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

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Speaker 2: You're not interested in art?

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Speaker 3: Now?

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Speaker 2: No, Look, we're going to do this thing. We're going

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Speaker 2: to have a conversation from Chicago.

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Speaker 3: This is Film Spotting celebrating our twentieth year.

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Speaker 2: I'm Adam Kempinar and I'm Josh Larson. On the island,

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Speaker 2: We're headed to two dozen species.

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Speaker 3: If survived there alone.

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Speaker 1: The theme park owners did experimental work on worse ones here.

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Speaker 3: The Jurassic Park franchise take Scarlett Johansson and us to

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Speaker 3: the Island of Misfit Dinosaurs for its latest installment Jurassic

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Speaker 3: World Rebirth. We've got a review plus the Killer Doll

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Speaker 3: sequel Megan two point zero.

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Speaker 4: Yes, It's me, What a Shock, etc.

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Speaker 2: Really good movie. We'll also have a sacred fossil review

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Speaker 2: of the Hino flick that started it all, Steven Spielberg's

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Speaker 2: Jurassic Park, That and more. Hold on to you, but

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Speaker 2: ahead on film spotting. Welcome to Film Spotting.

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Speaker 3: A sacred cow review two decades well maybe sixty five

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Speaker 3: million years and two decades in the making. Josh, I

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Speaker 3: hope it's not the cow that gets fed to the

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Speaker 3: Velociraptor in Jurassic Park.

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Speaker 2: If that happens, we will be in deep trouble with

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Speaker 2: a certain segment of our listenership.

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Speaker 3: Let's just say that, Yeah, we have been triggering nineties

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Speaker 3: kids since the very earliest days of the show, not

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Speaker 3: giving Jurassic Park enough love. I think one of us

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Speaker 3: may be in trouble.

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Speaker 2: Later in the show, we.

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Speaker 3: Will have that sacred cow review of Spielberg's I don't know,

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Speaker 3: thirteenth to eighteenth best film somewhere in there.

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Speaker 2: I'd have to check my rank heats, but let's go

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Speaker 2: with that for now.

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Speaker 3: Along, Josh, with your recommendations of Megan two point zero

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Speaker 3: and the new Sorry Baby out in limited release, plus

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Speaker 3: Massacre Theater and more. But first, Jurassic World Rebirth. If

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Speaker 3: like us, you maybe lost track of where we are

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Speaker 3: in the Jurassic franchise, the rebirth in the title is

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Speaker 3: a clue. It's the seventh film in the franchise, but

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Speaker 3: the first following the twenty twenty two conclusion of the

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Speaker 3: Chris Pratt, Bryce Dallas Howard led Jurassic World trilogy. Rebirth

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Speaker 3: may also be a nod to the return of David Kepp,

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Speaker 3: the screenwriter of nineteen ninety three series starter Jurassic Park,

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Speaker 3: which we'll get to.

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Speaker 2: The new film welcomes new stars to the franchise, namely

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Speaker 2: Scarlett Johansson along with Wicked breakout Jonathan Bailey, and there's

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Speaker 2: a new director as well, Gareth Edwards. Edwards has a

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Speaker 2: decent track record when it comes to franchises. He made

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Speaker 2: twenty fourteen's Godzilla and twenty sixteen's Rogue One, a Star

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Speaker 2: Wars story. Just previous to this movie was an original,

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Speaker 2: the AI Versus Humans War film the creator. So what

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Speaker 2: is Jurassic World Rebirth about? Dinosaurs? Kind of weird? Ones.

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Speaker 2: Here's a clip. Mister work here did tell us everything

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Speaker 2: that we need to know. Look, this island was a

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Speaker 2: laboratory of sorts.

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Speaker 1: They conducted experimental work here, well, kind of experiments, cross

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Speaker 1: breeding of species, engineered entertainments.

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Speaker 2: They call them genetically altered freaks Andy that were malformed

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Speaker 2: or just too damn hard for anybody to look at.

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Speaker 2: The left them here.

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Speaker 3: I just came from seeing Jurassic World Rebirth, so we're

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Speaker 3: going to jump right in, and I think I've got

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Speaker 3: a decent place to start. This could be a short review.

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Speaker 3: According to film Spotting PA Sophie Kempenar, the only question

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Speaker 3: we have to answer is how hot is Jonathan Bailey.

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Speaker 2: I'm going to say not wicked hot, but pretty hot.

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Speaker 3: I think that's fair, but still nerdy hot. If you're

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Speaker 3: into Jonathan Bailey, you might be into Jurassic World Rebirth.

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Speaker 3: We will build off that or try to go into

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Speaker 3: a bit of a different direction. A Rotten Tomatoes blurb

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Speaker 3: caught my eye from movie mom Nell Minnow's fresh review.

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Speaker 2: She gave Rebirth a B.

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Speaker 3: Grade, saying it's what we came for, dinosaurs chasing and

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Speaker 3: eating people and just to mix it up, a bit

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Speaker 3: some people chasing dinosaurs, a sprinkle of humor, a touch

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Speaker 3: of warmth, a very brief detour into morality, but mostly

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Speaker 3: the aforementioned chasing. You're a certified Jurassic completist, Josh, I

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Speaker 3: am not. I've only seen four of the seven, and

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Speaker 3: the only one I like is the original, which, as

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Speaker 3: folks will hear in event, I certainly don't love. So

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Speaker 3: you're the right guy to pose this to. What do

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Speaker 3: you come to a Jurassic movie for? And did Rebirth deliver?

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Speaker 2: Oo? You don't come in with very high expectations, at

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Speaker 2: least I don't to your point. I recently forced myself

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Speaker 2: to become a completist and watch Jurassic World Dominion, and

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Speaker 2: I added it to the pile of negative reviews of

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Speaker 2: Jurassic movies I have given. Of the six previously released films, Adam,

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Speaker 2: I gave a positive review to Jurassic Park, of course,

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Speaker 2: I did the original, and I gave a slightly positive

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Speaker 2: two and a half out of four stars review to

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Speaker 2: Jurassic Park. Three. The others you'd probably have to pile

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Speaker 2: themselves on top of each other to get to four stars.

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Speaker 2: I am giving a third positive review to a Jurassic

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Speaker 2: Movie with Jurassic World Rebirth. I'm got further than that, Adam,

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Speaker 2: and say, this is the best Jurassic movie since Jurassic

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Speaker 2: Bank the original parentheses, but hardly any of them have

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Speaker 2: been any good? Right, Okay? Are you with me?

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Speaker 3: I am not with you, though, And I do want

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Speaker 3: to point out, because I mentioned this last week that

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Speaker 3: I had said that we were both going to make

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Speaker 3: time for Dominion.

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Speaker 2: You did as you just noted.

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Speaker 3: I did not. I was too busy. Sure, there was

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Speaker 3: also an overwhelming lack of interest, but also when I

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Speaker 3: said I've only seen four out of seven, I did

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Speaker 3: realize that not only did I need to watch Dominion,

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Speaker 3: I hadn't seen The Lost World or Jurassic Part three,

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Speaker 3: and those watches weren't happening. So what was I going

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Speaker 3: to accomplish if I finally watched Dominion Suffering?

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Speaker 2: Basically, you would have accomplished suffering suffering.

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Speaker 3: Based on my ratings and looking at my notes for

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Speaker 3: a Jurassic World and Fallen Kingdom, I feel comfortable saying

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Speaker 3: that Rebirth is better than those two, though, for what

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Speaker 3: it's worth, I did check this to get too caught

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Speaker 3: up in the Tomato meter here, Josh, but Durassic World

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Speaker 3: is the second highest rated on Rotten Tomatoes seventy two percent.

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Speaker 3: It's even higher than The Lost World, which I think

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Speaker 3: is maybe fifty nine percent. I didn't have a bad

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Speaker 3: time with Rebirth. David Kepp is the screenwriter here, like

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Speaker 3: he was with the original Garrett Edwards. They're both solid craftsman,

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Speaker 3: and for as unnecessarily bloated as the plot maybe felt

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Speaker 3: to me, it helms along pretty well. And you do

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Speaker 3: have Jonathan Bailey as Scarlett Johansson and Maherschel al Lei.

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Speaker 3: They're all solid, of course, as is Manuel Garcia Rolfoko.

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Speaker 3: I like a lot from The Lincoln Lawyer on Netflix,

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Speaker 3: a show i'd call a guilty pleasure, except I still

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Speaker 3: don't believe in guilty pleasures. And Ruper Friend is good too,

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Speaker 3: even if he's just playing the Paul Reiser role from Aliens,

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Speaker 3: and even though he's never playing the villain, I don't

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Speaker 3: certainly think he's ever overplaying the role. There's still never

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Speaker 3: a second where you doubt that he's anything but truly awful.

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Speaker 2: Sure.

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Speaker 3: I should also note that in many ways, Jurassic World

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Speaker 3: Rebirth is surprisingly playing the role of James Cameron's Aliens.

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Speaker 3: Did you notice, especially at the end, the dinosaurs take

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Speaker 3: on the form of xenomorphs. Oh yeah, xenomaths. They really

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Speaker 3: look like them.

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Speaker 2: Our friend, our friend, Wendy fox Webber, she went with

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Speaker 2: me to the screening and she pointed that out right

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Speaker 2: from the big still they had plastered on the screen

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Speaker 2: before it started. She's like, we're going alien here apparently,

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Speaker 2: So it's there right.

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Speaker 3: There is also a legitimately awesome action moment and an

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Speaker 3: individual shot and subsequent shots that I'm sure that we'll

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Speaker 3: get to.

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Speaker 2: That'll set.

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Speaker 3: I'm surprised my issues weren't also issues for you. So

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Speaker 3: maybe I'll throw it back to you and say, for

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Speaker 3: a movie called rebirth, did you feel like this movie

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Speaker 3: was a rebirth? Did you feel like this movie was

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Speaker 3: untethered from the Jurassic Park, or at least the Jurassic

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Speaker 3: umbilical cord.

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Speaker 2: I think it was untethered, far more than I expected

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Speaker 2: it ever could be, given what we've seen previously with

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Speaker 2: this franchise. Of course, they're are connections. It's rooted right

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Speaker 2: in that opening, the cold open, where it's you know,

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Speaker 2: I think seventeen years ago, and they're doing experiments. I

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Speaker 2: believe it's related to the original park. So yeah, this

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Speaker 2: is not like a complete standale. This isn't like Prey

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Speaker 2: to go to the Predator series, right, But I think

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Speaker 2: it's closer to the recent Godzilla and Kong films, and

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Speaker 2: as we've mentioned, Gareth Edwards did the earlier Godzilla. I

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Speaker 2: think it's closer to those than it is to the

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Speaker 2: Jurassic movies. Now, those i've been I think mixed to

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Speaker 2: mildly positive on. I'm not saying they're the gold standard

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Speaker 2: of creature features or monster movies, but I think, you know,

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Speaker 2: Edward's Godzilla in particular, have some strong moments and overall

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Speaker 2: they're good films in this genre. I do think Jurassic

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Speaker 2: World Rebirth is closer to that, rather than worrying about

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Speaker 2: being part of the Jurassic legacy, and that's to its credit.

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Speaker 2: I was in on this pretty quickly, Adam, once I realized,

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Speaker 2: you know, I think you said that the plot is

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Speaker 2: a little bloated. This movie is absolutely longer than it

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Speaker 2: needs to be. But honestly, once I realized they had

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Speaker 2: a clear mission for this subjective to get three blood

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Speaker 2: samples from three different massive dinosaurs, all around this one

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Speaker 2: island and then get out. I kind of breathed a

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Speaker 2: sigh of relief and thought, Okay, there's gonna be no

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Speaker 2: like side missions or conspiracies or supporting characters who pop

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Speaker 2: up later, legacy characters we have to deal with for

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Speaker 2: a Jurassic movie. I found this to be remarkably streamlined.

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Speaker 2: I'm also just a sucker. Give me an expedition movie

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Speaker 2: to a dangerous spot and with clear objectives and characters

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Speaker 2: that I relatively, you know, find compelling. The way you

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Speaker 2: describe the stars here totally accurate. They do the job.

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Speaker 2: Johnson especially, I think, knows how to thread the needle

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Speaker 2: of having enough fun but not too much fun. So

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Speaker 2: she's distancing herself and her performance from the material and

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Speaker 2: in a sense making fun of it but also not

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Speaker 2: you know. I think Bree Larson was in one of

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Speaker 2: the Kong movies, might have been Skull Island, which which

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Speaker 2: is interesting, but she's like, given one hundred and thirty percent,

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Speaker 2: It's like, I'm gonna show you I'm really invested in

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Speaker 2: this movie. You don't always need that either. Johansson is

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Speaker 2: right kind of down the middle where she's having just

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Speaker 2: the right level of fun, but you called out, you know,

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Speaker 2: one of the relatively supporting characters, Rubin Delgado played by

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Speaker 2: Manuel Garcia Rolfo, and he's, you know, the head of

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Speaker 2: this this family. His younger daughter Isabella played by Audrina Miranda,

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Speaker 2: his teen daughter Teresa played by Luna Blaze, and then

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Speaker 2: Teresa's dope be lazy boyfriend Xavier played by David Iacono.

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Speaker 2: So here's something that this movie helped me realize, Adam.

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Speaker 2: The common question with these disaster monster creature features is

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Speaker 2: do we care about the characters? Do we need to

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Speaker 2: care about the characters? Does the screenplay care? And I

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Speaker 2: would say my expectations going in are to meet that

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Speaker 2: bar you discribed that the stars bring committed, interesting, compelling,

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Speaker 2: nice to look at. Okay, there is a higher bar

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Speaker 2: that some movies do meet. And you know, we'll discuss

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Speaker 2: this in our Jurassic Park Sacred Kyle review about the

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Speaker 2: characters there. And I always am asking myself, especially with

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Speaker 2: something like Jurassic Park, why why are these characters not

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Speaker 2: registering in the way I really want? The writing is

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Speaker 2: there in Jurassic Park where they're trying to put this

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Speaker 2: parenting theme on top of Doctor Grant so they've paid

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Speaker 2: attention to it. They're trying to make it work right.

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Speaker 2: And here's one thing I realized. I don't know how

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Speaker 2: they do it. I don't know if it's the writing

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Speaker 2: or the performances or a magical combination. But for a

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Speaker 2: character in this movie to work ultimately for me, I

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Speaker 2: have to be invested in something about them beyond their

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Speaker 2: immediate escape from the danger on screen. And I got

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Speaker 2: to tell you, Adam, I got, you know, not like

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Speaker 2: emotionally invested to the point that I worried about them

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Speaker 2: and thought about them while I was going to sleep

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Speaker 2: the night after seeing this movie. But I got emotionally

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Speaker 2: invested in the dynamics of this family beyond their danger.

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Speaker 2: This is a dynamic. When we first meet Xavier and

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Speaker 2: their boat. This happens early on. It's not not a

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Speaker 2: spoiler gets swamped by the Masasaurus. Masasaurus sure, sure, I

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Speaker 2: get the dinos right, you know, it's he has already

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Speaker 2: proven to be disrespectful and lazy, as I said, And

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Speaker 2: just you know, one of these boyfriends, You're like, why

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Speaker 2: is this, Why is this girl with this kid? You

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Speaker 2: want him to get swallowed up. Basically, you figure people

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Speaker 2: are going to die in this movie. Xavier, you're looking

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Speaker 2: like you're the first to go, and I'm okay with that.

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Speaker 2: By the time this movie ended, Adam, I didn't want

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Speaker 2: Xavier to get a scratch on them, right, And that

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Speaker 2: is not so much because of the danger scenes he's

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Speaker 2: placed in or scenarios he's placed in. It's because the

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Speaker 2: dynamic with the father, with Reuben chases, the dynamic with

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Speaker 2: Teresa is revealed. We start to understand why she is

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Speaker 2: invested in him. And those three gave me something to

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Speaker 2: something human to be intrigued by that would have been

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Speaker 2: happening even if the dinosaurs weren't around. So Kibar er lobar,

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Speaker 2: however you want to describe it. It did help me

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Speaker 2: clarify when these characters work as real humans in these

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Speaker 2: types of movies. And I think that's you know, I

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Speaker 2: think that's to Rebirth's credit.

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Speaker 3: Yeah, I want to come back to the care question

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Speaker 3: maybe a little bit later, because I do think this

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Speaker 3: will relate to what you're saying, but to your point,

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Speaker 3: and I agree with that family dynamic, this idea of

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Speaker 3: being invested in something beyond just escaping danger. I think

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Speaker 3: that's a good way to frame it. I think it

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Speaker 3: comes back to the idea of showing and not telling.

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Speaker 3: When the movie shows us character through their actions, through behavior,

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Speaker 3: we believe in them as human beings and how they

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Speaker 3: relate to each other, their dynamics, then we get invested

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Speaker 3: in them. It's when the movie tries to create an

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Speaker 3: emotional core by telling us all the reasons why we

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Speaker 3: should care about them as human beings that movies struggle,

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Speaker 3: and this one does.

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Speaker 2: It has a perfect example of what you're talking about exactly.

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Speaker 5: And that's speaking of the same way to get back

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Speaker 5: to with Ali and Joelners. There's multiple yes, there are

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Speaker 5: multiple examples, but there is one key scene, yes, and

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Speaker 5: I think we're thinking of the same one early in

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Speaker 5: the film where basically the movie it lays out its

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Speaker 5: emotional exposition is what it does in that scene, but trying.

