00:49:29,920
Speaker 2: should have said this at the very beginning. But whatever,

825
00:49:30,640 --> 00:49:33,520
Speaker 2: it's like because it's like a new Fandango. It's like

826
00:49:33,560 --> 00:49:38,160
Speaker 2: a high tech cemetery obviously using eight K resolution to

827
00:49:38,200 --> 00:49:42,320
Speaker 2: be able to look at your dead relatives fucking nose holes.

828
00:49:43,200 --> 00:49:48,120
Speaker 2: And he also has created this is the Vincent Cassell character.

829
00:49:48,640 --> 00:49:52,960
Speaker 2: He has created this like fancy restaurant that is attached

830
00:49:53,000 --> 00:49:54,680
Speaker 2: to it that you can have your lunch and then

831
00:49:54,960 --> 00:49:59,960
Speaker 2: you're looking around and there's like these giant shrouds men

832
00:50:00,239 --> 00:50:03,440
Speaker 2: singly staring at you. When you eat, You're like, I

833
00:50:03,440 --> 00:50:07,040
Speaker 2: don't know field greens, and I just kept thinking to myself,

834
00:50:08,040 --> 00:50:11,040
Speaker 2: do I want to eat at a nice restaurant in

835
00:50:11,120 --> 00:50:13,319
Speaker 2: a cemetery?

836
00:50:13,360 --> 00:50:15,120
Speaker 1: We we need to Okay, we need to talk about

837
00:50:15,120 --> 00:50:17,480
Speaker 1: the first scene, then go ahead. So the first scene

838
00:50:17,520 --> 00:50:20,799
Speaker 1: of the movie is Karsh is on a blind date

839
00:50:20,840 --> 00:50:24,120
Speaker 1: with a woman and immediately I'm like, where the hell

840
00:50:24,280 --> 00:50:26,520
Speaker 1: are they, because I know this is a movie called

841
00:50:26,560 --> 00:50:33,080
Speaker 1: The Shrouds and in this restaurant are shrouds. And she's like, wow,

842
00:50:33,120 --> 00:50:35,280
Speaker 1: it's kind of interesting that we're eating at a restaurant

843
00:50:35,360 --> 00:50:38,000
Speaker 1: in a cemetery. And he's like, well, I own this

844
00:50:38,080 --> 00:50:42,360
Speaker 1: restaurant and she's like oh. And he's like and I

845
00:50:42,400 --> 00:50:47,560
Speaker 1: own this cemetery and she's like oh. And he's like, yeah,

846
00:50:47,600 --> 00:50:51,040
Speaker 1: my dead wife is buried outside. Do you want to

847
00:50:51,080 --> 00:50:57,160
Speaker 1: see her grave? And she's kind of like sure, let's

848
00:50:57,200 --> 00:51:02,120
Speaker 1: go see. And she's confused about gravetech. She thinks that

849
00:51:02,200 --> 00:51:05,120
Speaker 1: these are video screens that show, like, I don't know,

850
00:51:05,440 --> 00:51:09,080
Speaker 1: nice pictures of the of your loved one. Like, you know,

851
00:51:09,280 --> 00:51:13,000
Speaker 1: like those digital frames, and he turns it on and

852
00:51:13,040 --> 00:51:17,400
Speaker 1: he shows her the rotting corpse of his deceased wife.

853
00:51:17,440 --> 00:51:19,960
Speaker 1: And she's like, oh my god. And she's like, uh,

854
00:51:20,160 --> 00:51:26,719
Speaker 1: you're a nice guy, but see you later. Yeah, an

855
00:51:26,800 --> 00:51:31,280
Speaker 1: intense for Yeah, how would you react on a blind

856
00:51:31,360 --> 00:51:32,080
Speaker 1: date like this?

857
00:51:33,320 --> 00:51:37,279
Speaker 2: I mean, I'm weird, so i'd probably really I'd be like.

858
00:51:38,840 --> 00:51:40,960
Speaker 2: As I was thinking about this actually, when when this

859
00:51:41,120 --> 00:51:44,480
Speaker 2: was happening, I was like, would I go down? Of

860
00:51:44,480 --> 00:51:47,080
Speaker 2: course I'd go down. I gotta see it.

861
00:51:47,640 --> 00:51:50,520
Speaker 1: You got to see the wife's grave? Sure, Okay, I

862
00:51:50,560 --> 00:51:53,239
Speaker 1: gotta see it. I mean, I'm just because I'm well.

863
00:51:53,440 --> 00:51:56,680
Speaker 1: Carsh does ask how dark do you want to get?

864
00:51:57,080 --> 00:51:59,920
Speaker 2: Right, which, of course, to me, I'm like, let's roll by.

865
00:52:00,440 --> 00:52:00,839
Speaker 1: I'm in.

866
00:52:01,360 --> 00:52:04,239
Speaker 2: But you know I would go I hate to say it.

867
00:52:04,280 --> 00:52:08,120
Speaker 2: I would go now, I'm with you, though there's a

868
00:52:08,280 --> 00:52:11,879
Speaker 2: limit to what that could be. I totally thought, much

869
00:52:11,960 --> 00:52:14,800
Speaker 2: like her, I was just gonna be like a digital

870
00:52:14,840 --> 00:52:18,480
Speaker 2: portrait of an Olin Mills photo taken of his wife.

871
00:52:19,760 --> 00:52:23,480
Speaker 2: I would definitely be out after that. I just I

872
00:52:23,520 --> 00:52:25,480
Speaker 2: think that was So this is the thing that I

873
00:52:25,520 --> 00:52:32,200
Speaker 2: was wrestling with the entire film because Carsh by the way,

874
00:52:33,400 --> 00:52:35,719
Speaker 2: when I started at TCM in two thousand and four,

875
00:52:36,480 --> 00:52:41,200
Speaker 2: the lovely GM at the time was named Tom Carsh.

876
00:52:42,239 --> 00:52:44,920
Speaker 2: Oh yes, And so every time they said Carsh, it

877
00:52:45,000 --> 00:52:48,839
Speaker 2: kept reminding me of Tom from TCM, the old TCM days.

878
00:52:48,840 --> 00:52:57,240
Speaker 2: But anyway, I was struggling with the idea that carsh

879
00:52:57,360 --> 00:52:59,960
Speaker 2: was supposed to be the good guy in this movie,

880
00:53:00,080 --> 00:53:07,200
Speaker 2: be interesting, like I more, I thought he was pretty

881
00:53:07,239 --> 00:53:10,080
Speaker 2: morally bankrupt in a weird way. Like I was like,

882
00:53:10,640 --> 00:53:12,200
Speaker 2: this is a tech bro.

883
00:53:12,680 --> 00:53:16,840
Speaker 1: Right, Yes, he's driving a Tesla.

884
00:53:17,440 --> 00:53:20,440
Speaker 2: Yeah, he's integrated all this like crazy technology, while at

885
00:53:20,480 --> 00:53:23,720
Speaker 2: the same time like having an apartment that is very

886
00:53:24,400 --> 00:53:27,440
Speaker 2: old school Japanese, which I'll get to in just a second.

887
00:53:28,000 --> 00:53:31,160
Speaker 2: But the moment that Tesla pulled out, I was like, Oh,

888
00:53:31,160 --> 00:53:34,480
Speaker 2: he's one of these fuckers, Like he's trying to make

889
00:53:34,640 --> 00:53:37,480
Speaker 2: tech that's supposed to improve the world and it's really

890
00:53:37,520 --> 00:53:43,200
Speaker 2: just kind of weird and like not helpful, and he's

891
00:53:43,320 --> 00:53:46,920
Speaker 2: naive about the hackabilities of things, and he's sort of

892
00:53:47,040 --> 00:53:51,040
Speaker 2: like it's kind of like his you know, the whole

893
00:53:51,080 --> 00:53:55,919
Speaker 2: like kind of Frankenstein's Monster concept of some rich guy

894
00:53:55,920 --> 00:53:58,920
Speaker 2: who just like wants to build this like thing that

895
00:53:59,080 --> 00:54:03,919
Speaker 2: he wants so badly for himself, for himself, right, even

896
00:54:03,920 --> 00:54:07,000
Speaker 2: though when you scope out of it, there is something

897
00:54:07,360 --> 00:54:10,680
Speaker 2: to be said for somebody who's grieving, right, Like you're like, oh,

898
00:54:10,719 --> 00:54:13,120
Speaker 2: he's grieving, this is he this is what he wants

899
00:54:13,160 --> 00:54:15,360
Speaker 2: to do with his grief. But I also kept thinking

900
00:54:16,480 --> 00:54:18,279
Speaker 2: I can't roll with.

901
00:54:18,280 --> 00:54:22,400
Speaker 1: This guy though he's like, this is too much like interesting.

902
00:54:23,719 --> 00:54:27,040
Speaker 1: I guess I was kind of like, what is David

903
00:54:27,080 --> 00:54:30,280
Speaker 1: Cronenberg saying by making this character this way? Yes, exactly,

904
00:54:30,360 --> 00:54:33,520
Speaker 1: And I feel like what he's saying is this guy

905
00:54:33,640 --> 00:54:38,440
Speaker 1: is fucking pathetic, like to a degree that is so

906
00:54:39,360 --> 00:54:47,040
Speaker 1: outward and public, and I think that part of grief,

907
00:54:47,280 --> 00:54:49,760
Speaker 1: Like I think that can be a part of grieving,

908
00:54:49,840 --> 00:54:55,080
Speaker 1: like feeling like, God, I'm so publicly pathetic. Everyone sees

909
00:54:55,560 --> 00:55:00,560
Speaker 1: how pathetic I am, and I think, I don't know,

910
00:55:00,600 --> 00:55:02,600
Speaker 1: I sort of that's sort of my was sort of

911
00:55:02,600 --> 00:55:07,000
Speaker 1: my interpretation of why he's like, you know, he's like

912
00:55:07,080 --> 00:55:09,920
Speaker 1: a classic tech bro, and.

913
00:55:10,000 --> 00:55:15,120
Speaker 2: He also there was so much language and conversation around

914
00:55:15,200 --> 00:55:18,840
Speaker 2: this idea that he like felt like he had a

915
00:55:18,960 --> 00:55:23,359
Speaker 2: right to own his wife's body at multiple plays, which

916
00:55:23,440 --> 00:55:27,359
Speaker 2: kind of drove me bananas because I was like, I mean,

917
00:55:27,400 --> 00:55:32,319
Speaker 2: there's the obvious stuff about like being in a long

918
00:55:32,400 --> 00:55:36,640
Speaker 2: term relationship and feeling like, you know, you're you're so

919
00:55:36,920 --> 00:55:41,680
Speaker 2: embedded with somebody that you know, you sort of you know,

920
00:55:41,760 --> 00:55:45,040
Speaker 2: you're obviously like in a relationship with them that's very intimate,

921
00:55:45,200 --> 00:55:49,839
Speaker 2: and you you do. It's a certain point are responsible

922
00:55:49,840 --> 00:55:54,040
Speaker 2: for each other's bodies in this like very broad way, right.

923
00:55:54,960 --> 00:55:57,640
Speaker 2: But his language they kept using was that, you know,

924
00:55:57,920 --> 00:56:01,239
Speaker 2: his wife's body was his body. He wants to be

925
00:56:01,520 --> 00:56:04,560
Speaker 2: with it and watch it and watch it decompose, and

926
00:56:04,680 --> 00:56:11,040
Speaker 2: he was offended when her body was being you know,

927
00:56:11,200 --> 00:56:19,160
Speaker 2: basically you know, surgically challenged or changed because of her illness.

928
00:56:20,120 --> 00:56:22,560
Speaker 2: And I just kept thinking that feels I mean, when

929
00:56:22,600 --> 00:56:25,320
Speaker 2: you put that against like all of his other characteristics,

930
00:56:25,360 --> 00:56:29,440
Speaker 2: there's character I'm like, oh my god, he's like a maniac. Yeah,

931
00:56:29,480 --> 00:56:33,319
Speaker 2: you know, yeah, And that's what I kept wrestling with

932
00:56:33,440 --> 00:56:36,440
Speaker 2: in terms of I mean, honestly, I think David Kronenberg

933
00:56:36,520 --> 00:56:38,720
Speaker 2: is really good at just throwing out these like big

934
00:56:39,200 --> 00:56:41,759
Speaker 2: concepts of like is this fucked up? What do you

935
00:56:41,800 --> 00:56:42,440
Speaker 2: think about this?

936
00:56:43,000 --> 00:56:43,520
Speaker 1: Yeah?

937
00:56:43,560 --> 00:56:48,040
Speaker 2: Which I appreciate. They're like thought experiments from hell basically,

938
00:56:48,920 --> 00:56:51,160
Speaker 2: But it was that moment where I was like, I

939
00:56:51,280 --> 00:56:53,799
Speaker 2: cannot root for him in a weird way.

940
00:56:54,360 --> 00:56:58,960
Speaker 1: I like that David Kronenberg is saying, like it seems

941
00:56:58,960 --> 00:57:01,319
Speaker 1: like an exploration of the insane thoughts you have when

942
00:57:01,360 --> 00:57:04,400
Speaker 1: you're going through grief. Yes, it's like these are like

943
00:57:04,760 --> 00:57:08,080
Speaker 1: the insane thoughts that you have that flash through your

944
00:57:08,080 --> 00:57:12,080
Speaker 1: brain when you're grieving, except he's playing them out right,

945
00:57:12,200 --> 00:57:12,520
Speaker 1: you know.

946
00:57:12,680 --> 00:57:15,640
Speaker 2: And that's the darkness, right. It's like taking the things

947
00:57:16,280 --> 00:57:22,280
Speaker 2: that feel like they're forbidden to even ruminate on and

948
00:57:22,320 --> 00:57:25,960
Speaker 2: be like, it's a movie for you to watch, which

949
00:57:25,960 --> 00:57:30,200
Speaker 2: I as a as a shithead, I appreciate that.

950
00:57:30,240 --> 00:57:31,000
Speaker 1: Big d oh.

951
00:57:31,080 --> 00:57:38,000
Speaker 2: Yeah, I would like to talk about honey, are you

952
00:57:38,040 --> 00:57:40,640
Speaker 2: ready for this? Yeah?

953
00:57:40,760 --> 00:57:41,280
Speaker 1: I'm ready?

954
00:57:43,880 --> 00:57:46,800
Speaker 2: Okay, real question actually, and maybe you know this, maybe

955
00:57:46,840 --> 00:57:50,000
Speaker 2: you don't. Do you have to get special permission from

956
00:57:50,040 --> 00:57:55,040
Speaker 2: Apple to like feature their their operating systems and their tech.

957
00:57:55,400 --> 00:57:59,040
Speaker 1: I'm sure you do. I know that bad guys are

958
00:57:59,080 --> 00:58:03,440
Speaker 1: not allowed to be featured using iPhones in a movie,

959
00:58:04,120 --> 00:58:06,760
Speaker 1: like the villain of a movie can't use an iPhone,

960
00:58:06,800 --> 00:58:10,480
Speaker 1: only the hero, good guy Ken, And so I can't

961
00:58:10,520 --> 00:58:14,880
Speaker 1: imagine Apple would really want a character like Karsh to

962
00:58:14,960 --> 00:58:17,520
Speaker 1: be you know, on an iPad.

963
00:58:18,320 --> 00:58:20,720
Speaker 2: Yeah, I kept wondering that because I was like, oh,

964
00:58:20,720 --> 00:58:25,800
Speaker 2: they're like face timing. So this Honey character is his

965
00:58:26,160 --> 00:58:31,040
Speaker 2: So Guy Pierce more about him later has given him

966
00:58:31,040 --> 00:58:36,080
Speaker 2: the gift of like an AI assistant, and her avatar

967
00:58:36,560 --> 00:58:39,600
Speaker 2: looks like a memoji that he would build in your apple,

968
00:58:39,960 --> 00:58:44,240
Speaker 2: your phone, your iPhone.

969
00:58:42,680 --> 00:58:46,520
Speaker 1: Who also looks like his wife. Not just that the

970
00:58:46,640 --> 00:58:49,640
Speaker 1: voice of Honey is the AI version of his dead

971
00:58:49,680 --> 00:58:53,760
Speaker 1: wife's voice, right, so it sounds exactly like his dead wife, right.

972
00:58:54,440 --> 00:58:59,200
Speaker 2: Which, to be honest, I have actually read about in

973
00:58:59,240 --> 00:59:05,320
Speaker 2: the news about how people are using AI to connect

974
00:59:05,440 --> 00:59:10,160
Speaker 2: with dead relatives. Which, so you know, he's got his

975
00:59:10,200 --> 00:59:14,120
Speaker 2: finger on the pulse. No pun intended with that, and

976
00:59:14,200 --> 00:59:16,320
Speaker 2: so to see it play out was kind of crazy.

977
00:59:17,080 --> 00:59:20,920
Speaker 2: But like, so she basically becomes his assistant, sets up

978
00:59:20,960 --> 00:59:25,760
Speaker 2: all of his you know, Clondestine weird multinational appointments. Yes,

979
00:59:27,120 --> 00:59:32,920
Speaker 2: and there is a moment so hopefully this isn't too convoluted.

980
00:59:33,880 --> 00:59:38,680
Speaker 2: Cars is moving into these like weird like dream like states.

981
00:59:39,240 --> 00:59:43,680
Speaker 2: Would you say, yeah, where he believes that he is

982
00:59:44,000 --> 00:59:48,400
Speaker 2: possibly seeing his dead wife, like enter the room in

983
00:59:48,440 --> 00:59:50,000
Speaker 2: things of that nature, right.

984
00:59:50,400 --> 00:59:52,520
Speaker 1: It's hard to tell if yeah, it's it seems like

985
00:59:52,560 --> 00:59:58,760
Speaker 1: it's like a dream sequence, but it flirts with reality slightly, right.

986
00:59:59,400 --> 01:00:02,480
Speaker 2: No one is really and even his character doesn't know

987
01:00:02,960 --> 01:00:06,960
Speaker 2: of course, but like, so there was a moment where

988
01:00:08,120 --> 01:00:11,800
Speaker 2: Honey is not to be trusted. Is it becomes an

989
01:00:11,880 --> 01:00:15,560
Speaker 2: unreliable narrator, right, He gets a warning that there's some

990
01:00:15,680 --> 01:00:22,960
Speaker 2: bad code. Right, and then she kind of goes rogue

991
01:00:23,400 --> 01:00:30,000
Speaker 2: and basically embodies his wife in one of his dream

992
01:00:30,040 --> 01:00:34,520
Speaker 2: sequences where she's missing limbs and has a lot of

993
01:00:34,600 --> 01:00:36,280
Speaker 2: surgical scars, right.

994
01:00:36,480 --> 01:00:39,560
Speaker 1: Yeah, which is it seems like how his wife looked

995
01:00:39,560 --> 01:00:40,520
Speaker 1: when she died.

996
01:00:40,440 --> 01:00:47,000
Speaker 2: Right, And this shit freaked me out so bad because

997
01:00:47,000 --> 01:00:50,200
Speaker 2: she was doing this, like she was basically taunting him,

998
01:00:50,240 --> 01:00:53,240
Speaker 2: like she was like, yeah, she had gone rogue. She

999
01:00:53,400 --> 01:00:59,360
Speaker 2: was basically appeared to be his dead, mutilated wife and

1000
01:00:59,600 --> 01:01:04,280
Speaker 2: was like doing a little strip tease. Yeah, And I

1001
01:01:04,520 --> 01:01:07,840
Speaker 2: was like, I am so disturbed by this, I can't

1002
01:01:07,840 --> 01:01:13,680
Speaker 2: even tell you. I was freaked out by Casey about what.