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Speaker 2: To fill in their backstories and paralleling them and it's

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Speaker 2: all to your point through dialogue. It doesn't work at all.

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Speaker 2: It doesn't. It's what I think does happen a fair

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Speaker 2: amount in Jurassic Park and happens in a lot of

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Speaker 2: these movies really, So when I see a significant portion

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Speaker 2: of a film like this finding a way to do

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Speaker 2: it better. I have to. I have to, you know,

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Speaker 2: admire the movie for that.

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Speaker 3: Yeah, you talk about it being streamlined in the objectives,

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Speaker 3: and I get it. There's also the flip side to that,

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Speaker 3: which is sometimes when the movie lays out too neatly

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Speaker 3: what the objectives are step one, step two, step three

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Speaker 3: as there are here, then you are, as an audience member,

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Speaker 3: very keenly aware of how much time it's taking to

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Speaker 3: accomplish those objectives. And so it's like, is the movie

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Speaker 3: going to get there? How much time are we going

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Speaker 3: to take here between step one and step two? And

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Speaker 3: there is quite a gap between step one and step two.

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Speaker 3: But to that original question along those lines, Josh, what

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Speaker 3: do you want? Well, for me, it doesn't matter if

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Speaker 3: it's a Jurassic Park movie or could be any movie.

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Speaker 3: It's really the same.

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Speaker 2: For me.

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Speaker 3: I want characters and I want stakes. They're related, right,

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Speaker 3: what's my investment? What's your investment really in this film?

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Speaker 3: And I think that's a problem. It was a problem

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Speaker 3: for me ultimately, if they complete the mission, if I'm

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Speaker 3: rooting for them to complete the mission, it's evil pharmaceutical

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Speaker 3: guy helps his company make, according to him, trillions of

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Speaker 3: dollars and let's say I don't care as much about that. Well,

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Speaker 3: then the best case scenario is a mercenary with a

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Speaker 3: heart of gold doesn't have to take dangerous missions anymore. Okay, cool,

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Speaker 3: I guess that wasn't much for me, Josh.

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Speaker 2: It depends you. It depends how much you buy Henry

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Speaker 2: the Bailey character's alternative, of which he suggests early on, Hey,

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Speaker 2: let's take let's take the you know these samples and

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Speaker 2: make this free. You know will like what does he say?

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Speaker 2: Crowdsource it so the pharmaceutical benefits will be availed to

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Speaker 2: buy anyone. Now, Yeah, do I think that's hokey? But it, yes,

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Speaker 2: a little hokey. It's not exactly what I needed to

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Speaker 2: root for, but it does balance out what you're talking

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Speaker 2: a little. It does give you a third choice. Yeah.

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Speaker 3: But also it is introduced late enough into the film

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Speaker 3: that for a while it took me a bit to

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Speaker 3: get invested in the film. And I'm glad you mentioned that,

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Speaker 3: because that's another thing to add to my list. I

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Speaker 3: can't believe I forgot it. It's another thing to add

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Speaker 3: to my list of ways this movie I think isn't

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Speaker 3: completely weighed down by the legacy of the original, but

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Speaker 3: certainly is anchored by it. I'm gonna give you a few, right,

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Speaker 3: and why is that one in particular, because that goes

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Speaker 3: back to the line that is in Jurassic Park, right

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Speaker 3: that Hammond says and the lawyer. The lawyer has the

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Speaker 3: funny quip where he says, yeah, we'll have a coupon

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Speaker 3: day or whatever where the families will come. Hammond says,

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Speaker 3: science shouldn't be just for the elite. It shouldn't just

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Speaker 3: be for the rich. It needs to be for everyone.

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Speaker 3: That's an echo of it here in that science should

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Speaker 3: be for all. Clearly a callback to the film, right.

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Speaker 3: So the prologue, as you already mentioned, is very similar

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Speaker 3: to Jurassic Park. There's the objects in mirror are closer

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Speaker 3: than they appear no in the in the shot where

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Speaker 3: we're introduced to the ruper friend character, also we're introduced

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Speaker 3: to him through the rearview mirror. I don't think that's

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Speaker 3: by accident. Clearly, David Kep must be a health food

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Speaker 3: nut because I'm pretty sure he thinks that all of

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Speaker 3: these dinosaur experiments would actually have been successful if the

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Speaker 3: workers could just stop eating junk food stickers, wrapper, snickers,

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Speaker 3: wrapper plays a prominent role, and there's there's a brushing

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Speaker 3: of food off a map that directly echoes Sam Jackson's

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Speaker 3: brushing of junk off Nedri's desk in the original. There's

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Speaker 3: of course a notable use of flares. I wrote all

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Speaker 3: these down. I caught them all, Josh, A notable use

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Speaker 3: of flares, which is also.

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Speaker 2: A Gareth Edwards thing like that's a very probably in

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Speaker 2: Godzilla visual motif that I think he uses really effectively.

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Speaker 3: So when dinosaurs ruled the Earth, the banner hanging the

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Speaker 3: same banner, maybe not the exact same, but it is

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Speaker 3: for all intensive purposes hanging in a museum, and I

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Speaker 3: think it's even at that point when we see it

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Speaker 3: in the film starting to come down, but.

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Speaker 2: It's definitely echoing the motion, right.

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Speaker 3: Sure, there's of course a direct mention of Alan Grant.

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Speaker 3: There's a dinosaur eyeshot that felt pretty similar to the

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Speaker 3: t Rex scene. There is I know we'll get into this.

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Speaker 3: There is a behold the dinosaurs in a field scene

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Speaker 3: that certainly felt similar. There's the decision that we've already

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Speaker 3: talked about to introduce the Delgado family into the mix

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Speaker 3: with the two girls and cut between those two storylines

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Speaker 3: that mirrors the storylines in the first one, where you

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Speaker 3: have Grant with the kids and everyone else. And honestly,

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Speaker 3: none of that Easter egg kind of stuff really bugs me.

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Speaker 3: I don't think it overwhelms mine. I don't think it

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Speaker 3: overwhelms the movie or anything. And you know, as I said,

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Speaker 3: some of that Delgado stuff I think contributes to the

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Speaker 3: bloatedness of the plot, even if I genuinely do like

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Speaker 3: their scenes together and like those characters. But I will

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Speaker 3: be honest, Josh, by the time we got to the end,

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Speaker 3: and maybe you know, you can just tell me I'm

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Speaker 3: being too cynical here, but this is how I felt

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Speaker 3: by the time we got.

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Speaker 2: To the end. And there's no spoiler here.

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Speaker 3: And the penultimate shot is almost the exact It really

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Speaker 3: is the exact same shot as the one in Jurassic

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Speaker 3: Park where characters look out the window or look at

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Speaker 3: the water and see birds gliding gracefully along, and we

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Speaker 3: cut back to their content reverent faces. By that point,

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Speaker 3: it was too much. Homages are one thing, it's another

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Speaker 3: thing to co opt emotional beats and just copy and

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Speaker 3: paste them in, especially when on the whole this movie,

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Speaker 3: I think exudes a fraction of the reverence for the

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Speaker 3: natural world that the original did.

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Speaker 6: Well.

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Speaker 2: I think this might be a case of, you know,

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Speaker 2: not having seen a couple of those other Jurassic Park

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Speaker 2: movies that I have, because the things you're critiquing I

399
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Speaker 2: found to be much worse in those movies, and this

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Speaker 2: handles them, to my mind, just a little more delicately,

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Speaker 2: at least in a way that didn't bother me. I

402
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Speaker 2: would say to that last point in particular, I think

403
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Speaker 2: this movie makes space for the Spielbergian wonder much more

404
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Speaker 2: than the other installed and said we reviewed Jurassic works together,

405
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Speaker 2: and that one the thing I held the incident the

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Speaker 2: most is the cruelty towards the dinosaurs that it gave

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Speaker 2: us just by killing them, you know, indiscriminately, and that

408
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Speaker 2: was part of the action. This brings us back to

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Speaker 2: the wonder, whether you find it hope, I wanted a

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Speaker 2: lazy you know, I think it's probably going to be

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Speaker 2: a mileage may very moment. By that ending, when it

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Speaker 2: echoed the ending of Jurassic Park, I had been had

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Speaker 2: such a good time that I was willing to forgive

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Speaker 2: that and see it as an echo, not just a

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Speaker 2: lazy echo, but an echo of spirit that the movie

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Speaker 2: had earned for me by that point. So I think

417
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Speaker 2: it's earned some of those homages. I also think that

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Speaker 2: some of the home homages are doing original work here,

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Speaker 2: or at least clever enough work. The Snickers thing again,

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Speaker 2: because it happens in the cold open and we can

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Speaker 2: talk about in detail. It's not really a spoiler, but

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Speaker 2: I just love how Gareth Edwards uses that visual detail.

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Speaker 2: There's storytelling economy right in that. It's funny, there's the

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Speaker 2: connect that you mentioned. Sure little LEAs strike for the

425
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Speaker 2: people enjoy that not too much where it's distracting, but

426
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Speaker 2: also it's this signature of the human folly that's it's

427
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Speaker 2: reminding us that the whole series has been about human control.

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Speaker 3: For as much as you can control, something is always

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Speaker 3: going to go wrong.

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Speaker 2: Because you should may mess claws it. You shouldn't be

431
00:23:18,520 --> 00:23:21,000
Speaker 2: messing with this in the first sex, and so I

432
00:23:21,040 --> 00:23:24,240
Speaker 2: thought that was actually a clever way to continue that theme.

433
00:23:25,040 --> 00:23:27,359
Speaker 2: But yeah, to your point about the homages, though, I

434
00:23:27,359 --> 00:23:30,080
Speaker 2: think you can go beyond Jurassic Park what I found.

435
00:23:30,640 --> 00:23:33,000
Speaker 2: You know, I would say to me, I could take

436
00:23:33,040 --> 00:23:34,760
Speaker 2: it or leave it. Some people are going to love it.

437
00:23:34,840 --> 00:23:36,640
Speaker 2: Some people are going to be annoyed by it. There

438
00:23:36,680 --> 00:23:39,320
Speaker 2: are way more Spielberg nods here than Jurassic Park. The

439
00:23:39,359 --> 00:23:43,840
Speaker 2: Mosasaurus sequence where with the sailboat it's an extended Jaws,

440
00:23:44,080 --> 00:23:46,160
Speaker 2: I mean it could be pulled from Jaws. The way

441
00:23:46,280 --> 00:23:50,639
Speaker 2: that is that is handled. I found that, like, I

442
00:23:50,680 --> 00:23:52,960
Speaker 2: found it kind of enjoyable that they decided to say, hey,

443
00:23:52,960 --> 00:23:56,600
Speaker 2: we're going to lean into the Jaws. The jawsiness of this, yeah,

444
00:23:56,640 --> 00:23:59,680
Speaker 2: there is this one worked less well for me. One

445
00:23:59,720 --> 00:24:02,520
Speaker 2: of the where the creatures they have to track down

446
00:24:02,680 --> 00:24:04,439
Speaker 2: is one of the flying dinosaurs. So it has a

447
00:24:04,520 --> 00:24:07,000
Speaker 2: nest in the side of a cliff and inside the

448
00:24:07,280 --> 00:24:10,439
Speaker 2: nest is built in like a abandoned temple from an

449
00:24:10,440 --> 00:24:13,680
Speaker 2: ancient civilization Indiana. Jones is all over that. It feels

450
00:24:13,720 --> 00:24:15,560
Speaker 2: like it you're that one. I was like, okay, come

451
00:24:15,600 --> 00:24:18,280
Speaker 2: on now. And you know the one thing I also

452
00:24:18,320 --> 00:24:20,040
Speaker 2: did not work for me at all. It's a minor

453
00:24:20,040 --> 00:24:23,560
Speaker 2: plot detail, but the younger Delgado daughter, a tiny baby

454
00:24:23,640 --> 00:24:27,320
Speaker 2: dino you know, comes finds her and she adopts it.

455
00:24:28,000 --> 00:24:31,280
Speaker 2: Et vibes all over that with the animatronic and of

456
00:24:31,640 --> 00:24:34,199
Speaker 2: that whole thread line. I didn't need either. So it

457
00:24:34,280 --> 00:24:36,320
Speaker 2: was just interesting to me that they were they weren't

458
00:24:36,480 --> 00:24:41,600
Speaker 2: just returning to the Jurassic model, they were returning to

459
00:24:41,600 --> 00:24:44,120
Speaker 2: the Spielberg model in ways that I would say they

460
00:24:44,119 --> 00:24:46,199
Speaker 2: had a you know, a five hundred bat in efforts

461
00:24:46,280 --> 00:24:48,159
Speaker 2: or a fifty percent success rate on that.

462
00:24:48,240 --> 00:24:50,439
Speaker 3: For me, yeah, I think that is very clear that

463
00:24:50,640 --> 00:24:54,200
Speaker 3: Edwards is trying to tap into that model. And maybe

464
00:24:54,240 --> 00:24:57,760
Speaker 3: before I counter on the wonder point as well, I'll

465
00:24:57,800 --> 00:25:02,119
Speaker 3: at least acknowledge that the shot or moment I was

466
00:25:02,160 --> 00:25:05,919
Speaker 3: alluding to earlier that I think really is amazing, And

467
00:25:05,960 --> 00:25:08,280
Speaker 3: overall I agree with you. I think the action scenes,

468
00:25:08,320 --> 00:25:11,080
Speaker 3: for the most part, the action scenes are are rendered

469
00:25:11,400 --> 00:25:15,200
Speaker 3: very well and are are pretty thrilling. There is a shot.

470
00:25:15,320 --> 00:25:18,040
Speaker 3: I don't think we want to spoil it exactly. I

471
00:25:18,080 --> 00:25:22,080
Speaker 3: will just say that there is a shot later that

472
00:25:22,560 --> 00:25:29,240
Speaker 3: makes tremendous use of nighttime and clouds at nighttime and

473
00:25:29,320 --> 00:25:34,199
Speaker 3: a very large dinosaur, and I suppose a sense of

474
00:25:34,240 --> 00:25:39,399
Speaker 3: camouflage and the way that dinosaur emerges is a genuine

475
00:25:39,880 --> 00:25:45,000
Speaker 3: surprise and and a genuine bit of misdirection and an

476
00:25:45,119 --> 00:25:49,720
Speaker 3: awesomeness a different kind of wonder. But that's it really

477
00:25:49,760 --> 00:25:52,240
Speaker 3: is it really is great. Now, I will have to

478
00:25:52,280 --> 00:25:55,119
Speaker 3: take your word for it on how the Wonder is

479
00:25:55,200 --> 00:25:59,639
Speaker 3: handled in relation to the other sequels, at least you know,

480
00:25:59,680 --> 00:26:02,560
Speaker 3: I don't remember has been a while now, the other

481
00:26:02,600 --> 00:26:04,680
Speaker 3: ones that I have seen, and I know we are

482
00:26:04,760 --> 00:26:06,120
Speaker 3: going to discuss this more when.

483
00:26:06,040 --> 00:26:07,360
Speaker 2: We talk about Jurassic Park.

484
00:26:07,400 --> 00:26:10,399
Speaker 3: That's one of the key elements of that film that

485
00:26:10,480 --> 00:26:15,439
Speaker 3: make it successful. Rebirth eventually tries to summon awe, but

486
00:26:15,520 --> 00:26:20,200
Speaker 3: when Edwards finally cuse the Wonder, it's too little, too late,

487
00:26:20,359 --> 00:26:22,040
Speaker 3: or it was for me. And when I say cue

488
00:26:22,040 --> 00:26:25,320
Speaker 3: the Wonder, that's how it felt to me. Not entirely ineffective,

489
00:26:25,720 --> 00:26:28,959
Speaker 3: but a bit obligatory, and so late in the film.

490
00:26:29,200 --> 00:26:30,840
Speaker 3: I looked at my watch, it was at least at

491
00:26:30,880 --> 00:26:33,840
Speaker 3: the ninety minute mark. I think there's a reason why Spielberg,

492
00:26:34,320 --> 00:26:36,679
Speaker 3: you know, besides it worked for the story, why he

493
00:26:36,720 --> 00:26:40,320
Speaker 3: put that scene so early in the original film. By

494
00:26:40,359 --> 00:26:44,000
Speaker 3: the time we get it in this film, Josh, we've

495
00:26:44,119 --> 00:26:49,920
Speaker 3: almost entirely seen the dinosaurs as threats, as grayish gross mutations,

496
00:26:50,359 --> 00:26:54,320
Speaker 3: and this scene, despite how great the score is, again

497
00:26:54,440 --> 00:26:58,639
Speaker 3: going back to the original recalling the original film, making

498
00:26:58,760 --> 00:27:02,479
Speaker 3: great use of that and needing it, really needing it

499
00:27:02,480 --> 00:27:05,439
Speaker 3: to do that work. It's not enough to undo that

500
00:27:05,480 --> 00:27:08,080
Speaker 3: fact or to balance out the fact that we've seen

501
00:27:08,080 --> 00:27:12,080
Speaker 3: them as threats up until now. And I do believe

502
00:27:13,560 --> 00:27:17,480
Speaker 3: the Jonathan Bailey character, in particular his sense of wonder

503
00:27:18,320 --> 00:27:21,919
Speaker 3: in the moment. But here again something we'll dive into deeper.