1003
01:01:13,880 --> 01:01:16,480
Speaker 1: About that disturbs you, Millie?

1004
01:01:17,720 --> 01:01:20,400
Speaker 2: Just the fucked up nature of that, just like an

1005
01:01:20,520 --> 01:01:24,480
Speaker 2: idea that an AI would go like go for the

1006
01:01:24,560 --> 01:01:29,040
Speaker 2: jugular like that a yeah, and then her like weird

1007
01:01:30,600 --> 01:01:35,280
Speaker 2: cartoon strip tease with her tongue hanging out. I was like, yeah,

1008
01:01:35,280 --> 01:01:37,960
Speaker 2: she was like twerking'. I was like, come on, this

1009
01:01:38,040 --> 01:01:41,360
Speaker 2: is absolutely insane and I like hate this.

1010
01:01:43,440 --> 01:01:45,080
Speaker 1: Well, I mean, I feel like that goes to show

1011
01:01:45,200 --> 01:01:50,480
Speaker 1: like how kind of perverse this is. This like trying

1012
01:01:50,880 --> 01:01:54,520
Speaker 1: to communicate with the dead using AI or even like

1013
01:01:55,400 --> 01:01:58,560
Speaker 1: viewing their decomposing. It's like a perverse notion.

1014
01:01:59,000 --> 01:02:01,400
Speaker 2: Yes, it is. I think that's the best word to

1015
01:02:02,160 --> 01:02:05,880
Speaker 2: it's extremely perverse in taboo, like the whole subject matter,

1016
01:02:06,840 --> 01:02:07,919
Speaker 2: the way it rolls out.

1017
01:02:08,800 --> 01:02:11,680
Speaker 1: What you get is for an eighty something year old guy.

1018
01:02:12,840 --> 01:02:15,960
Speaker 1: I mean, he has a quote about technology that I

1019
01:02:16,000 --> 01:02:22,400
Speaker 1: actually find comfort in technology in David Kerneberg movies because

1020
01:02:22,400 --> 01:02:28,000
Speaker 1: he has this quote that he says, technology is not alien,

1021
01:02:28,480 --> 01:02:32,880
Speaker 1: it's not inhuman, it's completely human. It's really an extension

1022
01:02:33,040 --> 01:02:38,160
Speaker 1: of us. And so I don't fear I feel like

1023
01:02:38,240 --> 01:02:40,800
Speaker 1: I fear technology in the way that I fear other humans,

1024
01:02:40,840 --> 01:02:44,440
Speaker 1: which is a lot, but it's not it's not I

1025
01:02:44,480 --> 01:02:48,120
Speaker 1: don't I Yeah, so I'm kind of comforted weirdly by

1026
01:02:48,160 --> 01:02:49,000
Speaker 1: that notion.

1027
01:02:49,200 --> 01:02:52,920
Speaker 2: Well, but that's I think maybe part of the point

1028
01:02:53,080 --> 01:02:58,760
Speaker 2: is that it's informed by other users and a lot

1029
01:02:58,760 --> 01:03:01,360
Speaker 2: of times informed by people like us. I mean that's

1030
01:03:01,360 --> 01:03:05,120
Speaker 2: what chat GPT is, right. Yeah, So you're sitting there

1031
01:03:05,320 --> 01:03:07,520
Speaker 2: chatting with chat gpt and all of a sudden, it

1032
01:03:07,600 --> 01:03:11,960
Speaker 2: starts doing a direstoring, it starts doing a dismembered little

1033
01:03:12,000 --> 01:03:16,040
Speaker 2: twerk show for you, And then you're like, who the

1034
01:03:16,160 --> 01:03:19,760
Speaker 2: fuck around me is informing this thing to do this?

1035
01:03:20,040 --> 01:03:25,840
Speaker 2: Like like what mind created this? What human mind puts

1036
01:03:25,960 --> 01:03:27,160
Speaker 2: put these things together?

1037
01:03:27,800 --> 01:03:27,960
Speaker 1: Yeah?

1038
01:03:28,000 --> 01:03:30,440
Speaker 2: But I also think that AI R robots coming to

1039
01:03:30,520 --> 01:03:32,760
Speaker 2: kill us too, So I don't know. I'm of both minds,

1040
01:03:32,800 --> 01:03:38,320
Speaker 2: I suppose. But the Honey character was disturbing to me. Sure,

1041
01:03:38,360 --> 01:03:42,120
Speaker 2: and when he ditched her, I was like, thank God

1042
01:03:42,480 --> 01:03:45,840
Speaker 2: for that. Let's let's talk about I don't know. Do

1043
01:03:45,880 --> 01:03:48,040
Speaker 2: you can I bring something else up?

1044
01:03:48,440 --> 01:03:48,840
Speaker 1: Please?

1045
01:03:49,760 --> 01:03:54,080
Speaker 2: I want to bring up the twins in the movie Sure.

1046
01:03:54,120 --> 01:03:56,720
Speaker 1: And this is kind of a Cronenberg thing, he said,

1047
01:03:56,760 --> 01:03:59,240
Speaker 1: Twins and other movies. There's a movie called Dead Ringers

1048
01:03:59,240 --> 01:04:03,760
Speaker 1: that sort of, you know, investigates that concept.

1049
01:04:04,040 --> 01:04:07,680
Speaker 2: What would you say would be like recurring themes in

1050
01:04:07,760 --> 01:04:08,640
Speaker 2: Cronberg movies?

1051
01:04:09,160 --> 01:04:12,440
Speaker 1: Well, I wrote down a few, you know, obviously mutilated

1052
01:04:12,480 --> 01:04:19,920
Speaker 1: bodies and also vulva shaped scars true and vaginal scar

1053
01:04:20,160 --> 01:04:25,640
Speaker 1: like vaginal looking openings, and bodies big slits, let's just

1054
01:04:25,680 --> 01:04:28,919
Speaker 1: say it. Yeah, sure, sure, sure. One that I wrote

1055
01:04:28,920 --> 01:04:34,760
Speaker 1: down watching this movie was like conversations during sex, which

1056
01:04:35,200 --> 01:04:37,160
Speaker 1: happens in a few of his movies, where people are

1057
01:04:37,200 --> 01:04:41,280
Speaker 1: like talking a lot at like conversationally kind of during

1058
01:04:41,280 --> 01:04:41,840
Speaker 1: a sex scene.

1059
01:04:41,880 --> 01:04:44,680
Speaker 2: Yeah, they're like processing a lot of information information.

1060
01:04:44,840 --> 01:04:50,880
Speaker 1: Yeah, yeah, and you know, just like the violent interaction

1061
01:04:51,000 --> 01:04:54,080
Speaker 1: of machinery and technology with the human body. Yeah, it's

1062
01:04:54,080 --> 01:04:57,360
Speaker 1: definitely which we've covered. I'm sure there's a million more,

1063
01:04:58,000 --> 01:05:03,240
Speaker 1: but those are the kind of themes that come to mind.

1064
01:05:03,520 --> 01:05:07,680
Speaker 2: Wow, it's interesting. David Lynch also loves twins and doppelgangers.

1065
01:05:07,000 --> 01:05:08,600
Speaker 1: And he does what's up.

1066
01:05:08,480 --> 01:05:15,080
Speaker 2: With white haired guys with big hair? Twins? My god,

1067
01:05:16,560 --> 01:05:22,040
Speaker 2: you're onto something publish. So there are a set of

1068
01:05:22,080 --> 01:05:26,280
Speaker 2: twins technically, even though they're not, they're sisters. So Diane

1069
01:05:26,360 --> 01:05:30,080
Speaker 2: Kruger the actress Diane Krueger, who plays the wife the

1070
01:05:30,240 --> 01:05:34,960
Speaker 2: deceased wife. She also plays her sister, who is much alive,

1071
01:05:35,920 --> 01:05:42,160
Speaker 2: and she is a former veterinarian now dog rumor who

1072
01:05:42,320 --> 01:05:48,360
Speaker 2: has has kept a friendly relationship with Karsh but then

1073
01:05:50,080 --> 01:05:52,880
Speaker 2: was formerly married to the guy Pierce character who is

1074
01:05:52,920 --> 01:05:56,880
Speaker 2: now is kind of like techno constigliery guy or whatever.

1075
01:05:56,960 --> 01:06:02,880
Speaker 1: Yeah, this movie is so confounded, using to fucking convoluted, dude.

1076
01:06:03,560 --> 01:06:07,520
Speaker 2: So my question to you is, there's a couple of questions.

1077
01:06:08,760 --> 01:06:10,320
Speaker 2: One of the things that I thought was like so

1078
01:06:10,600 --> 01:06:13,680
Speaker 2: funny about this movie, Like you said there were moments

1079
01:06:13,680 --> 01:06:18,480
Speaker 2: of hilarity in the shrouds. Yes, is that like this

1080
01:06:19,080 --> 01:06:24,400
Speaker 2: very like nineteen eighties comedy device of there being a

1081
01:06:24,480 --> 01:06:26,560
Speaker 2: hot twin and then like a dowdy twin.

1082
01:06:27,200 --> 01:06:28,200
Speaker 1: Sure, and.

1083
01:06:29,760 --> 01:06:33,800
Speaker 2: The sister, the sister who's alive is the dowdy twin. Right.