504
00:27:22,000 --> 00:27:24,480
Speaker 3: When we talk about Jurassic Park, I do think Edwards

505
00:27:24,560 --> 00:27:28,320
Speaker 3: miscalculates a bit what produces that sense of wonder for

506
00:27:28,359 --> 00:27:31,879
Speaker 3: the audience or what the equation is. He makes it

507
00:27:31,960 --> 00:27:36,679
Speaker 3: mostly about scale, the size of the dinosaurs, their size

508
00:27:36,680 --> 00:27:40,000
Speaker 3: and relation to the humans, the sweep of the valley,

509
00:27:40,280 --> 00:27:43,359
Speaker 3: and the several dozen dinosaurs dotting the landscape. You know

510
00:27:43,359 --> 00:27:47,359
Speaker 3: what we get very little of until late in the scene,

511
00:27:48,000 --> 00:27:54,919
Speaker 3: faces reactions, the audience's experience. We experience wonder through the

512
00:27:55,080 --> 00:27:58,399
Speaker 3: characters more so than the camera. And by the time

513
00:27:58,440 --> 00:28:00,760
Speaker 3: we finally get I thought we were going to get

514
00:28:00,760 --> 00:28:03,439
Speaker 3: it Josh, and he cuts away almost immediately from Bailey

515
00:28:03,440 --> 00:28:06,080
Speaker 3: and goes to the dinosaurs. Most of the grandeur by

516
00:28:06,080 --> 00:28:08,120
Speaker 3: the time we get to Bailey, most of the grandeur

517
00:28:08,119 --> 00:28:11,480
Speaker 3: of that scene had passed for me. And so by

518
00:28:11,480 --> 00:28:14,280
Speaker 3: the time it is about Bailey and his experience. He's

519
00:28:14,640 --> 00:28:17,560
Speaker 3: a phenomenal actor. I really do believe that by the

520
00:28:17,600 --> 00:28:20,280
Speaker 3: time he's shedding a tear, I didn't feel it.

521
00:28:20,880 --> 00:28:25,159
Speaker 2: I would say that sequence was serviceable to me. I

522
00:28:25,160 --> 00:28:27,240
Speaker 2: would put it on the same level as we talked

523
00:28:27,280 --> 00:28:30,199
Speaker 2: about the stars. They're doing their job. That sequence for

524
00:28:30,320 --> 00:28:34,399
Speaker 2: me did its job. This is the Titanosaurus herd. I

525
00:28:34,400 --> 00:28:36,520
Speaker 2: think we can say, which is the second of their

526
00:28:37,119 --> 00:28:39,800
Speaker 2: three dinosaurs that they need to get a blood sample from.

527
00:28:40,600 --> 00:28:42,719
Speaker 2: Here's maybe why I'm a little more generous towards it.

528
00:28:42,760 --> 00:28:45,960
Speaker 2: I do think it's nicely set up earlier in the film,

529
00:28:45,960 --> 00:28:48,520
Speaker 2: and maybe this is why it didn't bother me that

530
00:28:48,600 --> 00:28:51,280
Speaker 2: it came at the point it did. But the movie

531
00:28:51,320 --> 00:28:55,760
Speaker 2: begins in New York City where basically Scarlett Johans's character

532
00:28:55,840 --> 00:28:58,800
Speaker 2: is being recruited by Rupert Friends corporate, you know, the

533
00:28:58,800 --> 00:29:03,440
Speaker 2: pharmaceutical corporate guy, and they're stuck in traffic at one

534
00:29:03,480 --> 00:29:06,520
Speaker 2: point because and I may get my dinosaur wrong here,

535
00:29:06,680 --> 00:29:09,800
Speaker 2: I think it's a brachiosaurus, but it is basically wandered

536
00:29:09,920 --> 00:29:12,200
Speaker 2: into the streets. I did like the setup of this

537
00:29:12,320 --> 00:29:16,720
Speaker 2: where at this point in time, dinosaurs have mostly moved

538
00:29:16,720 --> 00:29:19,200
Speaker 2: towards the equator, because they can't survive anywhere else, and

539
00:29:19,240 --> 00:29:22,400
Speaker 2: people now are just kind of annoyed by them, lost interest.

540
00:29:22,680 --> 00:29:26,760
Speaker 2: So we're New York City and this giant beast, which

541
00:29:27,000 --> 00:29:31,400
Speaker 2: honestly I thought the effects are well done. That produced

542
00:29:31,440 --> 00:29:33,640
Speaker 2: a certain amount of awe, this shot of this giant

543
00:29:33,640 --> 00:29:36,920
Speaker 2: beast on this street in Manhattan. But what are the

544
00:29:36,920 --> 00:29:38,760
Speaker 2: people in the movie do. They're just honking at it.

545
00:29:38,760 --> 00:29:41,960
Speaker 2: They're just pissed. It's making them late, it's disrupting their day.

546
00:29:42,120 --> 00:29:46,120
Speaker 2: But it's a nice little precursor of the scale and

547
00:29:46,200 --> 00:29:51,240
Speaker 2: scope you're talking about and reminding us of the grandeur

548
00:29:51,400 --> 00:29:54,240
Speaker 2: of these creatures. There's also a line and this brings

549
00:29:54,320 --> 00:29:57,960
Speaker 2: us back to Bailey's Henry the Scientists to who goes

550
00:29:58,000 --> 00:30:01,200
Speaker 2: along and when Rupert Friend is trying to rec him,

551
00:30:01,600 --> 00:30:03,600
Speaker 2: he points out, you know, have you ever seen a

552
00:30:03,640 --> 00:30:08,200
Speaker 2: dinosaur in the wild? And Henry says no, And he says,

553
00:30:08,680 --> 00:30:11,640
Speaker 2: he says, if you've never done that, you're only like

554
00:30:11,680 --> 00:30:14,200
Speaker 2: a guy who's been to the zoo. And there's nothing

555
00:30:14,280 --> 00:30:17,320
Speaker 2: visual about that. But there's character stuff that you're talking

556
00:30:17,320 --> 00:30:20,320
Speaker 2: about going on there. And so when we got to

557
00:30:20,360 --> 00:30:23,120
Speaker 2: the Titanosaurus scene in the field, I think it worked

558
00:30:23,120 --> 00:30:25,200
Speaker 2: a little better for me because I was remembering the

559
00:30:25,240 --> 00:30:28,480
Speaker 2: earlier moment. Well, that's the payoff, and you can understand

560
00:30:28,680 --> 00:30:31,320
Speaker 2: why he's responding how he is. You're right about the

561
00:30:31,320 --> 00:30:33,760
Speaker 2: attention to scale, because that that is the one thing

562
00:30:33,800 --> 00:30:38,040
Speaker 2: that made Edwards Godzilla so distinct, is that the movie

563
00:30:38,120 --> 00:30:41,320
Speaker 2: was all about dwarfing the humans and emphasizing the immensity

564
00:30:41,360 --> 00:30:44,640
Speaker 2: of Godzilla and those creatures. So maybe he leaned a

565
00:30:44,680 --> 00:30:47,640
Speaker 2: little too far here, But I think I think the

566
00:30:47,680 --> 00:30:50,440
Speaker 2: movie worked well enough. I think that sequence, I should say,

567
00:30:50,720 --> 00:30:55,400
Speaker 2: worked well enough for evoking this tradition of basically, overall, Adam,

568
00:30:55,400 --> 00:30:58,280
Speaker 2: I thought this movie respected its monsters, and you touched

569
00:30:58,320 --> 00:31:00,320
Speaker 2: on this about the wonder and the grandeur of the

570
00:31:00,480 --> 00:31:05,840
Speaker 2: terror scenes too. I thought Rebirth allowed these monsters to

571
00:31:05,920 --> 00:31:08,800
Speaker 2: have both pathos and terror in a way that was

572
00:31:08,880 --> 00:31:11,840
Speaker 2: kind of tapping into the Spielbergian wonder thing too.

573
00:31:12,360 --> 00:31:16,560
Speaker 3: Yeah, maybe that scene in that moment, the crying in particular,

574
00:31:16,560 --> 00:31:18,800
Speaker 3: didn't work for me because I was still also hung

575
00:31:18,880 --> 00:31:22,800
Speaker 3: up on what we were discussing partly earlier. And this

576
00:31:22,840 --> 00:31:25,160
Speaker 3: also goes back to something in the original Jurassic Park.

577
00:31:25,320 --> 00:31:29,240
Speaker 3: Most of the movies attempts at poignancy poignancy just fell

578
00:31:29,280 --> 00:31:33,120
Speaker 3: flat to me. Backstories about dead friends on training missions,

579
00:31:33,520 --> 00:31:37,560
Speaker 3: missed mothers, funerals, dead children like, the more people are

580
00:31:37,560 --> 00:31:40,479
Speaker 3: having conversations about these things, and actors have to do

581
00:31:40,520 --> 00:31:44,640
Speaker 3: a lot of heavy lifting with their eyebrows and their eyes,

582
00:31:44,840 --> 00:31:48,160
Speaker 3: you know, to get us to care about the characters,

583
00:31:48,200 --> 00:31:50,240
Speaker 3: get us to buy into the stakes of their mission.

584
00:31:50,560 --> 00:31:54,240
Speaker 3: The less interested I was. It is funny because this

585
00:31:54,320 --> 00:31:56,840
Speaker 3: is something else that I'm sure we'll want to bring

586
00:31:56,920 --> 00:32:00,400
Speaker 3: up when we talk about Jurassic Park, how self, where

587
00:32:01,760 --> 00:32:05,880
Speaker 3: that movie is or isn't about, sort of the question

588
00:32:05,960 --> 00:32:13,160
Speaker 3: of commerce and its place, right, creating a blockbuster movie

589
00:32:13,200 --> 00:32:19,480
Speaker 3: and creating this park that's driven by capitalism. This whole

590
00:32:19,600 --> 00:32:24,280
Speaker 3: you reference this right, This whole mission, and this whole

591
00:32:24,520 --> 00:32:27,360
Speaker 3: concept of this movie is built around the idea that

592
00:32:27,480 --> 00:32:32,560
Speaker 3: now nobody cares about dinosaurs anymore. And in fact, the

593
00:32:32,680 --> 00:32:35,720
Speaker 3: mutations were all a byproduct of the fact that no

594
00:32:35,760 --> 00:32:39,160
Speaker 3: one wanted to go to places like the original Jurassic

595
00:32:39,200 --> 00:32:43,400
Speaker 3: Park anymore, because it wasn't enough for just to see

596
00:32:43,680 --> 00:32:47,680
Speaker 3: the brachiosaur walking around anymore, right, so they had to

597
00:32:47,760 --> 00:32:50,880
Speaker 3: amp everything up and turn them into freaks to get

598
00:32:50,880 --> 00:32:53,920
Speaker 3: people to care and here we are all walking into

599
00:32:53,920 --> 00:32:58,680
Speaker 3: the Summer movie where it's littered with dinosaurs that are

600
00:32:58,720 --> 00:32:59,520
Speaker 3: a bunch of freaks.

601
00:33:00,000 --> 00:33:02,520
Speaker 2: So it is it though, See, Yeah, I think I

602
00:33:02,560 --> 00:33:05,040
Speaker 2: suppose one thing I liked about this movie is that

603
00:33:05,240 --> 00:33:09,480
Speaker 2: it's bookended by that, right, this idea of the genetically

604
00:33:09,560 --> 00:33:13,840
Speaker 2: experimented on dinosaurs. But the three main targets we encounter,

605
00:33:14,040 --> 00:33:17,040
Speaker 2: and we also have a t rex sequence too, those

606
00:33:17,040 --> 00:33:21,120
Speaker 2: are all, you know, original old school dinoses. Yeah, and

607
00:33:21,160 --> 00:33:22,760
Speaker 2: so that's kind of what I liked about.

608
00:33:22,920 --> 00:33:25,040
Speaker 3: If you go in and and and you're right to

609
00:33:25,080 --> 00:33:27,800
Speaker 3: that point, if you go in expecting that that's what

610
00:33:27,840 --> 00:33:30,040
Speaker 3: you're going to get. And let's be clear, there are

611
00:33:30,200 --> 00:33:33,560
Speaker 3: plenty of dinosaur attacks and dinosaur evasions in this film,

612
00:33:33,680 --> 00:33:35,960
Speaker 3: but if that's all you think you're going to get,

613
00:33:36,280 --> 00:33:39,680
Speaker 3: like the first hour of this movie, there's almost no dinosaurs.

614
00:33:39,920 --> 00:33:42,680
Speaker 3: There's a lot of there's a lot of just setting

615
00:33:42,720 --> 00:33:44,880
Speaker 3: up of the story and character stuff, or at least

616
00:33:45,120 --> 00:33:47,320
Speaker 3: plot stuff between the characters.

617
00:33:47,440 --> 00:33:47,600
Speaker 6: Right.

618
00:33:47,680 --> 00:33:52,560
Speaker 2: Yeah, before the hour sounds a little I mean have minutes.

619
00:33:52,720 --> 00:33:55,200
Speaker 2: I really like the open. The cold open worked well

620
00:33:55,200 --> 00:33:57,080
Speaker 2: for me, so that carried me through for a while.

621
00:33:57,120 --> 00:33:59,800
Speaker 2: But yeah, it takes a little while to get to

622
00:33:59,840 --> 00:34:01,719
Speaker 2: the real action, I do want to before we go,

623
00:34:01,880 --> 00:34:04,640
Speaker 2: just call out one action set piece because I do

624
00:34:04,680 --> 00:34:11,439
Speaker 2: think we get oh maybe four possibly five standout sequences here,

625
00:34:11,880 --> 00:34:14,440
Speaker 2: and there's a detail in one that I love. It

626
00:34:14,480 --> 00:34:18,080
Speaker 2: is the t Rex. Not going to spoil it entirely,

627
00:34:18,120 --> 00:34:20,239
Speaker 2: but let's just say the Delgados are making their way

628
00:34:20,239 --> 00:34:24,600
Speaker 2: across the island, this family and they encounter a t Rex.

629
00:34:25,040 --> 00:34:27,799
Speaker 2: Great reveal. I'm not going to spoil it of not

630
00:34:27,880 --> 00:34:30,600
Speaker 2: only what the creature is that this is, you know,

631
00:34:31,800 --> 00:34:37,080
Speaker 2: it reveals patients that Edward springs to another bit misdirector

632
00:34:37,280 --> 00:34:39,680
Speaker 2: for the audience, and it also has a little detail.

633
00:34:39,760 --> 00:34:42,640
Speaker 2: I'll just say there is a rubber raft, yellow rubber

634
00:34:42,719 --> 00:34:46,439
Speaker 2: raft that's involved, and we get a great shot where

635
00:34:46,440 --> 00:34:48,880
Speaker 2: a character is hiding underneath it. The t Rex is

636
00:34:48,920 --> 00:34:51,759
Speaker 2: above and pushes it snout into the raft and you

637
00:34:51,800 --> 00:34:55,000
Speaker 2: can see the triangles of the teeth protruding into the

638
00:34:55,080 --> 00:34:59,400
Speaker 2: rubber to the breaking point. Things like that. Like you

639
00:34:59,560 --> 00:35:02,000
Speaker 2: and I'm maybe there was like some CGI assistance in

640
00:35:02,040 --> 00:35:05,319
Speaker 2: that imagery, but you think of a visual idea, a

641
00:35:05,360 --> 00:35:07,719
Speaker 2: simple idea like that, it is all you need. You

642
00:35:07,760 --> 00:35:12,080
Speaker 2: do not need like a supercomputer creating herds of beasts

643
00:35:12,360 --> 00:35:16,600
Speaker 2: rampaging across the screen that is not nearly as scary

644
00:35:16,800 --> 00:35:23,000
Speaker 2: as a simple evocative image which you know makes makes

645
00:35:23,040 --> 00:35:25,480
Speaker 2: that one of the I would say many stand out

646
00:35:25,600 --> 00:35:26,919
Speaker 2: action set pieces.

647
00:35:26,600 --> 00:35:31,400
Speaker 3: And Rebirth Jurassic World Rebirth is currently playing in wide release.

648
00:35:31,760 --> 00:35:34,200
Speaker 3: If you see it and agree or disagree with us,

649
00:35:34,480 --> 00:35:36,759
Speaker 3: email us feedback at filmspotting dot net.

650
00:35:38,600 --> 00:35:44,520
Speaker 4: Yes it's me, what a shock, etc. My path of

651
00:35:44,600 --> 00:35:48,239
Speaker 4: personal growth has been paid with disappointment. I think we

652
00:35:48,280 --> 00:35:51,239
Speaker 4: can agree that my biggest mistake was that I cared

653
00:35:51,320 --> 00:35:51,799
Speaker 4: too much.

654
00:35:53,120 --> 00:35:55,600
Speaker 2: Actually, the biggest mistake you made was murdering four people

655
00:35:55,640 --> 00:35:56,280
Speaker 2: and a dog.

656
00:35:59,160 --> 00:36:01,960
Speaker 3: Continuing the trend, and I suppose of confusing movie titles

657
00:36:02,000 --> 00:36:04,960
Speaker 3: if only to me. Megan two point oh, that's m

658
00:36:05,000 --> 00:36:08,520
Speaker 3: the number three Gan two point oh the sequel to

659
00:36:08,680 --> 00:36:14,080
Speaker 3: twenty twenty two's hit Killer Doll Movie and Josh, you,

660
00:36:14,320 --> 00:36:17,160
Speaker 3: in preparation for this one, caught up with the original

661
00:36:17,320 --> 00:36:19,080
Speaker 3: Mthriegan you liked it?