1084
01:06:34,200 --> 01:06:36,920
Speaker 2: She's got like kind of frumpy hair, and she wears like,

1085
01:06:37,640 --> 01:06:41,280
Speaker 2: you know, work pants, and she's a dog rumor she

1086
01:06:41,400 --> 01:06:44,720
Speaker 2: eat there. There's at one point where Cars is at

1087
01:06:44,760 --> 01:06:47,680
Speaker 2: her house and she's eating like a bowl of cereal

1088
01:06:47,800 --> 01:06:50,560
Speaker 2: at her dog grooming table and there's like bits of

1089
01:06:50,680 --> 01:06:51,680
Speaker 2: fur everywhere.

1090
01:06:51,480 --> 01:06:53,640
Speaker 1: Like, girl, I didn't even clock that.

1091
01:06:54,840 --> 01:06:58,200
Speaker 2: It was like, Terry, what the fuck don't eat where

1092
01:06:58,240 --> 01:07:02,640
Speaker 2: you grew your dogs? That's so cool ross. But the

1093
01:07:02,680 --> 01:07:07,640
Speaker 2: thing about her, that her character that drove me to

1094
01:07:08,600 --> 01:07:12,160
Speaker 2: heights of hilarity and cackling laughter is how she went

1095
01:07:12,200 --> 01:07:16,600
Speaker 2: from zero to horny in like two point five seconds.

1096
01:07:16,880 --> 01:07:22,440
Speaker 1: The horniness of this movie is a huge component. Yeah,

1097
01:07:22,480 --> 01:07:24,600
Speaker 1: and I think a part of the grief process as well,

1098
01:07:24,720 --> 01:07:27,000
Speaker 1: especially with your wife. It's like, am I allowed to

1099
01:07:27,040 --> 01:07:32,960
Speaker 1: be horny again? You know? And yes, it really did

1100
01:07:33,000 --> 01:07:36,720
Speaker 1: go from zero to sixty. There wasn't much ramp up.

1101
01:07:36,760 --> 01:07:39,320
Speaker 1: But there's this whole thing about Karsh being obsessed with

1102
01:07:39,320 --> 01:07:43,640
Speaker 1: his wife's body. Yes, and then it's like her twin

1103
01:07:43,720 --> 01:07:46,160
Speaker 1: sister has the same body, but I was told by

1104
01:07:46,200 --> 01:07:49,040
Speaker 1: my wife specifically, don't have sex with my sister when

1105
01:07:49,080 --> 01:07:50,920
Speaker 1: she's gone. But he can't help himself.

1106
01:07:51,640 --> 01:07:56,080
Speaker 2: I mean that was all again shady protagonist. I was

1107
01:07:56,160 --> 01:07:59,760
Speaker 2: kind of like, yeah, bro, what's up because it was

1108
01:07:59,760 --> 01:08:03,160
Speaker 2: all so bagging out the blind lady.

1109
01:08:03,320 --> 01:08:05,280
Speaker 1: Yes, which we haven't even talked about yet.

1110
01:08:05,440 --> 01:08:07,200
Speaker 2: Yes, there's a blind there's a blind character.

1111
01:08:07,280 --> 01:08:09,760
Speaker 1: I don't even need to get to that one. I'm like,

1112
01:08:09,880 --> 01:08:16,880
Speaker 1: that deals more with like Hungarian international relations. I'm like,

1113
01:08:17,120 --> 01:08:20,400
Speaker 1: let's just not touch that right now. I don't have

1114
01:08:20,479 --> 01:08:23,080
Speaker 1: the bandwidth for that. I mean, there is a blind character.

1115
01:08:23,520 --> 01:08:26,280
Speaker 1: And yeah, she was so hot too, I mean everyone

1116
01:08:26,400 --> 01:08:29,880
Speaker 1: is hot, like Vincent Cassel is hot. Diane Krueger is

1117
01:08:30,240 --> 01:08:34,559
Speaker 1: unbelievably hot in this movie. Yeah, everyone looks great. It's

1118
01:08:34,600 --> 01:08:40,280
Speaker 1: a sexy ass movie, and it's also dealing with death

1119
01:08:40,360 --> 01:08:44,320
Speaker 1: and grief and stuff. And I think there's interesting things

1120
01:08:44,360 --> 01:08:48,960
Speaker 1: that Cronenberg is pointing to with horniness and death.

1121
01:08:49,320 --> 01:08:53,920
Speaker 2: Yeah, well I'm that note. I will say the actor

1122
01:08:54,000 --> 01:08:58,760
Speaker 2: Guy Pierce is in the film who has always been

1123
01:08:58,800 --> 01:09:03,400
Speaker 2: attractive but looks like absolute shit in this film. He's like,

1124
01:09:03,920 --> 01:09:07,920
Speaker 2: to me, he was kind of like an in Cell character,

1125
01:09:07,920 --> 01:09:13,400
Speaker 2: wouldn't you say? And that again another kind of modern

1126
01:09:13,600 --> 01:09:16,760
Speaker 2: concept that I think David Cronenberg kind of figured out

1127
01:09:16,800 --> 01:09:19,479
Speaker 2: and is like put into a movie. I mean, first

1128
01:09:19,520 --> 01:09:23,080
Speaker 2: of all, it doesn't surprise me that he is ramped

1129
01:09:23,160 --> 01:09:25,840
Speaker 2: up all of the conspiracy theory stuff because that seems

1130
01:09:25,880 --> 01:09:29,479
Speaker 2: also really modern. Right, there's all this like modernism in

1131
01:09:29,520 --> 01:09:34,080
Speaker 2: his film where it's like the tech, the testless stuff,

1132
01:09:35,040 --> 01:09:42,639
Speaker 2: the you know, conspiracy theories, the body autonomy questions. Right,

1133
01:09:42,960 --> 01:09:45,720
Speaker 2: but then the in Cell guy, which is like, yes,

1134
01:09:45,840 --> 01:09:51,040
Speaker 2: you know, he's like a hacker and then can't get

1135
01:09:51,040 --> 01:09:53,840
Speaker 2: a shit together and like eats mots of all soup

1136
01:09:54,080 --> 01:09:56,840
Speaker 2: and plays on his computer all day and night, and

1137
01:09:56,880 --> 01:09:59,479
Speaker 2: then like hates women type of thing.

1138
01:09:59,640 --> 01:09:59,880
Speaker 1: Right.

1139
01:10:01,479 --> 01:10:03,800
Speaker 2: It made me realize, though, I don't think I've seen

1140
01:10:03,840 --> 01:10:05,519
Speaker 2: Guy Pears in a movie in a long time.

1141
01:10:06,280 --> 01:10:10,960
Speaker 1: Well, then you never saw the Brutalist. I didn't, duh,

1142
01:10:11,000 --> 01:10:14,800
Speaker 1: I didn't see that. Yeah. No, I feel like, yeah,

1143
01:10:14,800 --> 01:10:17,040
Speaker 1: we haven't seen him in a little bit. I like

1144
01:10:17,080 --> 01:10:18,840
Speaker 1: gy Peers, Yeah, I do too.

1145
01:10:18,960 --> 01:10:22,680
Speaker 2: And it's funny because his career to me in the

1146
01:10:22,800 --> 01:10:32,439
Speaker 2: nineties went from Priscilla Quina the Desert, La Confidential, Memento. Yeah,

1147
01:10:31,439 --> 01:10:35,040
Speaker 2: and then I was like, bye, bye, I haven't seen

1148
01:10:35,080 --> 01:10:36,120
Speaker 2: you in a long time, and.

1149
01:10:36,040 --> 01:10:39,880
Speaker 1: Now this Yeah, and now he's an incel. He was

1150
01:10:39,920 --> 01:10:43,280
Speaker 1: good though, I mean, he was believable. He's he can

1151
01:10:43,280 --> 01:10:47,000
Speaker 1: play like a hunk. Yeah, and a door and a creep.

1152
01:10:47,600 --> 01:10:47,800
Speaker 3: Oh.

1153
01:10:47,840 --> 01:10:50,559
Speaker 2: I want to talk about this because this is so dumb.

1154
01:10:51,760 --> 01:10:53,840
Speaker 2: You know. What I think is interesting about Kronenberg too,

1155
01:10:54,280 --> 01:10:58,800
Speaker 2: is that I feel like Kronelberg is a director, and

1156
01:10:58,840 --> 01:11:05,479
Speaker 2: I think it's because his movies are they require they

1157
01:11:05,520 --> 01:11:08,120
Speaker 2: require a few brain cells. Right when she say, I mean,

1158
01:11:08,120 --> 01:11:10,280
Speaker 2: we can't even we're smart people, we can't even figure

1159
01:11:10,280 --> 01:11:12,840
Speaker 2: out half of the shit that's happening in this movie. Right, Yes,

1160
01:11:13,439 --> 01:11:18,560
Speaker 2: but there's also this like especially in this film, I

1161
01:11:18,600 --> 01:11:22,160
Speaker 2: would say really specifically this film, but also the last

1162
01:11:22,200 --> 01:11:24,800
Speaker 2: film too, Crimes of the Future. He's got this like

1163
01:11:24,920 --> 01:11:32,320
Speaker 2: Patina to his films that feels very like movies for interesting,

1164
01:11:33,200 --> 01:11:35,280
Speaker 2: slightly dark adults.

1165
01:11:36,800 --> 01:11:40,120
Speaker 1: Yes, does that make sense? Feel like? Yes, it feels

1166
01:11:40,160 --> 01:11:48,519
Speaker 1: like it's for urban childless couples, and like I just

1167
01:11:48,880 --> 01:11:55,360
Speaker 1: it feels very like urban sophisticated New Yorker reader people

1168
01:11:55,439 --> 01:11:57,799
Speaker 1: I don't know, like I know, I know exactly what you're.

1169
01:11:57,640 --> 01:12:01,599
Speaker 2: Do you know what I'm saying, Like, it's like this movie.

1170
01:12:02,080 --> 01:12:06,559
Speaker 2: It's like the vibe of this movie is the people

1171
01:12:06,600 --> 01:12:08,320
Speaker 2: who are coming to see it, and the people that

1172
01:12:08,360 --> 01:12:11,840
Speaker 2: would be most titillated by it perhaps are people who

1173
01:12:12,040 --> 01:12:15,360
Speaker 2: I would see going to this art house movie theater

1174
01:12:16,120 --> 01:12:18,360
Speaker 2: in my old neighborhood called the Terra and they would

1175
01:12:18,360 --> 01:12:20,759
Speaker 2: go and see like the piano teacher at like eleven

1176
01:12:20,800 --> 01:12:24,920
Speaker 2: am on a Wednesday. They were like retired, they were older,

1177
01:12:24,960 --> 01:12:28,280
Speaker 2: but they were still like culturally, they were like patrons

1178
01:12:28,320 --> 01:12:29,920
Speaker 2: of the arts. Does that make sense?

1179
01:12:30,800 --> 01:12:34,719
Speaker 1: Yeah, that's it'd be an art gallery opening certainly.

1180
01:12:34,960 --> 01:12:37,880
Speaker 2: Yeah, But you're right, child childless or at least you know,

1181
01:12:38,120 --> 01:12:43,040
Speaker 2: like not within easy reach of grandchildren. Yes, and like

1182
01:12:43,040 --> 01:12:45,920
Speaker 2: because the whole vibe of the shrouds it's like very

1183
01:12:46,120 --> 01:12:50,439
Speaker 2: muted colors. It's slightly erotic, of course, which you know

1184
01:12:50,720 --> 01:12:53,080
Speaker 2: you need as a patron of the arts, there has

1185
01:12:53,120 --> 01:12:57,120
Speaker 2: to be some eroticism to the art, right, But also

1186
01:12:57,240 --> 01:13:02,160
Speaker 2: it kind of uses these like elevated gadgets, like you know,

1187
01:13:02,360 --> 01:13:07,960
Speaker 2: like nice cars and nice computers. And then I spoke

1188
01:13:08,000 --> 01:13:12,240
Speaker 2: about this sort of like Japandee house that he has

1189
01:13:12,560 --> 01:13:15,479
Speaker 2: where it's like, you know, he sleeps on a cot

1190
01:13:15,600 --> 01:13:18,960
Speaker 2: on an elevated floor and it's like all of the

1191
01:13:19,080 --> 01:13:25,760
Speaker 2: kind of like beautiful wood of everything. It's like Scandinavian

1192
01:13:25,880 --> 01:13:29,320
Speaker 2: Japanese you know, kind of thing with his like Noguchi

1193
01:13:29,479 --> 01:13:31,680
Speaker 2: lamps and everything. And I was like, oh, yeah, this

1194
01:13:31,800 --> 01:13:36,320
Speaker 2: is like catnip for like maybe you and I in

1195
01:13:36,360 --> 01:13:37,680
Speaker 2: about twenty years.

1196
01:13:38,080 --> 01:13:40,840
Speaker 1: Yeah, yeah, absolutely. I mean I want to look like

1197
01:13:41,320 --> 01:13:46,360
Speaker 1: I envision myself looking like David Cronenberg, you know, wearing

1198
01:13:46,439 --> 01:13:50,680
Speaker 1: like black long coats, white hair that sticks straight up,

1199
01:13:51,600 --> 01:13:54,439
Speaker 1: you know, this type of person I want to I

1200
01:13:54,479 --> 01:13:56,560
Speaker 1: want to exist in that realm.

1201
01:13:57,000 --> 01:13:59,040
Speaker 2: Yeah, I do too. I unfortunately think I'm going to

1202
01:13:59,080 --> 01:14:01,280
Speaker 2: probably end up like tear I'm gonna be like smelling

1203
01:14:01,400 --> 01:14:05,720
Speaker 2: like dogs with some nasty ass, greasy hair, you know,

1204
01:14:06,080 --> 01:14:10,559
Speaker 2: bad clothes from Ellobean but then horny. Yeah, I think

1205
01:14:10,600 --> 01:14:13,240
Speaker 2: that's my future. But I'm still in the movie. I'm

1206
01:14:13,280 --> 01:14:13,920
Speaker 2: in the movie.

1207
01:14:14,240 --> 01:14:18,719
Speaker 1: You're in the movie. And I mean, frankly, is Maory

1208
01:14:18,920 --> 01:14:24,559
Speaker 1: that far from my future? I hope? So, I hope

1209
01:14:24,560 --> 01:14:27,040
Speaker 1: he's far away. But there's part of me that's like,

1210
01:14:27,120 --> 01:14:28,000
Speaker 1: that could be me too.

1211
01:14:28,280 --> 01:14:31,760
Speaker 2: I mean, you don't be idiot. You aim higher. I

1212
01:14:31,800 --> 01:14:36,120
Speaker 2: would aim for the hot Waysian blind lady, but I

1213
01:14:36,120 --> 01:14:37,799
Speaker 2: would end up the dog rumer.

1214
01:14:37,880 --> 01:14:42,040
Speaker 1: I think, Yeah, it's yeah or somewhere in between, you know,

1215
01:14:42,200 --> 01:14:45,519
Speaker 1: between those two shoot for the stars. When is it

1216
01:14:45,520 --> 01:14:48,320
Speaker 1: shoot for the moon because you'll still be with the

1217
01:14:48,360 --> 01:14:50,639
Speaker 1: stars if you miss or something like that.

1218
01:14:50,960 --> 01:14:54,439
Speaker 2: You know that free I don't, but I love whatever

1219
01:14:54,439 --> 01:14:55,200
Speaker 2: you just said.

1220
01:14:55,520 --> 01:14:58,920
Speaker 1: Okay, well, Millie, I don't know. Did you have anything

1221
01:14:58,920 --> 01:15:02,120
Speaker 1: else to say, anything else to cover with Cronenberg?

1222
01:15:02,640 --> 01:15:06,439
Speaker 2: No? I mean, honestly, when it boils down to it,

1223
01:15:08,320 --> 01:15:12,240
Speaker 2: we gotta love a guy his age who is making

1224
01:15:12,280 --> 01:15:16,479
Speaker 2: some fucked up shit. As I said before, yes I don't,

1225
01:15:16,560 --> 01:15:19,880
Speaker 2: I Drew, I truly feel this. When it comes to

1226
01:15:19,920 --> 01:15:23,960
Speaker 2: like creative work, right. I truly feel that there are

1227
01:15:24,000 --> 01:15:27,519
Speaker 2: so many posers that just hang out in these worlds

1228
01:15:27,880 --> 01:15:32,280
Speaker 2: like art, film, music, et cetera. I feel like there

1229
01:15:32,360 --> 01:15:38,519
Speaker 2: is actually very it's very rare to get actual creative

1230
01:15:38,560 --> 01:15:41,880
Speaker 2: people that are making art. Most of the time, it's

1231
01:15:41,920 --> 01:15:47,240
Speaker 2: people who just have somehow hug around with cool people

1232
01:15:47,280 --> 01:15:51,840
Speaker 2: that like they're soaking in coolness through osmosis, they're not

1233
01:15:51,960 --> 01:15:57,960
Speaker 2: actually like coming up with crazy concepts and weird thoughts

1234
01:15:58,439 --> 01:16:01,120
Speaker 2: and being able to execute them in any kind of way.

1235
01:16:01,320 --> 01:16:01,559
Speaker 3: Right.

1236
01:16:02,840 --> 01:16:05,120
Speaker 2: And I kind of feel like David Cronenberg is like

1237
01:16:05,160 --> 01:16:07,200
Speaker 2: the last of that, Like he's kind of one of these,

1238
01:16:07,280 --> 01:16:11,120
Speaker 2: Like I mean, he has singular visions, he's weird as hell,

1239
01:16:11,640 --> 01:16:16,880
Speaker 2: he makes personal films. He freaks me the fuck out.

1240
01:16:16,920 --> 01:16:19,120
Speaker 2: I mean, these staple stitches that he has in his

1241
01:16:19,200 --> 01:16:24,240
Speaker 2: movies with these people's skin, I'm like, oh my god, crazy, crazy, crazy.

1242
01:16:25,360 --> 01:16:30,080
Speaker 2: And he's been doing it consistently for like his entire

1243
01:16:30,120 --> 01:16:33,000
Speaker 2: adult life fifty plus years, and I just feel like

1244
01:16:33,040 --> 01:16:35,240
Speaker 2: that's something to be celebrated. Like it's like when David

1245
01:16:35,320 --> 01:16:39,880
Speaker 2: Lynch died, It's like he's the last of the great weirdos.

1246
01:16:40,160 --> 01:16:43,599
Speaker 2: And in a world of people who are just like

1247
01:16:43,800 --> 01:16:48,120
Speaker 2: so not original and they're just sort of like cool

1248
01:16:48,280 --> 01:16:51,599
Speaker 2: by proxy. To know that there's a guy like this

1249
01:16:51,680 --> 01:16:56,439
Speaker 2: like Kroneberger is still like doing actual weird, dark shit

1250
01:16:56,800 --> 01:16:58,200
Speaker 2: is fantastic to me.

1251
01:16:58,880 --> 01:17:01,160
Speaker 1: Well, I think it just should go. Like, there are

1252
01:17:01,240 --> 01:17:09,960
Speaker 1: so few filmmakers who are artists, yeah, and look to

1253
01:17:10,200 --> 01:17:16,360
Speaker 1: film as an artistic medium. Obviously, every filmmaker is creating

1254
01:17:16,840 --> 01:17:21,360
Speaker 1: is being saying something about themselves. But to truly like

1255
01:17:22,200 --> 01:17:28,040
Speaker 1: express yourself so intimately and artistically through this medium, there

1256
01:17:28,080 --> 01:17:32,280
Speaker 1: aren't that many US filmmakers that are doing that explicitly, yeah,

1257
01:17:32,320 --> 01:17:35,400
Speaker 1: like anymore. Yeah, And like we just don't have that

1258
01:17:35,479 --> 01:17:40,920
Speaker 1: many art house filmmakers anymore, and it feels like they're

1259
01:17:40,960 --> 01:17:46,040
Speaker 1: dying off. Yeah. So yeah, I completely agree with everything

1260
01:17:46,080 --> 01:17:46,559
Speaker 1: you just said.