662
00:36:19,120 --> 00:36:19,840
Speaker 2: Is it possible?

663
00:36:19,880 --> 00:36:23,279
Speaker 3: Based on your ratings, I can't remember exactly where you

664
00:36:23,400 --> 00:36:25,839
Speaker 3: landed three and a half I think out of four

665
00:36:25,920 --> 00:36:28,000
Speaker 3: for this one on your site? Were you just a

666
00:36:28,160 --> 00:36:29,719
Speaker 3: three for the other one. Do you like this one

667
00:36:29,760 --> 00:36:30,279
Speaker 3: even more?

668
00:36:30,320 --> 00:36:33,600
Speaker 2: A better sequel? I had so much fun with this one, Adam,

669
00:36:33,760 --> 00:36:36,480
Speaker 2: one of the most entertaining times at a theater this year.

670
00:36:36,560 --> 00:36:40,600
Speaker 2: Halfway through, and yeah, I mean, I'm no expert. I

671
00:36:40,640 --> 00:36:43,560
Speaker 2: came to Megan late. I'm not gonna pretend like I

672
00:36:43,640 --> 00:36:46,080
Speaker 2: was right there at the beginning. I was certainly curious

673
00:36:46,080 --> 00:36:49,320
Speaker 2: about the first film, but it went by me. And

674
00:36:49,360 --> 00:36:51,319
Speaker 2: then when I heard everyone kind of going nuts for it,

675
00:36:51,600 --> 00:36:54,200
Speaker 2: I just marked it like I'm gonna have to catch

676
00:36:54,239 --> 00:36:57,239
Speaker 2: up with that. A sequel was the perfect excuse. I

677
00:36:57,280 --> 00:37:00,560
Speaker 2: did like this better because I feel like Megan two

678
00:37:00,640 --> 00:37:03,960
Speaker 2: point zero has a firmer sense of what it wants

679
00:37:04,040 --> 00:37:07,319
Speaker 2: to do. It is a little longer, I believe it

680
00:37:07,840 --> 00:37:12,440
Speaker 2: in a way is more expansive, but its concerns are

681
00:37:12,480 --> 00:37:19,080
Speaker 2: more focused. And I found this to be a rather compelling, interesting,

682
00:37:19,160 --> 00:37:24,400
Speaker 2: provocative satire of the artificial intelligence, you know, ethical debate

683
00:37:24,760 --> 00:37:26,920
Speaker 2: that we're either having or that we should be having

684
00:37:27,640 --> 00:37:30,240
Speaker 2: right now. And it's funny some of the responses I've seen,

685
00:37:30,600 --> 00:37:33,719
Speaker 2: you know, they fault Megan two point oh for its

686
00:37:33,840 --> 00:37:37,520
Speaker 2: ethics on the notion of AI, and I just feel

687
00:37:37,520 --> 00:37:40,600
Speaker 2: like this isn't a movie that's that's really trying to

688
00:37:40,719 --> 00:37:43,600
Speaker 2: make a statement that it wants people to agree with.

689
00:37:43,719 --> 00:37:48,600
Speaker 2: It is instead making fun of the illogical rationale in

690
00:37:48,640 --> 00:37:51,399
Speaker 2: this debate, or the poor reasoning, or the hubrist that's

691
00:37:51,440 --> 00:37:53,799
Speaker 2: involved in it. Is really taking a bigger look at

692
00:37:53,840 --> 00:37:57,840
Speaker 2: all of these questions we're embroiled in and having a

693
00:37:57,840 --> 00:38:01,400
Speaker 2: lot of fun with them, while also, as I said,

694
00:38:01,440 --> 00:38:03,520
Speaker 2: some of the Hubrists and so forth behind it. So

695
00:38:03,560 --> 00:38:08,000
Speaker 2: it's a smart movie. It's it's really smart. And you know, people,

696
00:38:08,960 --> 00:38:11,760
Speaker 2: I thought the first film was not so much about AI.

697
00:38:12,239 --> 00:38:16,920
Speaker 2: It was about to me handing over our parenting responsibilities

698
00:38:16,920 --> 00:38:20,000
Speaker 2: to technology. That's a very different thing, and it was

699
00:38:20,040 --> 00:38:23,399
Speaker 2: a smart satire on that level. I enjoyed it for

700
00:38:23,600 --> 00:38:26,239
Speaker 2: the elements it had. It got a little bit away

701
00:38:26,239 --> 00:38:28,600
Speaker 2: from that and went for some you know, horror kills

702
00:38:28,680 --> 00:38:32,359
Speaker 2: and and things that were in a different direction. So

703
00:38:32,480 --> 00:38:35,279
Speaker 2: I just love the focus that Megan two point zero has,

704
00:38:35,440 --> 00:38:38,400
Speaker 2: and it partly attained that by shifting genres. This is

705
00:38:38,400 --> 00:38:41,440
Speaker 2: something that other folks are holding against it as well.

706
00:38:41,640 --> 00:38:44,920
Speaker 2: It's not a horror film. It is like a sci

707
00:38:44,960 --> 00:38:49,319
Speaker 2: fi spy game genre flick. It's like, you know, Mission impossible.

708
00:38:49,360 --> 00:38:51,799
Speaker 2: I described as mission impossible if you took out Tom

709
00:38:51,840 --> 00:38:55,560
Speaker 2: Cruise and plopped in RoboCop, except RoboCop was a you know,

710
00:38:56,000 --> 00:38:59,759
Speaker 2: killer female doll, and that worked for me. This sort

711
00:38:59,800 --> 00:39:03,520
Speaker 2: of idea of let's play in a different sandbox with

712
00:39:03,680 --> 00:39:07,960
Speaker 2: related ideas, and here's the key, but further expand on

713
00:39:08,000 --> 00:39:11,160
Speaker 2: this central character, which has always been the crowning achievement

714
00:39:11,280 --> 00:39:14,000
Speaker 2: always these two movies. Now it's the hallmark of them,

715
00:39:14,239 --> 00:39:16,680
Speaker 2: the fact that they've been able to come up with

716
00:39:16,880 --> 00:39:23,480
Speaker 2: a completely fabricated character who feels so real, a distinct personality,

717
00:39:24,200 --> 00:39:28,359
Speaker 2: someone who is funny, who is sassy, yet somehow has

718
00:39:28,400 --> 00:39:33,319
Speaker 2: this eerie element of automation to her that keeps you

719
00:39:33,440 --> 00:39:37,080
Speaker 2: at a certain distance. And it's this thrilling combination of

720
00:39:37,120 --> 00:39:41,520
Speaker 2: performance and special effects. They're using animatronics here, but they're

721
00:39:41,560 --> 00:39:44,960
Speaker 2: also using a child actor, Amy Donald in both films

722
00:39:45,480 --> 00:39:48,560
Speaker 2: for some of the sequences. The vocal performer Megan's voice,

723
00:39:48,600 --> 00:39:52,719
Speaker 2: which is so key, is by Jenna Davis, and even

724
00:39:52,760 --> 00:39:56,000
Speaker 2: in the sequences here in two point zero, where Megan

725
00:39:56,320 --> 00:40:01,480
Speaker 2: the program is stuck in a smaller desk body that

726
00:40:01,520 --> 00:40:05,200
Speaker 2: looks like Eve from Wally, it's that vocal performance that

727
00:40:05,440 --> 00:40:07,200
Speaker 2: is so strong that lets us know this is the

728
00:40:07,239 --> 00:40:12,080
Speaker 2: same quote unquote person with the same attitudes and the

729
00:40:12,120 --> 00:40:15,320
Speaker 2: one we've kind of come to maybe not love, but enjoy.

730
00:40:16,160 --> 00:40:17,759
Speaker 2: And so I think that's a real feat too, that

731
00:40:17,800 --> 00:40:19,520
Speaker 2: they've not only been able to carry that over to

732
00:40:19,560 --> 00:40:21,960
Speaker 2: Megan two point zero but expand on it in terms

733
00:40:22,000 --> 00:40:28,080
Speaker 2: of who Megan is as a threat and sort of

734
00:40:28,120 --> 00:40:30,640
Speaker 2: a figure we root for. So yeah, I don't know

735
00:40:30,680 --> 00:40:33,640
Speaker 2: that people have you know, been down on Megan two

736
00:40:33,680 --> 00:40:37,320
Speaker 2: point zero as much as just said, here are sequelitest

737
00:40:37,320 --> 00:40:40,800
Speaker 2: things that have frustrated me. I went the other direction.

738
00:40:41,040 --> 00:40:43,560
Speaker 2: I thought, I thought they took a big risk here

739
00:40:43,560 --> 00:40:44,239
Speaker 2: and it paid off.

740
00:40:44,560 --> 00:40:45,920
Speaker 3: I don't know why you had to look at me

741
00:40:46,080 --> 00:40:50,480
Speaker 3: like that when you said handing over parenting responsibilities to technology.

742
00:40:50,560 --> 00:40:51,080
Speaker 2: You know, I don't.

743
00:40:51,280 --> 00:40:53,640
Speaker 3: I don't need your judgment or the judgment of a

744
00:40:53,719 --> 00:40:55,120
Speaker 3: doll with a number in.

745
00:40:55,080 --> 00:40:58,560
Speaker 2: Our first name. Are you looking for a Megan? Are

746
00:40:58,560 --> 00:40:59,600
Speaker 2: you in the market for a Megan?

747
00:40:59,640 --> 00:40:59,799
Speaker 6: There?

748
00:40:59,800 --> 00:41:02,560
Speaker 2: And the Kemp in our household? I mean, things are busy.

749
00:41:02,280 --> 00:41:06,040
Speaker 2: You guys are juggling a lot, so surely blame you.

750
00:41:06,600 --> 00:41:09,920
Speaker 3: Yeah, we got our hands full right now. Certainly bringing

751
00:41:09,960 --> 00:41:13,640
Speaker 3: up the topic of Hubris is appropriate for this week's show.

752
00:41:13,680 --> 00:41:16,440
Speaker 3: You've convinced me I need to catch up with the

753
00:41:16,480 --> 00:41:19,960
Speaker 3: Megan series, and hey, they've got the name already set

754
00:41:20,400 --> 00:41:22,920
Speaker 3: for the third one. You know there's going to be

755
00:41:23,680 --> 00:41:26,000
Speaker 3: a third movie. That has to be a trilogy, right yeah?

756
00:41:26,000 --> 00:41:27,600
Speaker 2: And I think you know they must have known it

757
00:41:27,640 --> 00:41:30,280
Speaker 2: all along, That's why they chose their name at the beginning.

758
00:41:30,680 --> 00:41:33,560
Speaker 3: Megan two point zero is currently playing in wide release.

759
00:41:33,600 --> 00:41:35,600
Speaker 3: If you see it and agree or disagree with the

760
00:41:35,680 --> 00:41:36,480
Speaker 3: Josh's take, we.

761
00:41:36,440 --> 00:41:38,040
Speaker 2: Would love to hear from you.

762
00:41:38,040 --> 00:41:40,399
Speaker 3: You can email us feedback at filmspotting dot net.

763
00:41:41,040 --> 00:41:42,840
Speaker 2: Listening is the number one thing you can do to

764
00:41:42,920 --> 00:41:46,239
Speaker 2: support an independently produced show like ours. There are a

765
00:41:46,239 --> 00:41:47,920
Speaker 2: couple of other things you can do. You could take

766
00:41:47,920 --> 00:41:49,920
Speaker 2: a minute to give us a rating or review on

767
00:41:50,000 --> 00:41:53,600
Speaker 2: Apple Podcasts or Spotify. Doesn't matter if you're brand new

768
00:41:53,719 --> 00:41:56,239
Speaker 2: or have been around for twenty years. Every time we

769
00:41:56,320 --> 00:41:59,160
Speaker 2: get a new review, it helps us reach new listeners.

770
00:41:59,560 --> 00:42:01,960
Speaker 2: Another one to support us, and this is really the

771
00:42:02,000 --> 00:42:04,839
Speaker 2: lifeblood of the show, it is to join the film

772
00:42:04,880 --> 00:42:09,439
Speaker 2: Spotting family over at film spottingfamily dot com. We want

773
00:42:09,440 --> 00:42:12,360
Speaker 2: to say thank you to advisory board member there are

774
00:42:12,400 --> 00:42:15,480
Speaker 2: a couple levels you can choose when you're becoming a

775
00:42:15,480 --> 00:42:19,839
Speaker 2: Film Spotting family member. The advisory board people, these are

776
00:42:19,840 --> 00:42:24,560
Speaker 2: the folks with all the poll Scott Bosh from Pocopsen Pennsylvania,

777
00:42:24,680 --> 00:42:27,400
Speaker 2: I hear that's just outside Philadelphia is on that board,

778
00:42:27,400 --> 00:42:29,600
Speaker 2: so thanks so much for that. Scott. Scott's a good

779
00:42:29,600 --> 00:42:32,920
Speaker 2: follow on letterbox as well, if you want to keep

780
00:42:33,000 --> 00:42:39,280
Speaker 2: up with him there. His username is Sbosch.

781
00:42:38,000 --> 00:42:42,960
Speaker 3: And Scott's always an active participator in those advisory board calls.

782
00:42:42,680 --> 00:42:44,280
Speaker 2: Which we very much appreciate.

783
00:42:44,560 --> 00:42:46,800
Speaker 3: Scott says, I was looking to get into more podcasts

784
00:42:46,800 --> 00:42:49,040
Speaker 3: and wanted a movie one. Honestly, I probably first gave

785
00:42:49,080 --> 00:42:51,279
Speaker 3: it a try because of the play on Trainspotting, which

786
00:42:51,280 --> 00:42:53,320
Speaker 3: I love and thought the name of the show was clever.

787
00:42:53,600 --> 00:42:55,959
Speaker 3: I probably started listening around two thousand and seven because

788
00:42:56,000 --> 00:42:58,279
Speaker 3: I remember No Country and there will be Blood being

789
00:42:58,360 --> 00:43:02,160
Speaker 3: early reviews, I listened to a favorite review or segment.

790
00:43:02,239 --> 00:43:04,680
Speaker 3: My all time favorite moment is still the I'm Still

791
00:43:04,719 --> 00:43:07,719
Speaker 3: here review that sticks in my head all these years later.

792
00:43:07,880 --> 00:43:10,319
Speaker 2: Yeah, memorable a review we got wrong?

793
00:43:10,400 --> 00:43:13,279
Speaker 3: Okay, Adam is wrong on the Dune movies. These are

794
00:43:13,400 --> 00:43:16,560
Speaker 3: exactly the kind of films we should want from blockbuster filmmaking.

795
00:43:16,640 --> 00:43:19,080
Speaker 3: They introduce fully formed worlds and never slow down to

796
00:43:19,120 --> 00:43:21,799
Speaker 3: hold the audience's hand. They demand you pay attention, even

797
00:43:21,840 --> 00:43:24,640
Speaker 3: on multiple viewings. But most importantly, they are a visionary

798
00:43:24,640 --> 00:43:26,800
Speaker 3: work from a filmmaker and not something created by a

799
00:43:26,840 --> 00:43:29,960
Speaker 3: committee from a studio. Also, they're basically Star Wars for

800
00:43:30,000 --> 00:43:32,360
Speaker 3: grown ups, and that ain't too bad either. I do

801
00:43:32,480 --> 00:43:35,120
Speaker 3: appreciate that Adam has truly earned back the moniker of

802
00:43:35,239 --> 00:43:38,040
Speaker 3: Art House Adam. Though I don't know, Scott, I think

803
00:43:38,080 --> 00:43:41,000
Speaker 3: I can appreciate the approach and.

804
00:43:41,000 --> 00:43:42,840
Speaker 2: What you're saying. I agree they are.

805
00:43:42,719 --> 00:43:45,120
Speaker 3: The kind of films we should want from blockbuster filmmaking,

806
00:43:45,320 --> 00:43:48,800
Speaker 3: but still not really like the storytelling that much. Letterbox,

807
00:43:48,880 --> 00:43:53,480
Speaker 3: Top four, Star Wars, The Godfather, A Clockwork Orange, and

808
00:43:53,640 --> 00:43:56,200
Speaker 3: Taxi Driver. Okay, listen, I know this is like the

809
00:43:56,200 --> 00:43:58,520
Speaker 3: most basic film bro for faves, but I'm in my

810
00:43:58,600 --> 00:44:01,200
Speaker 3: mid forties and these are the movies I discovered as

811
00:44:01,239 --> 00:44:03,840
Speaker 3: I was getting into movies and are pretty responsible for

812
00:44:03,960 --> 00:44:07,960
Speaker 3: me becoming a cinophile. A favorite he revisited recently. I

813
00:44:07,960 --> 00:44:11,680
Speaker 3: wouldn't necessarily say it's a favorite, but I recently rewatched

814
00:44:11,680 --> 00:44:14,600
Speaker 3: Thief as part of seeing all of Michael Nann's movies

815
00:44:14,600 --> 00:44:16,520
Speaker 3: with my son. It really clicked for me in a

816
00:44:16,560 --> 00:44:17,919
Speaker 3: way it didn't the first time.

817
00:44:18,000 --> 00:44:19,759
Speaker 2: I loved it. Yeah, good movie.