1261
01:17:46,680 --> 01:17:52,280
Speaker 2: Well, I salute your Kroterberg. This was a crazy movie.

1262
01:17:53,320 --> 01:17:56,880
Speaker 1: I'd love it if it wasn't his last, But if

1263
01:17:56,920 --> 01:18:00,280
Speaker 1: it was his last, it is a good movie to

1264
01:18:01,080 --> 01:18:14,880
Speaker 1: make your last movie, you know. Agreed, Agreed, Millie, We're

1265
01:18:14,880 --> 01:18:19,320
Speaker 1: gonna go down the road that we'll see how scary

1266
01:18:19,320 --> 01:18:23,680
Speaker 1: and treacherous this is. I want to do a Cronenberg

1267
01:18:23,880 --> 01:18:27,360
Speaker 1: quiz now. One of the things I love about David Cronenberg.

1268
01:18:27,520 --> 01:18:30,479
Speaker 1: He has a lot of like made up tech and

1269
01:18:30,560 --> 01:18:35,200
Speaker 1: a lot of made up institutions and scientific kind of

1270
01:18:36,000 --> 01:18:41,040
Speaker 1: I don't know theories that are like fictional in his movies,

1271
01:18:41,040 --> 01:18:44,920
Speaker 1: but you believe them. Sure. So this is a quiz

1272
01:18:44,960 --> 01:18:49,680
Speaker 1: where I'm going to name a device or an institution

1273
01:18:50,760 --> 01:18:52,599
Speaker 1: and you have to say what movie it's from.

1274
01:18:53,720 --> 01:18:55,320
Speaker 2: Oh my god, this is gonna be so hard.

1275
01:18:55,400 --> 01:18:56,800
Speaker 1: Okay, does that make sense? Oh?

1276
01:18:56,840 --> 01:18:58,080
Speaker 2: It makes total sense.

1277
01:18:58,280 --> 01:19:01,799
Speaker 1: Yeah, okay, I think it'll be. He is here, for example,

1278
01:19:01,840 --> 01:19:05,720
Speaker 1: the movie we just watched, Gravetech. You know, that's from

1279
01:19:05,720 --> 01:19:09,200
Speaker 1: the Shrouds. That's like something he made up. So here's

1280
01:19:09,320 --> 01:19:15,160
Speaker 1: the first one, telepod. This is a device, a telepod.

1281
01:19:15,400 --> 01:19:16,960
Speaker 2: This has gotta be from the Fly.

1282
01:19:17,280 --> 01:19:20,799
Speaker 1: Right, that's correct, it's from the Fly. It's the device

1283
01:19:20,840 --> 01:19:24,920
Speaker 1: that Jeff Goldblum is working on accidentally gets a damn

1284
01:19:24,920 --> 01:19:29,040
Speaker 1: fly in there, and uh he becomes part fly and

1285
01:19:29,200 --> 01:19:35,080
Speaker 1: mutates into a fly and it's nasty. Yeah, okay, cool,

1286
01:19:35,080 --> 01:19:41,839
Speaker 1: Here we go on one right, Yes, okay, here's another device,

1287
01:19:44,000 --> 01:19:48,200
Speaker 1: an umbocord. An umbocord.

1288
01:19:48,479 --> 01:19:59,479
Speaker 2: Okay, I feel like it's god, it's not from the brood, right, no,

1289
01:20:00,640 --> 01:20:02,879
Speaker 2: oh my god? Like what is the one with Jennifer

1290
01:20:02,960 --> 01:20:05,800
Speaker 2: Jason Lee. Am I on the right path? Am I

1291
01:20:05,840 --> 01:20:06,519
Speaker 2: on the right path?

1292
01:20:06,640 --> 01:20:10,840
Speaker 1: You are? You're on the right path? Existence, that's correct, Millie.

1293
01:20:10,880 --> 01:20:14,640
Speaker 1: It's xy Stence from nineteen ninety nine. And umbacord is

1294
01:20:14,800 --> 01:20:17,759
Speaker 1: so they have game pods that present umbichords that attach

1295
01:20:17,840 --> 01:20:21,960
Speaker 1: to bioports, which the umbacord is a connector that is

1296
01:20:22,000 --> 01:20:26,280
Speaker 1: surgically inserted into a player's spine to play the device,

1297
01:20:27,200 --> 01:20:31,240
Speaker 1: the game pod device. Ye, good job, Millie.

1298
01:20:31,280 --> 01:20:33,519
Speaker 2: Thanks, I really you were. I saw my work there.

1299
01:20:33,600 --> 01:20:33,880
Speaker 2: I was.

1300
01:20:34,120 --> 01:20:35,400
Speaker 1: I did think a good job.

1301
01:20:36,400 --> 01:20:36,519
Speaker 2: Uh.

1302
01:20:36,640 --> 01:20:38,160
Speaker 1: I think this is going to be a little bit harder.

1303
01:20:38,280 --> 01:20:39,559
Speaker 2: Okay, ohkay, that was hard.

1304
01:20:39,600 --> 01:20:44,040
Speaker 1: So these are institutions. These are institutions. The Soma Free

1305
01:20:44,080 --> 01:20:49,800
Speaker 1: Institute of cycle Plasmics is this. I can give you

1306
01:20:49,880 --> 01:20:52,000
Speaker 1: a definition of cycoplasmics as well.

1307
01:20:53,280 --> 01:20:56,120
Speaker 2: Will you just do it anyway? I think I must know.

1308
01:20:57,880 --> 01:21:01,000
Speaker 1: It is a Cycoplasmics is a form of therapy where

1309
01:21:01,040 --> 01:21:04,880
Speaker 1: patients manifest their emotional distress as physical symptoms.

1310
01:21:06,080 --> 01:21:07,200
Speaker 2: Is this from scanners?

1311
01:21:08,439 --> 01:21:14,240
Speaker 1: No? What's it from the brud? God?

1312
01:21:14,360 --> 01:21:14,840
Speaker 2: Damn it?

1313
01:21:14,960 --> 01:21:19,840
Speaker 1: Oh no, the brood. It's that's the institute that Samantha

1314
01:21:19,880 --> 01:21:25,280
Speaker 1: Eggers is Samantha egger Is, yeah, you know, committed to

1315
01:21:25,439 --> 01:21:29,960
Speaker 1: and it's run by doctor Hal Raglan played by Oliver

1316
01:21:30,200 --> 01:21:30,760
Speaker 1: Oliver Reed.

1317
01:21:30,880 --> 01:21:32,360
Speaker 2: Yeah, son of a bitch.

1318
01:21:33,320 --> 01:21:40,160
Speaker 1: Okay, okay, oh no, I'm scared now. Okay, this one,

1319
01:21:40,479 --> 01:21:43,519
Speaker 1: this one might be too granular, but here we go.

1320
01:21:43,640 --> 01:21:48,120
Speaker 1: This is another institution. Okay, the Spectacular Optical Corporation.

1321
01:21:48,640 --> 01:21:52,760
Speaker 2: Oh yeah, this is from This is from Videodrome, right,

1322
01:21:53,479 --> 01:21:54,040
Speaker 2: that's correct.

1323
01:21:54,160 --> 01:21:56,880
Speaker 1: Okay, yeah, eyeglasses company that acts as a front for

1324
01:21:56,920 --> 01:21:57,679
Speaker 1: an arms company.

1325
01:21:57,760 --> 01:21:59,639
Speaker 2: That's right. I knew it. I was like, oh, I

1326
01:21:59,680 --> 01:22:03,720
Speaker 2: actually I know somebody who has a business called that.

1327
01:22:03,840 --> 01:22:06,720
Speaker 1: But anyway, okay, perfect, Yeah, there we go. You're doing

1328
01:22:06,800 --> 01:22:08,160
Speaker 1: really well, Millium impressed.

1329
01:22:08,200 --> 01:22:09,960
Speaker 2: I'm not. I'm scared.

1330
01:22:12,120 --> 01:22:15,360
Speaker 1: Had the hard ones are hard? Okay, here we go.

1331
01:22:15,439 --> 01:22:21,680
Speaker 1: This is These are two uh, these are two institutions

1332
01:22:22,080 --> 01:22:25,160
Speaker 1: and they're in the same movie. So one is con

1333
01:22:25,680 --> 01:22:30,400
Speaker 1: Sec co O n SEC and the other one which

1334
01:22:30,479 --> 01:22:37,479
Speaker 1: is a military company. And then BioCarbon Amalgamit, which is

1335
01:22:37,520 --> 01:22:41,600
Speaker 1: a pharmaceutical company that's from scanners, right, that's from scanners.

1336
01:22:43,439 --> 01:22:45,640
Speaker 2: Oh god, oh my god.

1337
01:22:46,640 --> 01:22:50,440
Speaker 1: So this next one, this is my last one. Okay,

1338
01:22:50,479 --> 01:22:52,280
Speaker 1: this is a possible.

1339
01:22:52,280 --> 01:22:52,960
Speaker 2: That's what you're saying.

1340
01:22:53,439 --> 01:23:00,320
Speaker 1: This is impossible. This is a made up disorder. Okay, okay,

1341
01:23:00,560 --> 01:23:02,559
Speaker 1: Accelerated evolution syndrome.

1342
01:23:05,200 --> 01:23:06,720
Speaker 2: Evolution syndrome.

1343
01:23:07,439 --> 01:23:09,640
Speaker 1: Accelerated evolution syndrome.

1344
01:23:10,520 --> 01:23:19,360
Speaker 2: H it's not shivers, correct, thank you? Is it from

1345
01:23:19,360 --> 01:23:22,040
Speaker 2: Crimes of the Future, That's correct, It's from Crimes of

1346
01:23:22,080 --> 01:23:26,000
Speaker 2: the Future, MILLI, great job.

1347
01:23:27,439 --> 01:23:30,240
Speaker 1: The accelerated evolution syndrome. It's a disorder that causes a

1348
01:23:30,439 --> 01:23:35,040
Speaker 1: body to spontaneously grow new organs, which you know, the

1349
01:23:35,120 --> 01:23:39,760
Speaker 1: Vigo Mortensen character. He has them removed in a performance

1350
01:23:39,880 --> 01:23:47,040
Speaker 1: art piece. Uh, that's that, well done, Millie. Let's see

1351
01:23:47,040 --> 01:23:53,439
Speaker 1: you got one, two, three, four, five, five out of six?

1352
01:23:53,880 --> 01:23:57,960
Speaker 1: Is that right? One two, one, two, three, four five six, Yeah,

1353
01:23:58,000 --> 01:23:59,360
Speaker 1: you have five out of six. That's really good.

1354
01:23:59,400 --> 01:24:01,280
Speaker 2: I pulled a lot of that out of my ass.

1355
01:24:01,360 --> 01:24:02,439
Speaker 1: I mean I did great.

1356
01:24:02,880 --> 01:24:05,600
Speaker 2: I was just basically doing like you know, I was

1357
01:24:05,640 --> 01:24:08,080
Speaker 2: basically doing the thing where I was like, if not this,

1358
01:24:08,160 --> 01:24:11,080
Speaker 2: then this, And I was just like looking at his

1359
01:24:11,160 --> 01:24:14,400
Speaker 2: filmography being like, Okay, this has got to like this

1360
01:24:14,439 --> 01:24:17,559
Speaker 2: has got to be related to military, this has got

1361
01:24:17,600 --> 01:24:18,599
Speaker 2: to be related to bodies.

1362
01:24:18,640 --> 01:24:21,120
Speaker 1: Well, there's so many that it's like, oh, there's like

1363
01:24:21,400 --> 01:24:28,360
Speaker 1: a military and pharmaceutical company or like a institute. Anyways,

1364
01:24:28,439 --> 01:24:28,800
Speaker 1: I was just.

1365
01:24:28,760 --> 01:24:30,800
Speaker 2: Putting them in the baskets as I always do, and

1366
01:24:30,920 --> 01:24:32,680
Speaker 2: was like, all right, if it's not this, then this.

1367
01:24:32,800 --> 01:24:35,760
Speaker 2: But anyway, Wow, that was actually really challenging.

1368
01:24:35,840 --> 01:24:38,679
Speaker 1: Casey, I said, well, I'm glad. I thought your head

1369
01:24:38,720 --> 01:24:40,320
Speaker 1: was going to explode like a scanner.

1370
01:24:40,479 --> 01:24:40,720
Speaker 3: I know.

1371
01:24:41,080 --> 01:24:43,080
Speaker 2: How do you know it hasn't. Maybe this is my

1372
01:24:43,240 --> 01:24:45,000
Speaker 2: AI avatar.

1373
01:24:44,760 --> 01:24:47,280
Speaker 1: Shit about to please don't work?

1374
01:24:51,960 --> 01:24:54,760
Speaker 2: Oh my goodness, gracious.

1375
01:24:54,360 --> 01:25:00,880
Speaker 1: All right, Millie Wowie Zalie my second favorite Pavement album.

1376
01:25:01,080 --> 01:25:05,519
Speaker 1: I'm excited that we got to talk about David Cronenberg today,

1377
01:25:05,520 --> 01:25:07,479
Speaker 1: but we are not done yet, because it's time for

1378
01:25:07,520 --> 01:25:10,960
Speaker 1: employees picks film recommendations based on the theme of the discussion,

1379
01:25:11,160 --> 01:25:12,000
Speaker 1: merely what he got.

1380
01:25:12,720 --> 01:25:15,080
Speaker 2: Okay, well, we have quite a lot to choose from

1381
01:25:15,120 --> 01:25:17,719
Speaker 2: him from his filmography if we really wanted to. It's true,

1382
01:25:17,760 --> 01:25:21,240
Speaker 2: all right, so I will say that my employee pick

1383
01:25:21,400 --> 01:25:25,240
Speaker 2: for this week, if we're in the Cronin merg Reverse

1384
01:25:27,040 --> 01:25:31,479
Speaker 2: is this is a movie that I've probably seen a lot,

1385
01:25:32,320 --> 01:25:34,720
Speaker 2: but that I don't know. Sometimes people like don't bring

1386
01:25:34,760 --> 01:25:39,920
Speaker 2: it up as much, but it's Rabbit from nineteen seventy

1387
01:25:39,960 --> 01:25:44,639
Speaker 2: seven fabulous Marilyn Chambers, who, as you know, was sort

1388
01:25:44,640 --> 01:25:46,720
Speaker 2: of the it girl back then.

1389
01:25:46,880 --> 01:25:47,360
Speaker 1: She was.

1390
01:25:49,160 --> 01:25:54,759
Speaker 2: In porn films and was getting into like acting and stuff,

1391
01:25:54,800 --> 01:25:57,519
Speaker 2: and she has been Behind the Green Door. That's kind

1392
01:25:57,560 --> 01:26:01,280
Speaker 2: of her most famous porno film, if you will art

1393
01:26:01,320 --> 01:26:06,439
Speaker 2: porn maybe. But I uh, I've seen this quite a

1394
01:26:06,439 --> 01:26:10,519
Speaker 2: few times, and this was a movie that like used

1395
01:26:10,560 --> 01:26:12,920
Speaker 2: to play like it's kind of like a movie that

1396
01:26:12,960 --> 01:26:16,960
Speaker 2: I would see kind of alongside like just grindhouse movies,

1397
01:26:17,000 --> 01:26:21,080
Speaker 2: seventies Grindhouse servies. But then it does belog as part

1398
01:26:21,080 --> 01:26:26,120
Speaker 2: of this like trajectory of Cronenberg's career, right theme wise

1399
01:26:26,200 --> 01:26:30,519
Speaker 2: and everything. But great film, dude, it's good.

1400
01:26:31,720 --> 01:26:35,200
Speaker 1: Yeah, she gets she has an orifice open up in

1401
01:26:35,240 --> 01:26:40,040
Speaker 1: her armpit. Yeah, the armpit. And Millie, you and I

1402
01:26:40,160 --> 01:26:42,920
Speaker 1: may have watched this together and we didn't even.

1403
01:26:42,840 --> 01:26:44,439
Speaker 2: Know we didn't even know it. And then we went

1404
01:26:44,479 --> 01:26:47,160
Speaker 2: and got chicken nuggies from McDonald's.

1405
01:26:47,400 --> 01:26:49,760
Speaker 1: Yeah, I'm going to push you, you know, out of

1406
01:26:49,760 --> 01:26:53,080
Speaker 1: the way to get some a mc rib or something

1407
01:26:53,160 --> 01:26:54,000
Speaker 1: I know, you don't know.

1408
01:26:54,200 --> 01:26:57,120
Speaker 2: Then we like opened up our jacket and stuffed it

1409
01:26:57,160 --> 01:27:00,759
Speaker 2: into our armpit hole for sech or whatever.

1410
01:27:00,960 --> 01:27:04,639
Speaker 1: I'm going to recommend a movie that is very Cronenbergian

1411
01:27:05,040 --> 01:27:07,120
Speaker 1: but is not a David Cronenberg movie. So I thought

1412
01:27:07,120 --> 01:27:09,560
Speaker 1: it'd be cool because he's so influential. I want to

1413
01:27:09,600 --> 01:27:14,000
Speaker 1: do one that is like a Cronenbergian obviously influenced film. Sure,

1414
01:27:14,840 --> 01:27:20,040
Speaker 1: and that is twenty twenty one's Titan by Julia Ducarno.

1415
01:27:20,800 --> 01:27:24,639
Speaker 1: It won the Palmador at the cann Film Festival, and

1416
01:27:25,200 --> 01:27:31,000
Speaker 1: it is about a serial killer woman who gets impregnated

1417
01:27:31,040 --> 01:27:35,040
Speaker 1: by a car. Did you guys check it out? Did

1418
01:27:35,080 --> 01:27:36,080
Speaker 1: you guys do it titon?

1419
01:27:36,320 --> 01:27:37,480
Speaker 2: On your last podcast?

1420
01:27:38,439 --> 01:27:41,160
Speaker 1: Did we actually do it? We named it the artsiest

1421
01:27:41,320 --> 01:27:42,400
Speaker 1: artsist film of the year.

1422
01:27:42,439 --> 01:27:43,760
Speaker 2: Okay, maybe that's what I feel like.

1423
01:27:43,800 --> 01:27:46,519
Speaker 1: You've brought it up before we did talk about it.

1424
01:27:46,560 --> 01:27:48,479
Speaker 2: I don't know if we. I don't think we did.

1425
01:27:50,400 --> 01:27:54,040
Speaker 2: It is an actual episode, but it is violent and

1426
01:27:54,160 --> 01:28:04,280
Speaker 2: freaky and sexual and fascinating and French, so check out.

1427
01:28:04,520 --> 01:28:08,880
Speaker 2: Would you say that because there does feel like there

1428
01:28:08,880 --> 01:28:15,320
Speaker 2: are certain new filmmakers that feel very inspired by Kroneberg,

1429
01:28:15,479 --> 01:28:16,800
Speaker 2: would you say that absolutely?