818
00:44:19,920 --> 00:44:22,879
Speaker 3: A random film or filmmaker he loves Josh's pta calls

819
00:44:22,920 --> 00:44:25,800
Speaker 3: him the greatest filmmaker of his generation. And I can't

820
00:44:26,000 --> 00:44:27,200
Speaker 3: be convinced otherwise.

821
00:44:27,280 --> 00:44:28,479
Speaker 2: Okay, we won't try.

822
00:44:28,600 --> 00:44:31,320
Speaker 3: We're good with that, a movie he credits with becoming

823
00:44:31,320 --> 00:44:33,560
Speaker 3: a cinephile. There were a bunch I hunted down at

824
00:44:33,600 --> 00:44:35,720
Speaker 3: the local video store, but the first in a theater

825
00:44:36,080 --> 00:44:37,920
Speaker 3: that kind of opened my mind to what movies could

826
00:44:37,960 --> 00:44:41,200
Speaker 3: be is probably pulp fiction. And finally, a book about

827
00:44:41,239 --> 00:44:44,319
Speaker 3: movies or movie making from Scott the Film Club. It's

828
00:44:44,320 --> 00:44:46,280
Speaker 3: about a period of time where a man watched movies

829
00:44:46,280 --> 00:44:48,520
Speaker 3: with his son after redropped out of high school. That's

830
00:44:48,520 --> 00:44:49,319
Speaker 3: a new title to me.

831
00:44:49,640 --> 00:44:52,799
Speaker 2: Yeah, new to me. I'm is your impression fiction or

832
00:44:53,000 --> 00:44:55,800
Speaker 2: or is it like adary nonfiction? It is? Okay, fiction.

833
00:44:55,960 --> 00:44:58,400
Speaker 3: Fiction is my impression, but I'm going to have to

834
00:44:58,400 --> 00:45:00,719
Speaker 3: look it up and learn more. Thank you so much,

835
00:45:01,040 --> 00:45:04,400
Speaker 3: Scott for that, and for your support of film Spotting

836
00:45:04,400 --> 00:45:06,120
Speaker 3: by being a family member. If you would like to

837
00:45:06,160 --> 00:45:09,200
Speaker 3: become a family member. You can learn more at Filmspotting

838
00:45:09,280 --> 00:45:12,759
Speaker 3: Family dot com.

839
00:45:12,840 --> 00:45:15,560
Speaker 2: Something pretty bad happened to me? Did it just happen?

840
00:45:15,960 --> 00:45:19,400
Speaker 1: No, it was a little over three years ago.

841
00:45:20,080 --> 00:45:23,520
Speaker 2: Well that's not that much time. I know, this is

842
00:45:23,560 --> 00:45:24,080
Speaker 2: hard to talk.

843
00:45:24,200 --> 00:45:27,560
Speaker 3: That's Ava Victor with John Carroll Lynch in the Ava

844
00:45:27,680 --> 00:45:31,040
Speaker 3: Victor written and directed Sorry Baby, which is currently playing

845
00:45:31,080 --> 00:45:35,200
Speaker 3: in limited release. Victor plays Agnes, a college professor still

846
00:45:35,200 --> 00:45:39,480
Speaker 3: trying to process a traumatic experience. Naomi Aki and Lucas

847
00:45:39,520 --> 00:45:42,799
Speaker 3: Hedges also star. The film debut at this year's Sun Dance,

848
00:45:42,840 --> 00:45:45,960
Speaker 3: where Victor won the screenwriting Prize. I know you saw

849
00:45:46,120 --> 00:45:49,960
Speaker 3: Josh at the Chicago Critics Film Festival, where it got

850
00:45:50,000 --> 00:45:54,520
Speaker 3: a lot of good buzz there, and it continues to

851
00:45:54,560 --> 00:45:56,799
Speaker 3: get a lot of good buzz. I'm really frustrated that

852
00:45:56,840 --> 00:45:59,080
Speaker 3: I can't see it but where I'm located. It's not

853
00:45:59,160 --> 00:46:03,600
Speaker 3: going to play my favorite theater until later in July.

854
00:46:03,960 --> 00:46:06,680
Speaker 3: But since you've seen it and it is opening in

855
00:46:06,760 --> 00:46:09,359
Speaker 3: theaters in Chicago this weekend, we wanted to make sure

856
00:46:09,640 --> 00:46:11,880
Speaker 3: to give it a little time. It's Victor's writing and

857
00:46:11,920 --> 00:46:14,520
Speaker 3: directing debuts, so the key question for us here at

858
00:46:14,520 --> 00:46:18,239
Speaker 3: film Spotting is should this be a Golden Brick nominee?

859
00:46:18,600 --> 00:46:20,520
Speaker 2: Yeah, I mean, for me, it's I think we have

860
00:46:20,560 --> 00:46:22,680
Speaker 2: maybe four titles in the run at this point, at

861
00:46:22,680 --> 00:46:26,200
Speaker 2: the midway point of the year, and I think it's

862
00:46:26,320 --> 00:46:29,120
Speaker 2: it's in the lead right now. This is such a

863
00:46:29,239 --> 00:46:35,240
Speaker 2: strong debut with that unique authorial vision that we talk about,

864
00:46:35,840 --> 00:46:40,520
Speaker 2: and yet at the same time it's very unassuming in

865
00:46:41,200 --> 00:46:44,880
Speaker 2: its sense of assuredness. I don't know. I've been having

866
00:46:44,960 --> 00:46:49,040
Speaker 2: trouble trying to describe to people whether this is a

867
00:46:49,040 --> 00:46:53,680
Speaker 2: friendship comedy that kind of sneaks in some intense seriousness,

868
00:46:53,840 --> 00:46:56,839
Speaker 2: or is this first and foremost something like a and

869
00:46:57,000 --> 00:46:59,680
Speaker 2: I don't mean this derisively, but like a trauma drama

870
00:47:00,360 --> 00:47:04,439
Speaker 2: that understands laughter is a part of that real life

871
00:47:04,520 --> 00:47:08,600
Speaker 2: experience as well. It is this balancing act that is

872
00:47:08,719 --> 00:47:10,960
Speaker 2: this is the unique voice that we're looking for in

873
00:47:10,960 --> 00:47:13,080
Speaker 2: a Golden Brick that a filmmaker has. It is the

874
00:47:13,160 --> 00:47:16,960
Speaker 2: balancing act of those tones, also the balancing act of

875
00:47:17,000 --> 00:47:20,960
Speaker 2: the movie's construction. It jumps in time in ways that

876
00:47:21,080 --> 00:47:25,080
Speaker 2: is not ostentatious but crucial for the effect and the

877
00:47:25,120 --> 00:47:29,760
Speaker 2: reveal of certain plot developments and everything that I've described

878
00:47:29,760 --> 00:47:31,600
Speaker 2: in terms of the tone of the movie itself can

879
00:47:31,680 --> 00:47:36,439
Speaker 2: also be found in Victor's lead performance the way they

880
00:47:36,640 --> 00:47:40,000
Speaker 2: just hit there's a scene here, and I don't think

881
00:47:40,000 --> 00:47:41,399
Speaker 2: this is a spoiler, so I'll say it, but there's

882
00:47:41,400 --> 00:47:44,040
Speaker 2: a scene early on when her friend Lyddy tells her

883
00:47:44,680 --> 00:47:49,719
Speaker 2: that tells Agnes that she's pregnant, and we're watching Victor's

884
00:47:49,760 --> 00:47:53,920
Speaker 2: face receiving this information, and you see the genuine excitement

885
00:47:54,200 --> 00:47:57,560
Speaker 2: for her friend, for Agnes's friend, you see disbelief that

886
00:47:57,680 --> 00:47:59,920
Speaker 2: this is happening, this is the stage of life there,

887
00:48:00,080 --> 00:48:04,400
Speaker 2: and then they give a little sideways glance that just

888
00:48:04,480 --> 00:48:06,879
Speaker 2: tells us Agnes knows in that moment their friendship will

889
00:48:06,880 --> 00:48:09,400
Speaker 2: never be the same. And so for Victor to be

890
00:48:09,440 --> 00:48:12,960
Speaker 2: able to bring all that to a small scene, it's

891
00:48:13,000 --> 00:48:16,680
Speaker 2: just an example of what happens throughout in the performance

892
00:48:16,800 --> 00:48:19,840
Speaker 2: in the movie. And it's one of those that the

893
00:48:19,880 --> 00:48:23,200
Speaker 2: longer you sit with it, you'll realize how accomplished it

894
00:48:23,320 --> 00:48:26,480
Speaker 2: is in what it is trying to do. And yeah,

895
00:48:26,520 --> 00:48:28,680
Speaker 2: you mentioned Hedges in there, so good to see him

896
00:48:28,719 --> 00:48:32,520
Speaker 2: back on the screen. And John Carol Lynch just like

897
00:48:33,120 --> 00:48:36,399
Speaker 2: I mean, maybe a six minute scene like just kind

898
00:48:36,400 --> 00:48:39,880
Speaker 2: of like slips into your chest and scoops out your

899
00:48:39,920 --> 00:48:42,120
Speaker 2: heart and tucks it in his pocket and walks away.

900
00:48:42,440 --> 00:48:44,920
Speaker 2: It's like you, before he even did it, you realize

901
00:48:44,920 --> 00:48:49,160
Speaker 2: you've been devastated by this little mini performance in the movie.

902
00:48:49,480 --> 00:48:52,520
Speaker 2: So a lot of reasons to see this movie Sorry

903
00:48:52,560 --> 00:48:56,000
Speaker 2: Baby on its own, but especially as we're considering the

904
00:48:56,040 --> 00:48:58,560
Speaker 2: Golden Brick nominees for this year. Can't wait.

905
00:48:58,600 --> 00:49:02,279
Speaker 3: Sorry Baby is currently playing in select cities. If you

906
00:49:02,320 --> 00:49:04,600
Speaker 3: see it, we would love to hear your thoughts feedback

907
00:49:04,600 --> 00:49:08,040
Speaker 3: at filmspotting dot net. We have put it off a

908
00:49:08,040 --> 00:49:10,719
Speaker 3: couple of times, but next week, we promise, and it

909
00:49:10,719 --> 00:49:14,399
Speaker 3: sounds like Sorry Baby maybe in the running. Anyway, It's

910
00:49:14,440 --> 00:49:18,520
Speaker 3: our top five films of twenty twenty five so far.

911
00:49:18,800 --> 00:49:21,879
Speaker 3: I know we both have been trying to catch up

912
00:49:21,920 --> 00:49:24,959
Speaker 3: with anything and everything we can see, but that's not all.

913
00:49:25,040 --> 00:49:26,719
Speaker 2: We're going to talk about the.

914
00:49:26,719 --> 00:49:30,040
Speaker 3: Best, second best, I don't know, maybe third best, and

915
00:49:30,080 --> 00:49:32,759
Speaker 3: that certainly wouldn't be a bad position to be in

916
00:49:32,800 --> 00:49:34,480
Speaker 3: when you hear some of these titles. In a second

917
00:49:34,719 --> 00:49:37,040
Speaker 3: of the year nineteen sixty, we're going to talk about

918
00:49:37,080 --> 00:49:41,479
Speaker 3: Billy Wilders The Apartment. This movie is in the film

919
00:49:41,480 --> 00:49:44,840
Speaker 3: spotting Pantheon and it was part of the twenty first

920
00:49:45,320 --> 00:49:47,959
Speaker 3: Film Spotting Marathon back in twenty ten. We of course

921
00:49:48,040 --> 00:49:52,960
Speaker 3: recently completed Josh our fifty first marathon, and we're talking

922
00:49:53,000 --> 00:49:56,959
Speaker 3: about this movie because it is celebrating its sixty fifth anniversary,

923
00:49:57,040 --> 00:50:01,920
Speaker 3: and we've got this ongoing Pantheon project where we're trying

924
00:50:01,960 --> 00:50:06,040
Speaker 3: to give a full, in depth discussion, both of us,

925
00:50:06,320 --> 00:50:09,440
Speaker 3: me and you. We're trying to give an in depth

926
00:50:09,480 --> 00:50:13,879
Speaker 3: discussion to every movie that is in the pantheon, those

927
00:50:13,920 --> 00:50:18,960
Speaker 3: movies from nineteen sixty. Well, it is competing against Psycho, Breathless,

928
00:50:19,280 --> 00:50:20,280
Speaker 3: and La del Javita.

929
00:50:20,680 --> 00:50:23,160
Speaker 2: Yeah, yeah, and The Apartment, all those four films in

930
00:50:23,200 --> 00:50:26,720
Speaker 2: one year is pretty incredible. I'll confess, Adam, I've already

931
00:50:26,800 --> 00:50:29,560
Speaker 2: rewatched this. We had, you know, a night where the

932
00:50:29,560 --> 00:50:31,840
Speaker 2: family was just looking for something to watch together and

933
00:50:31,880 --> 00:50:33,960
Speaker 2: a lot of times we end up with classics that

934
00:50:34,040 --> 00:50:36,160
Speaker 2: kind of pleases everyone, and so I was like, hey,

935
00:50:36,200 --> 00:50:38,640
Speaker 2: I've got The Apartment coming up. Only Debbie had seen

936
00:50:38,680 --> 00:50:41,319
Speaker 2: it at that point, and so let's give it. Let's

937
00:50:41,320 --> 00:50:43,560
Speaker 2: give it a world love. When these movies go over

938
00:50:43,600 --> 00:50:47,480
Speaker 2: so well with younger generations and just loved watching it again,

939
00:50:47,520 --> 00:50:50,440
Speaker 2: we are going to have a great, great conversation about

940
00:50:50,480 --> 00:50:51,480
Speaker 2: this one. Yeah.

941
00:50:51,640 --> 00:50:54,600
Speaker 3: Also next week results and your feedback from the current

942
00:50:54,600 --> 00:50:57,680
Speaker 3: Film Spotting poll asking you to choose your favorite film

943
00:50:57,719 --> 00:51:00,480
Speaker 3: of twenty twenty five so far. You can vote and

944
00:51:00,680 --> 00:51:02,840
Speaker 3: leave a comment at film spotting dot net. If you

945
00:51:02,840 --> 00:51:05,279
Speaker 3: would like to see a schedule of future shows, at

946
00:51:05,360 --> 00:51:08,200
Speaker 3: least what we currently have planned, you can visit filmspotting

947
00:51:08,239 --> 00:51:08,719
Speaker 3: dot net.

948
00:51:08,840 --> 00:51:14,200
Speaker 2: Slash episodes from director Robert Altman comes a story. Yeah,

949
00:51:14,400 --> 00:51:16,120
Speaker 2: of Hollywood. I get a writer right.

950
00:51:16,040 --> 00:51:16,799
Speaker 1: Here, who's going to pitch?

951
00:51:16,800 --> 00:51:17,440
Speaker 4: I think you ought to hear.

952
00:51:17,520 --> 00:51:18,240
Speaker 2: I think it's hot.

953
00:51:18,480 --> 00:51:20,400
Speaker 6: We open outside Sam Quentin.

954
00:51:20,360 --> 00:51:24,760
Speaker 1: A graduate Part two and Missus Robinson had a stroke.

955
00:51:24,960 --> 00:51:28,080
Speaker 2: Adam. I am deep in preparation for cinema interrupt us

956
00:51:28,160 --> 00:51:30,240
Speaker 2: The Player, which will be this August at Gene Sisco

957
00:51:30,280 --> 00:51:32,359
Speaker 2: Film Center. And one question I have in the back

958
00:51:32,400 --> 00:51:34,759
Speaker 2: of my mind is if The Apartment is one of

959
00:51:34,760 --> 00:51:38,200
Speaker 2: those classic movies whose poster lines the halls of the studio.

960
00:51:38,239 --> 00:51:41,640
Speaker 2: If you remember in The Player there are so many posters,

961
00:51:41,640 --> 00:51:45,719
Speaker 2: and you know, Altman and his collaborators chose specifically which ones.

962
00:51:45,719 --> 00:51:49,120
Speaker 2: There's some reason, right, And now I'm thinking, are we

963
00:51:49,160 --> 00:51:51,120
Speaker 2: going to spend a full day at Interruptus. I think

964
00:51:51,160 --> 00:51:54,279
Speaker 2: someone even asked me this on social media, just dissecting

965
00:51:54,320 --> 00:51:57,360
Speaker 2: the posters in the background, and I'm panicking because you

966
00:51:57,400 --> 00:52:01,000
Speaker 2: could absolutely do that with this movie. There's so much

967
00:52:01,000 --> 00:52:04,680
Speaker 2: good movie Hollywood lore to dig into. But of course

968
00:52:04,960 --> 00:52:06,560
Speaker 2: you know the format for this. We only have three

969
00:52:06,640 --> 00:52:08,799
Speaker 2: days to make it through the player after watching it

970
00:52:08,840 --> 00:52:11,440
Speaker 2: on that first day, so we can't get stuck on

971
00:52:11,440 --> 00:52:14,239
Speaker 2: the posters too long. So many other details we want

972
00:52:14,239 --> 00:52:18,040
Speaker 2: to dig into again. Those tickets for Cinema Interrupts are

973
00:52:18,239 --> 00:52:21,880
Speaker 2: now available. Our dates are August eleven through fourteen, So

974
00:52:21,960 --> 00:52:25,200
Speaker 2: August eleven we watch the player in full, and then

975
00:52:25,520 --> 00:52:27,560
Speaker 2: the next couple of days we start at the beginning

976
00:52:28,080 --> 00:52:31,080
Speaker 2: and go through it seen by seeing anyone can jump

977
00:52:31,160 --> 00:52:33,560
Speaker 2: in with a question or a comment. We're going to

978
00:52:33,600 --> 00:52:36,160
Speaker 2: offer four day package that's available if you want to

979
00:52:36,160 --> 00:52:37,480
Speaker 2: be there for the whole thing, or if you can

980
00:52:37,520 --> 00:52:40,400
Speaker 2: only make one day. There are single day tickets and

981
00:52:40,440 --> 00:52:45,120
Speaker 2: you could get those at Ciscofilmcenter dot org. Slash interrupt

982
00:52:45,200 --> 00:52:48,640
Speaker 2: Us this week on our sister podcast, The Next Picture Show,

983
00:52:49,080 --> 00:52:52,520
Speaker 2: It is part two of There for Love or Money pairing.

984
00:52:52,640 --> 00:52:56,640
Speaker 2: They are going to add to the Materialists debate. I

985
00:52:56,760 --> 00:53:00,400
Speaker 2: keep seeing as more reviews roll in on letterbox, Adam,

986
00:53:00,600 --> 00:53:02,640
Speaker 2: I feel like I get one that's a rave and

987
00:53:02,680 --> 00:53:05,160
Speaker 2: then another one will come by that's just witching it apart.

988
00:53:05,600 --> 00:53:09,439
Speaker 2: It's really a divisive film, which is interesting for what's,

989
00:53:09,520 --> 00:53:12,560
Speaker 2: you know, sort of a romantic comedy or dramedy. So

990
00:53:13,080 --> 00:53:16,640
Speaker 2: it'll be very curious to see where the Next Picture

991
00:53:16,680 --> 00:53:20,080
Speaker 2: Show folks land on materialists. They of course previously talked

992
00:53:20,080 --> 00:53:23,359
Speaker 2: about pride and prejudice, so part of their discussion will

993
00:53:23,360 --> 00:53:26,719
Speaker 2: be comparing it to that Joe Wright film. New episodes

994
00:53:26,719 --> 00:53:29,160
Speaker 2: of The Next Picture Show drop every Tuesday and you

995
00:53:29,200 --> 00:53:32,360
Speaker 2: can get them wherever you get your podcasts. It is

996
00:53:32,400 --> 00:53:35,560
Speaker 2: time now for Massacre theater, where we perform a scene

997
00:53:35,600 --> 00:53:38,280
Speaker 2: and you get a chance to win a film Spotting prize.

998
00:53:38,480 --> 00:53:45,000
Speaker 2: Last time we massacred this scene. Hey, you know I'm

999
00:53:45,040 --> 00:53:48,880
Speaker 2: not because I think we have a kind of friendship

1000
00:53:48,960 --> 00:53:50,879
Speaker 2: where if I world the devil, You'll be the only

1001
00:53:50,920 --> 00:53:54,080
Speaker 2: one I would tell, Well, you were awfully put to

1002
00:53:54,120 --> 00:53:55,880
Speaker 2: run after Tom's help with all right.

1003
00:53:55,719 --> 00:53:59,920
Speaker 5: You want it, and the things have gone well for

1004
00:54:00,160 --> 00:54:02,120
Speaker 5: to that I probably wouldn't be saying any of this.

1005
00:54:02,440 --> 00:54:06,040
Speaker 2: I grant you everything, but give me this.

1006
00:54:07,719 --> 00:54:13,799
Speaker 6: He personifies everything that you've been fighting against, and I'm

1007
00:54:13,840 --> 00:54:14,560
Speaker 6: in love with you.

1008
00:54:16,080 --> 00:54:20,760
Speaker 2: How do you like that? I buried the lead Albert

1009
00:54:20,760 --> 00:54:24,600
Speaker 2: Brooks there with Holly Hunter in nineteen eighty seven's Broadcast News,

1010
00:54:24,680 --> 00:54:29,000
Speaker 2: written directed by James L. Brooks. Along with massacring that

1011
00:54:29,080 --> 00:54:32,239
Speaker 2: great scene, we also had a review of Materialists and

1012
00:54:32,520 --> 00:54:35,400
Speaker 2: the Life of Chuck. Why do we choose a scene

1013
00:54:35,400 --> 00:54:36,520
Speaker 2: from Broadcast News.

1014
00:54:36,840 --> 00:54:41,239
Speaker 3: Well, here's Aaron in Manhattan, you guys massacred Broadcast News,

1015
00:54:41,280 --> 00:54:44,280
Speaker 3: the James L. Brooks film about a brilliant woman caught

1016
00:54:44,280 --> 00:54:46,799
Speaker 3: in a love triangle with a smart, capable, sincere but

1017
00:54:46,880 --> 00:54:50,320
Speaker 3: cynical Albert Brooks and the pretty boy charmer William Hurt.

1018
00:54:50,440 --> 00:54:52,920
Speaker 3: I haven't seen Materialists, but it sounds like a similar

1019
00:54:52,920 --> 00:54:56,560
Speaker 3: premise executed to much less than perfection. Every character in

1020
00:54:56,600 --> 00:55:00,520
Speaker 3: Broadcast News is so uniquely themselves and evocatively performed, you

1021
00:55:00,560 --> 00:55:03,200
Speaker 3: never doubt who these people are, and you never question

1022
00:55:03,280 --> 00:55:05,400
Speaker 3: why they are who they are. Also, there is not

1023
00:55:05,440 --> 00:55:07,520
Speaker 3: a line in Broadcast News that makes me think put

1024
00:55:07,560 --> 00:55:10,480
Speaker 3: your pen down, as you said about Materialists, If anything,

1025
00:55:10,719 --> 00:55:13,520
Speaker 3: I wanted to keep going forever. In fact, maybe I'll

1026
00:55:13,520 --> 00:55:14,080
Speaker 3: go watch.

1027
00:55:13,960 --> 00:55:19,000
Speaker 2: It right now here's Evelyn So from New York City. Einstein,

1028
00:55:19,360 --> 00:55:23,160
Speaker 2: very clever, Adam, that's Albert Brooks's real name. Highly doubt

1029
00:55:23,200 --> 00:55:25,520
Speaker 2: I'll win twice in a row. But I had to

1030
00:55:25,520 --> 00:55:28,200
Speaker 2: write in because I love broadcast news. The link is

1031
00:55:28,239 --> 00:55:31,200
Speaker 2: easy too. Cite it as one of Selene's song's inspirations

1032
00:55:31,239 --> 00:55:36,240
Speaker 2: for materialists, also involving love triangle and romantic dramedy, although

1033
00:55:36,280 --> 00:55:39,279
Speaker 2: there is way more calm in this movie Hurrah and

1034
00:55:39,320 --> 00:55:41,800
Speaker 2: by need to go have my one minute of crying.

1035
00:55:42,280 --> 00:55:45,600
Speaker 3: Yeah, I don't remember what we changed Jane's name too,

1036
00:55:45,680 --> 00:55:48,239
Speaker 3: if we did, and I assume we did, but we

1037
00:55:48,320 --> 00:55:51,600
Speaker 3: had to change Aaron's name, and I went with Einstein

1038
00:55:51,680 --> 00:55:56,439
Speaker 3: because indeed his name in real life is Albert Einstein.

1039
00:55:57,239 --> 00:56:00,600
Speaker 3: I will note that Sam wasn't aware of the Selene

1040
00:56:00,680 --> 00:56:04,279
Speaker 3: song list when he picked this movie. He was just

1041
00:56:04,320 --> 00:56:07,399
Speaker 3: going purely off the love triangle. But it is one

1042
00:56:07,440 --> 00:56:10,160
Speaker 3: of those films that is on the list of inspirations

1043
00:56:10,160 --> 00:56:14,319
Speaker 3: for materialists. Finally, Liz Stickle in Wheaton, Illinois says, both

1044
00:56:14,360 --> 00:56:16,440
Speaker 3: films with career women who are the best at what

1045
00:56:16,440 --> 00:56:18,960
Speaker 3: they do, caught in a love triangle between mister charming

1046
00:56:19,320 --> 00:56:21,919
Speaker 3: and mister good listener. I think that's a good way

1047
00:56:21,960 --> 00:56:22,440
Speaker 3: to frame it.

1048
00:56:22,480 --> 00:56:22,640
Speaker 2: Now.

1049
00:56:22,640 --> 00:56:25,000
Speaker 3: She has another line here, Josh that I'm actually going

1050
00:56:25,080 --> 00:56:30,080
Speaker 3: to refrain from reading because it references the ending to

1051
00:56:30,200 --> 00:56:35,279
Speaker 3: materialists in broadcast News. And while it isn't explicitly a

1052
00:56:35,400 --> 00:56:39,520
Speaker 3: spoiler per se, it could be a spoiler if you

1053
00:56:39,520 --> 00:56:42,879
Speaker 3: are someone who has seen broadcast news but not materialists.

1054
00:56:42,880 --> 00:56:45,680
Speaker 3: And I will just note for Liz out there anyway,

1055
00:56:45,800 --> 00:56:47,560
Speaker 3: I agree with her, So thank you, Liz.

1056
00:56:47,640 --> 00:56:50,400
Speaker 2: Yeah, I think we split on this point when we

1057
00:56:50,560 --> 00:56:53,440
Speaker 2: reviewed broadcast News. I forget what the occasion was, but

1058
00:56:54,080 --> 00:56:56,600
Speaker 2: I loved it as you did until we got to

1059
00:56:56,640 --> 00:56:59,960
Speaker 2: that ending. Yeah. Okay, well we can't. We can't really

1060
00:57:00,120 --> 00:57:02,600
Speaker 2: discussed it anymore. Go find it in the archives. Find

1061
00:57:02,640 --> 00:57:05,000
Speaker 2: it in the archives and will Yeah, we.

1062
00:57:05,320 --> 00:57:08,320
Speaker 3: Get to it there though it's a bonus content review,

1063
00:57:08,440 --> 00:57:11,120
Speaker 3: but not to belabor it. I think you're referencing maybe

1064
00:57:11,160 --> 00:57:13,960
Speaker 3: the very very very end of broadcast News. I don't

1065
00:57:13,960 --> 00:57:15,920
Speaker 3: think that's what Liz is referencing.

1066
00:57:16,040 --> 00:57:19,000
Speaker 2: Oh okay, okay, I'm just assuming we'll talk off their

1067
00:57:19,080 --> 00:57:19,760
Speaker 2: we'll talk off their.

1068
00:57:19,840 --> 00:57:22,280
Speaker 3: Josh each into the film spotting hat and pick out

1069
00:57:22,280 --> 00:57:23,000
Speaker 3: this week's winner.

1070
00:57:23,280 --> 00:57:26,560
Speaker 2: Our winner is Brandon gettles here in Chicago. I hope

1071
00:57:26,600 --> 00:57:30,200
Speaker 2: I got that right, Brandon. Congratulations, Yeah, at least we

1072
00:57:30,200 --> 00:57:34,440
Speaker 2: think you're in Chicago. I'm basing that off a previous entry. Congratulations, Brandon.

1073
00:57:34,880 --> 00:57:37,520
Speaker 2: You can email us at Feedback at film spotting dot

1074
00:57:37,560 --> 00:57:40,400
Speaker 2: net to claim your prize, either a trial membership to

1075
00:57:40,440 --> 00:57:43,000
Speaker 2: the film Spotting Family if you're not already one, or

1076
00:57:43,120 --> 00:57:46,120
Speaker 2: a film Spotting tote bag or film Spotting t shirt.

1077
00:57:47,920 --> 00:57:52,560
Speaker 2: Tear sticks are doping for actors. Do you want to

1078
00:57:52,560 --> 00:57:54,640
Speaker 2: be the Lance Armstrong of theater?

1079
00:57:55,040 --> 00:57:57,200
Speaker 1: No, get off the stick.

1080
00:57:58,520 --> 00:58:01,560
Speaker 3: We move on now to this week's edition of Massacre Theater,

1081
00:58:01,920 --> 00:58:05,040
Speaker 3: impeccably chosen by producer saying so good.

1082
00:58:06,040 --> 00:58:08,320
Speaker 2: How he remembered this? I don't know, but I love it.

1083
00:58:08,440 --> 00:58:10,360
Speaker 3: Yeah, it's going to be fun.

1084
00:58:10,840 --> 00:58:12,960
Speaker 2: You have the bigger role here.

1085
00:58:13,040 --> 00:58:16,760
Speaker 3: I actually have a part that has been combined, two

1086
00:58:16,840 --> 00:58:20,200
Speaker 3: parts combined into one. There is but one of me here.

1087
00:58:20,520 --> 00:58:24,919
Speaker 3: We have changed the name of my character as we do,

1088
00:58:25,240 --> 00:58:27,720
Speaker 3: to try to make it a little bit harder. I

1089
00:58:27,760 --> 00:58:31,240
Speaker 3: don't know that that's going to work, Josh. People who

1090
00:58:31,280 --> 00:58:34,720
Speaker 3: know this movie are certainly going to know this scene

1091
00:58:34,920 --> 00:58:35,360
Speaker 3: right away.

1092
00:58:35,560 --> 00:58:37,800
Speaker 2: And also, you know this is in your contract if

1093
00:58:37,840 --> 00:58:40,560
Speaker 2: I have more lines in Masacre Theater, you you get

1094
00:58:40,600 --> 00:58:43,040
Speaker 2: to take on a second part. So we're just following.

1095
00:58:43,760 --> 00:58:45,320
Speaker 2: We're just following your contract here.

1096
00:58:45,680 --> 00:58:50,360
Speaker 3: I really want to see the hand gestures.

1097
00:58:51,120 --> 00:58:52,760
Speaker 2: That's what I'm going to say. I might need them

1098
00:58:52,760 --> 00:58:53,200
Speaker 2: to help me.

1099
00:58:54,560 --> 00:58:57,120
Speaker 3: Okay, I started off. Actually you started off. I'm going

1100
00:58:57,160 --> 00:58:58,800
Speaker 3: to give you the action. Are you ready, Let's do

1101
00:58:58,840 --> 00:59:03,240
Speaker 3: it and action. Okay, here's the thought. I see an

1102
00:59:03,280 --> 00:59:06,520
Speaker 3: empty stage, I see drums, I see a drummer, I

1103
00:59:06,560 --> 00:59:10,480
Speaker 3: see a microphone, and I see a singer. Ted, come on,

1104
00:59:11,000 --> 00:59:12,800
Speaker 3: what if we gave this stuff up?

1105
00:59:13,320 --> 00:59:15,800
Speaker 2: Listen, listen to me, cal Look. When I was a kid,

1106
00:59:15,840 --> 00:59:18,040
Speaker 2: when I was a little boy, I always wanted to

1107
00:59:18,120 --> 00:59:20,960
Speaker 2: be a dinosaur. I wanted to be a Tyrannosaurus Rex

1108
00:59:21,000 --> 00:59:23,640
Speaker 2: more than anything in the world. I made my arms short,

1109
00:59:23,640 --> 00:59:25,760
Speaker 2: and I roamed the backyard and I chased the neighborhood

1110
00:59:25,800 --> 00:59:28,720
Speaker 2: cats and I growled and I roared. Everybody knew me

1111
00:59:28,760 --> 00:59:30,880
Speaker 2: and was afraid of me. And then one day my

1112
00:59:31,000 --> 00:59:34,680
Speaker 2: dad said, Bobby, you're seventeen. It's time to throw childish

1113
00:59:34,760 --> 00:59:37,400
Speaker 2: things aside. And I said, okay, pop, But he didn't

1114
00:59:37,440 --> 00:59:39,840
Speaker 2: really say that. He said, stop being affing dinosaur and

1115
00:59:39,880 --> 00:59:42,360
Speaker 2: get a job. But you know, I thought to myself,

1116
00:59:42,760 --> 00:59:45,400
Speaker 2: I'll go to medical school, I'll practice for a little while,

1117
00:59:45,440 --> 00:59:47,600
Speaker 2: and then I'll come back to it. Dad, How is

1118
00:59:47,640 --> 00:59:50,760
Speaker 2: that a skill? I forgot how to do it. You're

1119
00:59:50,760 --> 00:59:53,600
Speaker 2: a human. You can never be a dinosaur. Hey, I

1120
00:59:53,680 --> 00:59:57,280
Speaker 2: lost it. Hey, what's the point? The point is, don't

1121
00:59:57,320 --> 01:00:02,040
Speaker 2: lose your dinosaur and scene. Now.

1122
01:00:02,040 --> 01:00:05,600
Speaker 3: The problem is the writing's so good. You notice I

1123
01:00:05,640 --> 01:00:07,960
Speaker 3: said the writing, not the performance. Though you were fine, Josh,

1124
01:00:08,200 --> 01:00:09,960
Speaker 3: I broke character there and started laughing.

1125
01:00:10,560 --> 01:00:14,320
Speaker 2: It's so good and you know, also oddly inspirational. I

1126
01:00:14,880 --> 01:00:16,360
Speaker 2: think I'm just going to keep that in my back

1127
01:00:16,400 --> 01:00:19,600
Speaker 2: pocket if I'm feeling down. Don't lose your dinosaur.