1430
01:28:17,479 --> 01:28:19,559
Speaker 1: Yeah, I would say, and I would say Julia Dick

1431
01:28:19,600 --> 01:28:22,960
Speaker 1: Carnault is definitely one of them. Twenty sixteen's Raw. Her

1432
01:28:23,000 --> 01:28:27,320
Speaker 1: first movie is also I feel like she because she's

1433
01:28:27,600 --> 01:28:31,520
Speaker 1: talking about the human body a lot in her movies. Yeah,

1434
01:28:31,560 --> 01:28:35,040
Speaker 1: and they are body horror. I would say, you know,

1435
01:28:35,120 --> 01:28:40,080
Speaker 1: like the body horror genre. It's Cronenberg's baby. I feel

1436
01:28:40,080 --> 01:28:41,800
Speaker 1: like he kind of I don't know if he invented it,

1437
01:28:41,880 --> 01:28:47,799
Speaker 1: but he's the master, and I don't know he's anything

1438
01:28:47,840 --> 01:28:51,160
Speaker 1: that's body horror is kind of I feel like in

1439
01:28:51,240 --> 01:28:53,160
Speaker 1: some ways inspired by Cronenberg.

1440
01:28:53,400 --> 01:28:57,640
Speaker 2: Well cool, Hey, I'm going to watch titam and have

1441
01:28:57,720 --> 01:28:58,200
Speaker 2: you seen it?

1442
01:28:58,280 --> 01:28:58,439
Speaker 3: No?

1443
01:28:58,640 --> 01:29:02,000
Speaker 1: Never seen it? It's it's good.

1444
01:29:02,040 --> 01:29:04,800
Speaker 2: I heard it was so on my list. All right,

1445
01:29:04,840 --> 01:29:10,920
Speaker 2: Well that's our show. We did it again, We certainly did. Yeah.

1446
01:29:10,960 --> 01:29:15,680
Speaker 2: So here's the thing. Do you want film advice? Do

1447
01:29:15,720 --> 01:29:19,240
Speaker 2: you need a specific recommendation? Do you want help navigating

1448
01:29:19,240 --> 01:29:22,920
Speaker 2: the Kronenberg filmography, for example? Or do you have a

1449
01:29:22,920 --> 01:29:27,280
Speaker 2: film gripe? Do you have a consensual film grope? Do

1450
01:29:27,360 --> 01:29:30,920
Speaker 2: you have a film regret? Any of these things can

1451
01:29:31,000 --> 01:29:35,280
Speaker 2: be thrown in our direction at Deer Movies at exactlyrightmedia

1452
01:29:35,320 --> 01:29:40,360
Speaker 2: dot com. Also, if you feel like sharing your voice

1453
01:29:40,360 --> 01:29:42,719
Speaker 2: with us, you can leave us a voicemail. Just record

1454
01:29:42,760 --> 01:29:45,759
Speaker 2: it to your phone. Make sure it's under a minute

1455
01:29:45,800 --> 01:29:49,280
Speaker 2: and email it to again Dearmovies, exactly rightmedia dot com.

1456
01:29:49,439 --> 01:29:55,920
Speaker 1: Millie, real quick, what's your favorite David Cronenberg movie? What's

1457
01:29:55,960 --> 01:29:56,880
Speaker 1: your number? One?

1458
01:29:57,200 --> 01:30:01,960
Speaker 2: You said that like click talking like, tell me, Millie,

1459
01:30:02,000 --> 01:30:03,160
Speaker 2: what's your favorite David?

1460
01:30:04,360 --> 01:30:08,559
Speaker 1: I love Jimmy Glick when he's like says to Steven Spielberg, Stephen,

1461
01:30:08,600 --> 01:30:10,080
Speaker 1: what are you gonna make the big One?

1462
01:30:10,800 --> 01:30:13,240
Speaker 2: I like what his voice gets all spot like, how

1463
01:30:13,280 --> 01:30:15,360
Speaker 2: do he gets say you get? Say hi?

1464
01:30:16,360 --> 01:30:21,120
Speaker 1: How many goes down here? I love Jimmy Click telp

1465
01:30:21,200 --> 01:30:21,400
Speaker 1: me the.

1466
01:30:21,400 --> 01:30:29,080
Speaker 2: Bar short, ain't gay? Come on out there? I swear

1467
01:30:30,040 --> 01:30:35,200
Speaker 2: my favorite? Okay, my favorite. I mean this is so boring,

1468
01:30:36,000 --> 01:30:40,320
Speaker 2: but the fucking Fly, dude, the Fly is a masterpiece.

1469
01:30:40,640 --> 01:30:46,120
Speaker 1: It's a good movie. What about you? Uh? Three Way Tie,

1470
01:30:46,840 --> 01:30:52,240
Speaker 1: Stupid Dead Ringers, exy Stens and Crash. I love those.

1471
01:30:52,479 --> 01:30:55,960
Speaker 1: Oh I'll just say Crash. I love Crash Wow, And

1472
01:30:56,000 --> 01:30:57,000
Speaker 1: I love exy Stens.

1473
01:30:57,280 --> 01:31:00,719
Speaker 2: You're really like hanging out in a little time there.

1474
01:31:00,960 --> 01:31:02,080
Speaker 1: I am kind of that's true.

1475
01:31:02,160 --> 01:31:05,040
Speaker 2: Yeah, like eighties nineties anyways.

1476
01:31:05,320 --> 01:31:07,720
Speaker 1: Follow us on our socials at Deer Movies. I love

1477
01:31:07,720 --> 01:31:10,640
Speaker 1: you on Instagram and Facebook. Our letterbox handles are at

1478
01:31:10,720 --> 01:31:14,080
Speaker 1: Casey le O'Brien and at m Decherico and listen to

1479
01:31:14,120 --> 01:31:16,559
Speaker 1: Deer Movies I Love You on the iHeartRadio app, Apple

1480
01:31:16,600 --> 01:31:19,920
Speaker 1: Podcasts or wherever you get your podcasts.

1481
01:31:21,000 --> 01:31:22,639
Speaker 2: We gotta talk about next week.

1482
01:31:23,880 --> 01:31:26,839
Speaker 1: We're delving into a cinematic universe.

1483
01:31:29,560 --> 01:31:30,479
Speaker 2: He's up there with.

1484
01:31:30,680 --> 01:31:36,479
Speaker 1: The Cronenbergs of the world, the Cronenberg Cinematic Universe. One

1485
01:31:36,520 --> 01:31:41,519
Speaker 1: car Why, Like we said on this episode, we're talking

1486
01:31:41,520 --> 01:31:48,320
Speaker 1: about the Usher, the singer Usher cinematic universe, and we're

1487
01:31:48,320 --> 01:31:51,639
Speaker 1: gonna kind of hone in on the film She's all

1488
01:31:51,680 --> 01:31:55,960
Speaker 1: that from nineteen ninety nine, and a universe.

1489
01:31:55,520 --> 01:32:04,160
Speaker 2: Can be like two movies sometimes. Absolutely well, I am

1490
01:32:04,760 --> 01:32:09,759
Speaker 2: squeezing my shooky pillow in anticipation for that. So please

1491
01:32:10,240 --> 01:32:13,880
Speaker 2: join us next week, please, Casey. This was a great

1492
01:32:14,120 --> 01:32:19,240
Speaker 2: another great deep dive into a filmography. Yeah, thank you

1493
01:32:19,320 --> 01:32:21,320
Speaker 2: for suggesting we do this fucked up movie.

1494
01:32:21,760 --> 01:32:25,960
Speaker 1: And yeah I had a blast me too. I feel

1495
01:32:26,000 --> 01:32:27,519
Speaker 1: like it got kind of nerdy, which we like to

1496
01:32:27,560 --> 01:32:31,080
Speaker 1: do sometimes. But hopefully, you know, we didn't lose people

1497
01:32:31,360 --> 01:32:32,080
Speaker 1: along the way.

1498
01:32:32,520 --> 01:32:34,120
Speaker 2: I hope not. I don't want to lose you.

1499
01:32:34,240 --> 01:32:34,880
Speaker 1: Don't want to lose you.

1500
01:32:34,920 --> 01:32:36,479
Speaker 2: Don't want to have to go to your grave and

1501
01:32:36,520 --> 01:32:38,720
Speaker 2: look at your bones and eight K.

1502
01:32:39,120 --> 01:32:41,439
Speaker 1: You know, yeah, we don't want to do that, but

1503
01:32:41,560 --> 01:32:44,160
Speaker 1: we will. Well, Millie, thank you yeah for being a

1504
01:32:44,200 --> 01:32:48,040
Speaker 1: great podcast partner. Thanks and uh I'll see you next week. Okay,

1505
01:32:48,040 --> 01:32:49,800
Speaker 1: bye bye bye.

1506
01:32:51,520 --> 01:32:54,720
Speaker 2: This has been an exactly right production hosted by me

1507
01:32:55,120 --> 01:32:58,799
Speaker 2: Millie to Cherco and produced by my co host Casey O'Brien.

1508
01:32:59,000 --> 01:33:02,880
Speaker 1: This episode was by Tom Bryfogel. Our associate producer is

1509
01:33:02,960 --> 01:33:06,360
Speaker 1: Christina Chamberlain, our guest booker is Patrick Cottner, and our

1510
01:33:06,479 --> 01:33:08,120
Speaker 1: artwork is by Vanessa Lilac.

1511
01:33:08,280 --> 01:33:11,200
Speaker 2: Our incredible theme music is by the best band in

1512
01:33:11,200 --> 01:33:13,080
Speaker 2: the entire world, The Softies.

1513
01:33:13,360 --> 01:33:17,280
Speaker 1: Thank you to our executive producers Karen Kilgarriff, Georgia Hardstark,

1514
01:33:17,439 --> 01:33:21,799
Speaker 1: Daniel Kramer and Millie to Jericho. We love you. Goodbye

1515
01:33:22,560 --> 01:33:23,520
Speaker 1: Beker