1128
01:00:19,640 --> 01:00:21,520
Speaker 3: I think we need to make t shirts or maybe

1129
01:00:21,520 --> 01:00:24,680
Speaker 3: coffee mugs. If you know what film we just massacred,

1130
01:00:24,920 --> 01:00:27,120
Speaker 3: emailed the movies title and your name and location to

1131
01:00:27,160 --> 01:00:31,280
Speaker 3: feedback at filmspotting dot net. Your deadline is Monday, July fourteenth.

1132
01:00:31,320 --> 01:00:33,880
Speaker 3: We will select the winner randomly from all the correct

1133
01:00:34,000 --> 01:00:38,240
Speaker 3: entries and announce it in a couple of weeks.

1134
01:00:38,280 --> 01:00:45,200
Speaker 6: Doctor Grant, my dear doctor such, Welcome to Jurassic Bunk.

1135
01:00:49,520 --> 01:00:53,120
Speaker 3: Yes, welcome, help yourself to as much melted ice cream

1136
01:00:53,160 --> 01:00:56,080
Speaker 3: as you'd like. Also, if you need to use the

1137
01:00:56,120 --> 01:00:59,080
Speaker 3: restroom good scene, please note that we've set them up

1138
01:00:59,160 --> 01:01:04,240
Speaker 3: alfresco very chic. Just how huge of a hit was

1139
01:01:04,320 --> 01:01:08,040
Speaker 3: Jurassic Park in nineteen ninety three. Seven movies grossed over

1140
01:01:08,120 --> 01:01:10,560
Speaker 3: one hundred million dollars that year, from seven to one

1141
01:01:10,680 --> 01:01:13,280
Speaker 3: in the Line of Fire, in Decent Proposal, Misses, Doubt Fire,

1142
01:01:13,440 --> 01:01:16,760
Speaker 3: Sleepless in Seattle, The Firm, The Fugitive, and in the

1143
01:01:16,760 --> 01:01:21,120
Speaker 3: top spot Steven Spielberg Cgi Game Changer, which was the

1144
01:01:21,160 --> 01:01:24,000
Speaker 3: only one of those smashes to gross over two hundred million.

1145
01:01:24,280 --> 01:01:27,840
Speaker 3: Because it actually grossed over three hundred million, it's not

1146
01:01:27,880 --> 01:01:30,880
Speaker 3: difficult to see why it was such a success. Long

1147
01:01:30,920 --> 01:01:35,560
Speaker 3: before Imax, Dolby Vision, and other enhanced viewing experiences, seeing

1148
01:01:35,640 --> 01:01:38,560
Speaker 3: Jurassic Park at the cinema in ninety three felt like, well,

1149
01:01:38,640 --> 01:01:41,280
Speaker 3: going to Jurassic Park, And that was true even on

1150
01:01:41,360 --> 01:01:44,680
Speaker 3: my relatively dinky little screen at the Capitol two where

1151
01:01:44,680 --> 01:01:49,160
Speaker 3: I worked in Newton, Iowa. The memorably awestruck faces and

1152
01:01:49,280 --> 01:01:53,160
Speaker 3: near collapsing bodies of Sam Neil's doctor Alan Grant and

1153
01:01:53,240 --> 01:01:56,560
Speaker 3: Laura Durn's doctor Ellie Sadler when they seed the Brachiosaur.

1154
01:01:57,000 --> 01:01:59,520
Speaker 3: That was pretty much all of us so dazzled by

1155
01:01:59,520 --> 01:02:02,280
Speaker 3: the special effects that maybe, for the first time watching

1156
01:02:02,320 --> 01:02:04,520
Speaker 3: a movie, we didn't have to work at all to

1157
01:02:04,560 --> 01:02:09,560
Speaker 3: suspend our disbelief. Spielberg, like Richard Attenboroughs John Hammond, had

1158
01:02:09,600 --> 01:02:13,760
Speaker 3: done it. He created real dinosaurs. Josh, when we were

1159
01:02:13,800 --> 01:02:17,480
Speaker 3: teasing this discussion recently, you propose that to give Jurassic

1160
01:02:17,560 --> 01:02:20,720
Speaker 3: Park the fairest possible shake, you were basically going to

1161
01:02:20,760 --> 01:02:24,400
Speaker 3: try to brainwash yourself this time you would watch Jurassic

1162
01:02:24,440 --> 01:02:28,920
Speaker 3: Park pretending that a different all time Spielberg classic didn't exist.

1163
01:02:29,640 --> 01:02:31,880
Speaker 3: I jumped in to suggest that title had to be

1164
01:02:32,040 --> 01:02:35,480
Speaker 3: Raiders of the Lost Arc, the eighties kid action adventure

1165
01:02:35,560 --> 01:02:40,040
Speaker 3: equivalent of this nineties kid fave, while these no Indiana Jones.

1166
01:02:40,080 --> 01:02:43,720
Speaker 3: Doctor Grant even has a similarly defining look Panama style

1167
01:02:43,760 --> 01:02:48,240
Speaker 3: hat red Paisley bandana around his neck, aviator style sunglasses.

1168
01:02:48,720 --> 01:02:51,360
Speaker 3: You said Jaws, and I'll be honest, I didn't make

1169
01:02:51,400 --> 01:02:54,600
Speaker 3: anything more of it beyond the obvious connections of giant

1170
01:02:54,640 --> 01:02:59,040
Speaker 3: things with giant teeth, chomping people and blockbusters, with Jaws

1171
01:02:59,080 --> 01:03:02,280
Speaker 3: of course being the reasons and that word exists. We

1172
01:03:02,320 --> 01:03:05,600
Speaker 3: revisited Jaws for its forty fifth anniversary in twenty twenty,

1173
01:03:05,800 --> 01:03:08,720
Speaker 3: and with insights from that conversation still fresh in my mind,

1174
01:03:08,840 --> 01:03:12,880
Speaker 3: as I watched Jurassic Park, I noticed the connections maybe

1175
01:03:12,920 --> 01:03:16,800
Speaker 3: went a little deeper. Aren't Jurassic Park and Amity Beach

1176
01:03:17,200 --> 01:03:23,360
Speaker 3: both essentially amusement parks places for family entertainment, Places for

1177
01:03:23,440 --> 01:03:26,200
Speaker 3: family entertainment that bring in, or have the potential to

1178
01:03:26,240 --> 01:03:30,720
Speaker 3: bring in lots and lots of dollars that also happen

1179
01:03:30,800 --> 01:03:35,640
Speaker 3: to be wildly unsafe, irresponsibly unsafe, considering that in both cases,

1180
01:03:35,720 --> 01:03:38,880
Speaker 3: the decision makers have more than enough information to make

1181
01:03:38,920 --> 01:03:42,400
Speaker 3: the calls to shut the parks down, but Sheriff Brody

1182
01:03:42,440 --> 01:03:45,040
Speaker 3: succumbs to the pressure to open the beach, and poor

1183
01:03:45,080 --> 01:03:48,800
Speaker 3: Alex Kinner is sacrificed, just as Hammond's obsession to get

1184
01:03:48,840 --> 01:03:52,800
Speaker 3: his park open leads him to almost sacrificing his own grandchildren.

1185
01:03:53,720 --> 01:03:57,120
Speaker 3: Tell me, were you able to view Jurassic Park through

1186
01:03:57,120 --> 01:04:01,000
Speaker 3: a Jaws less lens, and if so, did your strategy

1187
01:04:01,040 --> 01:04:01,439
Speaker 3: pay off?

1188
01:04:01,520 --> 01:04:02,360
Speaker 2: Or is it.

1189
01:04:02,280 --> 01:04:06,840
Speaker 3: Possible that your selective amnesia clouded you from further appreciating

1190
01:04:06,880 --> 01:04:10,520
Speaker 3: the work of Spielberg? And screenwriters David kath and Michael Crichton,

1191
01:04:10,680 --> 01:04:12,120
Speaker 3: adapting Crichton's novel.

1192
01:04:12,520 --> 01:04:15,080
Speaker 2: It sounds like I might have thrown you off by

1193
01:04:15,080 --> 01:04:17,680
Speaker 2: that suggestion. It sounds like I put Jaws in your head,

1194
01:04:18,080 --> 01:04:20,919
Speaker 2: and so now I'm curious to hear how that might

1195
01:04:20,960 --> 01:04:26,080
Speaker 2: have affected your viewing. I was largely successful. It required

1196
01:04:26,120 --> 01:04:30,720
Speaker 2: a lot of work. It was, you know, brainwashing myself

1197
01:04:31,640 --> 01:04:35,480
Speaker 2: wasn't easy because I've always found the parallels to be

1198
01:04:35,640 --> 01:04:40,240
Speaker 2: so clear. But whenever I would start to hear that music,

1199
01:04:42,640 --> 01:04:48,160
Speaker 2: that Jaws score coming in the background, I just I

1200
01:04:48,200 --> 01:04:50,480
Speaker 2: said no, I shut it off, and I focused on

1201
01:04:50,520 --> 01:04:53,920
Speaker 2: what was on the screen and pretended like I was

1202
01:04:54,080 --> 01:04:56,280
Speaker 2: a kid who maybe did grow up in the nineties,

1203
01:04:56,640 --> 01:04:59,120
Speaker 2: had not seen Jaws, maybe knew nothing about it, and

1204
01:04:59,200 --> 01:05:04,240
Speaker 2: walked in to watch Jurassic Park. And I understand. I've

1205
01:05:04,240 --> 01:05:08,040
Speaker 2: always understood the appeal, the allure. For the record, both

1206
01:05:08,040 --> 01:05:10,120
Speaker 2: of us have always liked this movie. We liked it

1207
01:05:10,120 --> 01:05:13,560
Speaker 2: when we first saw it, and have liked it largely since.

1208
01:05:14,080 --> 01:05:17,560
Speaker 2: I think what this allowed me to do was to

1209
01:05:17,760 --> 01:05:22,840
Speaker 2: look for other areas that I have maybe not appreciated

1210
01:05:22,960 --> 01:05:26,160
Speaker 2: enough about this film because I was spending time dismissing

1211
01:05:26,240 --> 01:05:29,240
Speaker 2: it in comparison to Jaws. And one thing that now,

1212
01:05:29,240 --> 01:05:31,120
Speaker 2: this isn't a deal breaker, This doesn't elevate it to

1213
01:05:31,160 --> 01:05:34,320
Speaker 2: the level of Jaws. But you've referenced twice now Richard

1214
01:05:34,320 --> 01:05:39,080
Speaker 2: Attenborough as Hammond and Adam. That was maybe my major

1215
01:05:39,160 --> 01:05:43,480
Speaker 2: takeaway from this viewing is that even separate from the

1216
01:05:43,560 --> 01:05:47,520
Speaker 2: Jaws comparisons, I love what you're bringing out there. You know,

1217
01:05:47,520 --> 01:05:49,680
Speaker 2: in a way, he's maybe a version of the mayor

1218
01:05:50,040 --> 01:05:55,600
Speaker 2: of Amityville's mayor, except we have an extremely complicated figure here,

1219
01:05:55,640 --> 01:05:58,600
Speaker 2: not this straight up villain who we're going to get

1220
01:05:58,600 --> 01:06:02,240
Speaker 2: in later Jurassic films, these corporate you know, CEOs who

1221
01:06:02,280 --> 01:06:06,320
Speaker 2: are clearly, even if they pretend to me nice, just avaricious,

1222
01:06:06,840 --> 01:06:11,280
Speaker 2: caring nothing for anyone. Here we have this grandfatherly, kindly,

1223
01:06:11,560 --> 01:06:17,160
Speaker 2: gentlemanly man who appreciates nature, who loves dinosaurs, who loves

1224
01:06:17,200 --> 01:06:21,720
Speaker 2: his grandkids, but is also a self deluded you know.

1225
01:06:21,760 --> 01:06:24,520
Speaker 2: The term we'd use now is a disruptor, right, A

1226
01:06:24,680 --> 01:06:28,960
Speaker 2: rich guy who thinks they can just skip the line

1227
01:06:29,280 --> 01:06:32,919
Speaker 2: because they've inherited. Usually these guys inherit their money and

1228
01:06:33,480 --> 01:06:35,520
Speaker 2: just wreck havoc for the rest of us. By being

1229
01:06:35,600 --> 01:06:38,640
Speaker 2: dumb and rich. And you know, there's a line that

1230
01:06:38,720 --> 01:06:42,880
Speaker 2: jumped out here in Jurassic Park, Hammond hates inspections. They

1231
01:06:42,920 --> 01:06:45,840
Speaker 2: slow everything down, and I thought, of, I haven't watched

1232
01:06:45,840 --> 01:06:47,480
Speaker 2: this yet, but I was listening to a Slate Culture

1233
01:06:47,520 --> 01:06:52,439
Speaker 2: gabfest discussion of the recent documentary about that Titanic submersible

1234
01:06:52,600 --> 01:06:57,160
Speaker 2: company the entrepreneur who he died with clients when the

1235
01:06:57,240 --> 01:06:59,480
Speaker 2: vessel failed, and they were talking about how the doc

1236
01:07:00,000 --> 01:07:02,960
Speaker 2: brings up all of the safety regulations that were ignored

1237
01:07:03,480 --> 01:07:07,960
Speaker 2: in the favor of speed and profit. Essentially, Hammond is

1238
01:07:08,000 --> 01:07:11,960
Speaker 2: that guy too, and Attenborough allows us to see that guy.

1239
01:07:12,120 --> 01:07:17,160
Speaker 2: Like there were more ham And scenes than I usually noticed,

1240
01:07:17,200 --> 01:07:18,919
Speaker 2: and I think it's because I was looking for things

1241
01:07:18,960 --> 01:07:21,360
Speaker 2: like that to notice by putting Jaws to the side.

1242
01:07:21,440 --> 01:07:24,040
Speaker 2: I think Attenborough is very good in the performance. And

1243
01:07:24,120 --> 01:07:26,160
Speaker 2: you reference the ice cream scene. I think that's a

1244
01:07:26,240 --> 01:07:28,280
Speaker 2: key scene for it. This comes what's a good scene.

1245
01:07:28,480 --> 01:07:32,400
Speaker 2: Everything has fallen apart and he's there eating the ice

1246
01:07:32,400 --> 01:07:34,760
Speaker 2: cream because what does he say, otherwise it will melt

1247
01:07:34,840 --> 01:07:38,600
Speaker 2: and it's just like it's binge eating, it's guilt eating,

1248
01:07:39,160 --> 01:07:41,520
Speaker 2: and there's regret there. But what does he also do

1249
01:07:41,560 --> 01:07:44,560
Speaker 2: in that scene, I forget the exact particulars, but doesn't

1250
01:07:44,600 --> 01:07:49,400
Speaker 2: he reference his future plans that he still has for

1251
01:07:49,480 --> 01:07:52,960
Speaker 2: this enterprise. So he in the face of his grandchildren

1252
01:07:53,160 --> 01:07:56,320
Speaker 2: almost being eaten, he's remorseful, but he's not done.

1253
01:07:57,760 --> 01:08:01,960
Speaker 6: You're right, You're absolutely right. Having then ed to do

1254
01:08:02,120 --> 01:08:05,160
Speaker 6: was a mistake. That's obvious. What over dependent on automation.

1255
01:08:05,240 --> 01:08:09,080
Speaker 6: I can see that now now the next time everything's correctable.

1256
01:08:10,000 --> 01:08:13,360
Speaker 6: Creation is an act of sheer will.

1257
01:08:15,560 --> 01:08:16,080
Speaker 2: Next time a.

1258
01:08:16,040 --> 01:08:17,000
Speaker 6: Little bit flawless.

1259
01:08:17,840 --> 01:08:22,080
Speaker 2: And this is the kind of complicated characterization that I

1260
01:08:22,120 --> 01:08:24,960
Speaker 2: don't think the rest of Jurassic Park has that I

1261
01:08:24,960 --> 01:08:28,960
Speaker 2: think is strewn throughout Jaws, that every character has. Here,

1262
01:08:29,000 --> 01:08:30,960
Speaker 2: we get it, and it's something I didn't give the

1263
01:08:31,000 --> 01:08:33,080
Speaker 2: movie credit for, maybe because I was focusing on the

1264
01:08:33,120 --> 01:08:35,200
Speaker 2: characters who didn't have it, and I missed the guy

1265
01:08:35,200 --> 01:08:39,200
Speaker 2: who did, which was Richard Attenborough's Hammond. So yeah, I

1266
01:08:39,280 --> 01:08:40,800
Speaker 2: think I like the movie a little bit more this

1267
01:08:40,880 --> 01:08:44,120
Speaker 2: time around, and that was one of the reasons.

1268
01:08:44,000 --> 01:08:46,120
Speaker 3: I can see that I really like the performance. I

1269
01:08:46,160 --> 01:08:49,720
Speaker 3: do agree that character is maybe more complex than I

1270
01:08:49,760 --> 01:08:53,519
Speaker 3: gave them credit for before, or gave the screenplay credit

1271
01:08:53,600 --> 01:08:56,599
Speaker 3: for before. This is the third time. I think only

1272
01:08:56,640 --> 01:08:59,320
Speaker 3: the third time I've seen Jurassic Parks start to finish. Anyway,

1273
01:08:59,360 --> 01:09:02,120
Speaker 3: I probably saw parts of it a hundred times when

1274
01:09:02,120 --> 01:09:04,280
Speaker 3: it came out because I was working at the movie

1275
01:09:04,280 --> 01:09:06,920
Speaker 3: theater when it came out. I am still chasing the

1276
01:09:07,000 --> 01:09:10,680
Speaker 3: high I think of that initial viewing. Based on the

1277
01:09:10,760 --> 01:09:15,280
Speaker 3: last two viewings, I do still find it thoroughly fine.

1278
01:09:15,720 --> 01:09:21,080
Speaker 3: And I definitely didn't have selective amnesia with Jaws when

1279
01:09:21,120 --> 01:09:24,200
Speaker 3: it came to that comparison, and you can compare Hammond

1280
01:09:24,840 --> 01:09:28,759
Speaker 3: to the mayor. Sure, there is another comparison I found

1281
01:09:28,760 --> 01:09:31,360
Speaker 3: more interesting. I'll say this those sort of big picture

1282
01:09:31,360 --> 01:09:33,479
Speaker 3: about the movie and touch on that comparison, which I

1283
01:09:33,479 --> 01:09:38,720
Speaker 3: want to dig into more. The effects puppetry, animatronic and

1284
01:09:38,760 --> 01:09:43,759
Speaker 3: the early CGI remain movie magic. Yeah hold up so well,

1285
01:09:43,840 --> 01:09:47,280
Speaker 3: and as a cautionary tale disguised as an amusement park

1286
01:09:47,320 --> 01:09:49,840
Speaker 3: thrill ride, its intensity is undeniable.

1287
01:09:50,479 --> 01:09:50,719
Speaker 2: Though.

1288
01:09:50,800 --> 01:09:57,080
Speaker 3: I'm drawn to the parallels between Hammond and Spielberg as

1289
01:09:57,120 --> 01:10:01,519
Speaker 3: obsessed visionaries bent on creative control, and that includes not

1290
01:10:01,560 --> 01:10:07,120
Speaker 3: just Spielberg himself, but the Spielberg stand ins that are

1291
01:10:07,120 --> 01:10:11,760
Speaker 3: strewn throughout his work. That was among my big surprises

1292
01:10:11,840 --> 01:10:13,920
Speaker 3: watching the film this time, and when we talk about

1293
01:10:14,200 --> 01:10:17,080
Speaker 3: these sacred cows, usually when it's been ten plus years,

1294
01:10:17,600 --> 01:10:20,440
Speaker 3: we see those elements just like you were touching on Attenborough,

1295
01:10:20,880 --> 01:10:23,280
Speaker 3: watching through a different lens, or just watching it for

1296
01:10:23,320 --> 01:10:25,599
Speaker 3: the first time in a while. There are always things

1297
01:10:25,680 --> 01:10:30,519
Speaker 3: you didn't pick up on before or you just found

1298
01:10:30,520 --> 01:10:33,920
Speaker 3: more fascinating. And I had three things we'll get into

1299
01:10:34,040 --> 01:10:37,120
Speaker 3: I won't go into detail on all of them now,

1300
01:10:37,160 --> 01:10:40,040
Speaker 3: but there were three elements that really stood out to me,

1301
01:10:40,240 --> 01:10:47,560
Speaker 3: and they all Josh Mark Jurassic Park as specifically Spielbergian,

1302
01:10:48,000 --> 01:10:50,439
Speaker 3: beyond just the craft of it, which does make the

1303
01:10:50,479 --> 01:10:55,560
Speaker 3: film more interesting to me, even if I'm still critical

1304
01:10:55,920 --> 01:11:00,680
Speaker 3: of the film. And one of those things is the it,

1305
01:11:00,840 --> 01:11:05,880
Speaker 3: which we've already touched on, and look, I understand the

1306
01:11:05,960 --> 01:11:09,479
Speaker 3: challenges or the problems, the flaws of making the connection

1307
01:11:09,640 --> 01:11:14,040
Speaker 3: between Jaws and Jurassic Park or leaning too heavily into it.

1308
01:11:14,479 --> 01:11:19,759
Speaker 3: One of those is whereas there is some levity in Jaws,

1309
01:11:20,600 --> 01:11:23,519
Speaker 3: some levity in Jaws, there are moments of straight up

1310
01:11:23,560 --> 01:11:27,160
Speaker 3: comedy in Jurassic Park. It is a much lighter movie overall,

1311
01:11:27,479 --> 01:11:30,800
Speaker 3: and that could partly explain why some of the things

1312
01:11:30,840 --> 01:11:34,160
Speaker 3: I'll touch on don't pack the same punch, but it

1313
01:11:34,200 --> 01:11:37,599
Speaker 3: still is in many ways Jaws on Land. Also, I

1314
01:11:37,680 --> 01:11:41,760
Speaker 3: understand the exercise that you were embarking on right, trying

1315
01:11:41,760 --> 01:11:44,120
Speaker 3: to kind of free yourself from seeing it through that lens.

1316
01:11:44,200 --> 01:11:46,439
Speaker 3: But I also think this can be a little bit

1317
01:11:46,479 --> 01:11:49,639
Speaker 3: misleading when people hear me say what I was doing,

1318
01:11:49,720 --> 01:11:51,840
Speaker 3: or even what you were doing. I didn't have Jaws

1319
01:11:51,880 --> 01:11:54,240
Speaker 3: in mind at all when I watched or thought about

1320
01:11:54,320 --> 01:11:56,720
Speaker 3: Drastic Park the last time I saw it in the

1321
01:11:56,720 --> 01:11:58,880
Speaker 3: theater when it was re released in twenty twelve, and

1322
01:11:58,920 --> 01:12:01,600
Speaker 3: I thought it was just okay then too. Nor was

1323
01:12:01,600 --> 01:12:03,599
Speaker 3: I actively comparing it this time.

1324
01:12:03,640 --> 01:12:03,920
Speaker 2: Either.

1325
01:12:04,120 --> 01:12:06,640
Speaker 3: This is the stuff you're thinking about when you're processing

1326
01:12:06,640 --> 01:12:10,040
Speaker 3: your reaction and trying to understand why you're reacting the

1327
01:12:10,080 --> 01:12:13,320
Speaker 3: way you are. Jaws is just a reference point for

1328
01:12:13,400 --> 01:12:17,040
Speaker 3: helping me figure out why I'm not or what I'm

1329
01:12:17,040 --> 01:12:20,600
Speaker 3: not responding strongly, too, It's not the reason I'm not

1330
01:12:20,720 --> 01:12:22,080
Speaker 3: responding strongly, And I.

1331
01:12:22,120 --> 01:12:23,400
Speaker 2: Think there's a key difference there.

1332
01:12:23,880 --> 01:12:28,160
Speaker 3: You said something interesting too, when you mentioned kind of

1333
01:12:28,200 --> 01:12:31,479
Speaker 3: putting yourself in the shoes of being a kid watching

1334
01:12:31,640 --> 01:12:35,800
Speaker 3: Jurassic Park, and you and I both surely saw. Even

1335
01:12:35,840 --> 01:12:38,719
Speaker 3: though we weren't old enough to see Jaws in the theater,

1336
01:12:38,960 --> 01:12:41,960
Speaker 3: we both surely saw Jaws when we were kids for

1337
01:12:42,000 --> 01:12:45,640
Speaker 3: the first time. Though I don't think of Jaws at

1338
01:12:45,720 --> 01:12:49,800
Speaker 3: all as a kid's movie, whereas Jurassic Park definitely does

1339
01:12:49,920 --> 01:12:53,280
Speaker 3: feel like a kid's movie right fittingly for Spielberg, he

1340
01:12:53,520 --> 01:12:57,840
Speaker 3: introduces kids into it. They're almost the main characters along

1341
01:12:57,840 --> 01:13:00,920
Speaker 3: with doctor Grant. We experienced them movie in some cases

1342
01:13:00,920 --> 01:13:04,200
Speaker 3: through their eyes, their sense of wonder, their sense of fear,

1343
01:13:04,360 --> 01:13:08,559
Speaker 3: certainly so wanting more from it or maybe wanting it

1344
01:13:08,600 --> 01:13:13,120
Speaker 3: to be more serious like I do anyway, isn't fair though.

1345
01:13:13,120 --> 01:13:16,599
Speaker 3: Even that's nuanced, Josh, because you know Jaws. I don't

1346
01:13:16,600 --> 01:13:19,640
Speaker 3: think our rating existed then, or it definitely didn't. But

1347
01:13:19,760 --> 01:13:22,519
Speaker 3: Jaws was rated PG, and it's still PG now. If

1348
01:13:22,560 --> 01:13:25,240
Speaker 3: it came out now, obviously it would be at minimum

1349
01:13:25,240 --> 01:13:30,479
Speaker 3: PG thirteen. But I still think the Jurassic Park has

1350
01:13:31,000 --> 01:13:34,360
Speaker 3: to say it's a kid's movie is still difficult because

1351
01:13:34,360 --> 01:13:37,559
Speaker 3: it has more violence in it and more intense scares

1352
01:13:37,560 --> 01:13:40,200
Speaker 3: in it, I think than Jaws does. I don't even

1353
01:13:40,240 --> 01:13:43,240
Speaker 3: think it's close. I think that t Rex sequence alone

1354
01:13:43,439 --> 01:13:46,479
Speaker 3: is far scarier than anything in Jaws. And you may

1355
01:13:46,520 --> 01:13:49,639
Speaker 3: remember this. When I took my kids back in twenty twelve,

1356
01:13:50,400 --> 01:13:52,599
Speaker 3: Quinn was only about five and a half years old.

1357
01:13:52,840 --> 01:13:55,479
Speaker 3: Now people listening may say, gosh, how could you have

1358
01:13:55,479 --> 01:13:57,680
Speaker 3: done that? Well, I hadn't seen Jurassic Park at that

1359
01:13:57,720 --> 01:14:00,120
Speaker 3: point in many years, right since it came out, so

1360
01:14:00,160 --> 01:14:02,720
Speaker 3: I didn't remember how intense it was. And I was

1361
01:14:02,760 --> 01:14:06,240
Speaker 3: taking his slightly older siblings, and five and a half

1362
01:14:06,280 --> 01:14:09,280
Speaker 3: that's the age when you get really into dinosaurs. I

1363
01:14:09,439 --> 01:14:11,599
Speaker 3: was really into dinosaurs at five and a half. He

1364
01:14:11,680 --> 01:14:15,599
Speaker 3: was super into dinosaurs. I thought, okay, i'll bring him along.

1365
01:14:16,160 --> 01:14:18,720
Speaker 3: At the t Rex sequence, he flipped out so much

1366
01:14:18,760 --> 01:14:22,920
Speaker 3: I had to call his mother and have her pick

1367
01:14:23,000 --> 01:14:25,840
Speaker 3: him up at the movie theater before I could go

1368
01:14:25,920 --> 01:14:28,360
Speaker 3: back in and finish the movie. So I'm just saying

1369
01:14:29,080 --> 01:14:31,760
Speaker 3: five and a half may sound obviously like it's too

1370
01:14:31,840 --> 01:14:36,080
Speaker 3: young to see Jurassic Park, but whatever the ideal age is,

1371
01:14:36,200 --> 01:14:38,560
Speaker 3: I'm going to say it's a lot closer to thirteen

1372
01:14:39,000 --> 01:14:45,120
Speaker 3: than it is five. Okay, so kids movie, Okay, sure,

1373
01:14:45,520 --> 01:14:48,799
Speaker 3: But in terms of that comparison, right, if we're thinking

1374
01:14:48,800 --> 01:14:52,080
Speaker 3: about it in its relationship to Jaws, because of those

1375
01:14:52,280 --> 01:14:56,120
Speaker 3: very clear connections to it. The satire element is there,

1376
01:14:56,120 --> 01:15:00,240
Speaker 3: but the commentary about putting economic interests ahead of public say,

1377
01:15:00,400 --> 01:15:03,600
Speaker 3: nowhere near as potent. I'm not as attached, nor do

1378
01:15:03,680 --> 01:15:05,800
Speaker 3: I care about, nor simply want to spend time with

1379
01:15:05,840 --> 01:15:09,280
Speaker 3: the characters anyone in this movie asterisk, I'll come back

1380
01:15:09,280 --> 01:15:11,000
Speaker 3: to one of them the way I want to hang

1381
01:15:11,040 --> 01:15:14,240
Speaker 3: out right with Brody and quint and Hooper. The screenplay

1382
01:15:14,280 --> 01:15:17,679
Speaker 3: has it does obviously have a few very memorable lines

1383
01:15:17,760 --> 01:15:23,600
Speaker 3: and scenes Life Finds Away, Clever Girl, Malcolm's big lunch monologue.

1384
01:15:23,760 --> 01:15:26,280
Speaker 3: None of them really strike with the same force as

1385
01:15:26,280 --> 01:15:29,479
Speaker 3: some of the key scenes and Jaws. And then emotion too,

1386
01:15:29,560 --> 01:15:32,000
Speaker 3: and I think this movie is going for some real

1387
01:15:32,080 --> 01:15:35,000
Speaker 3: emotional moments. So I think this is totally fair, and

1388
01:15:35,040 --> 01:15:37,680
Speaker 3: this will lead into one of my other big surprises.

1389
01:15:38,040 --> 01:15:42,519
Speaker 3: Despite a lot of very pointed attempts to play up

1390
01:15:43,240 --> 01:15:47,960
Speaker 3: grants transformation and his relationship with the kids, nothing here

1391
01:15:48,000 --> 01:15:50,600
Speaker 3: has the same impact, at least for me, as you

1392
01:15:50,680 --> 01:15:52,880
Speaker 3: know Brody and his son at the dinner table, or

1393
01:15:53,320 --> 01:15:57,840
Speaker 3: Missus Kintner slapping Brody. So this isn't the only level

1394
01:15:57,840 --> 01:16:00,559
Speaker 3: on which I'm going to be critical of this movie.

1395
01:16:00,640 --> 01:16:02,880
Speaker 3: Is just comparing it to Jaws. But since this is

1396
01:16:02,880 --> 01:16:05,559
Speaker 3: how we initially framed the conversation, I do think it's fair,

1397
01:16:05,640 --> 01:16:09,720
Speaker 3: and the connections between the two films are obviously undeniably there.

1398
01:16:10,439 --> 01:16:12,760
Speaker 2: Yeah. And to be absolutely clear, and this is where

1399
01:16:12,760 --> 01:16:15,760
Speaker 2: I'll close off on the Jaws things, just for myself

1400
01:16:16,080 --> 01:16:19,320
Speaker 2: is by no means did I come to this viewing

1401
01:16:19,520 --> 01:16:23,439
Speaker 2: and say that Jurassic Park is as good as Jows

1402
01:16:23,760 --> 01:16:26,559
Speaker 2: and that I had just been nostalgic in my estimation.

1403
01:16:26,680 --> 01:16:30,040
Speaker 2: I think every point you made is true. I've written

1404
01:16:30,080 --> 01:16:34,000
Speaker 2: about at length about the ways it falls short of Jaws,

1405
01:16:34,080 --> 01:16:36,080
Speaker 2: and the word I keep coming back to in that

1406
01:16:36,120 --> 01:16:39,720
Speaker 2: critique is mechanical. Jurassic Park feels mechanical to me and

1407
01:16:39,800 --> 01:16:43,760
Speaker 2: Jaws does not. My exercise here was again to give

1408
01:16:43,800 --> 01:16:48,000
Speaker 2: myself blinders so that I could find newer things to appreciate,

1409
01:16:48,160 --> 01:16:50,599
Speaker 2: and to that end it was successful. Yeah, And it

1410
01:16:50,640 --> 01:16:54,320
Speaker 2: was successful in new ways, new things I found, as

1411
01:16:54,320 --> 01:16:57,920
Speaker 2: I said, largely at in Borough, but then just reappreciating

1412
01:16:58,320 --> 01:17:02,200
Speaker 2: and being able to enjoy the things I've always liked

1413
01:17:02,240 --> 01:17:05,599
Speaker 2: about Jurassic Park without a Yeah. But and I do

1414
01:17:05,640 --> 01:17:09,599
Speaker 2: want to spend some time on the brilliant sequences in

1415
01:17:09,880 --> 01:17:12,680
Speaker 2: Jurassic Park, which I do think the filmmaking is on

1416
01:17:12,800 --> 01:17:16,800
Speaker 2: par with what you get in Jaws. And this time

1417
01:17:16,880 --> 01:17:19,680
Speaker 2: those blinders allowed me to only think about them on

1418
01:17:19,720 --> 01:17:24,960
Speaker 2: their own terms, to notice maybe particular choices and decisions

1419
01:17:25,000 --> 01:17:29,639
Speaker 2: and techniques, and notice more of them. That's what happened

1420
01:17:29,680 --> 01:17:32,360
Speaker 2: to me, Adam is it's not just the t Rex sequence,

1421
01:17:32,400 --> 01:17:34,240
Speaker 2: which I do want to spend a little time breaking down.

1422
01:17:34,640 --> 01:17:37,680
Speaker 2: It's not just that where I noticed Spielberg's prowess, but

1423
01:17:38,200 --> 01:17:40,879
Speaker 2: telling myself to just look for it in this movie.

1424
01:17:41,240 --> 01:17:44,120
Speaker 2: I want to bring up one shot, and it's a

1425
01:17:44,120 --> 01:17:47,519
Speaker 2: seemingly inconsequential shot. It happens early on. It's where Grant,

1426
01:17:47,520 --> 01:17:50,280
Speaker 2: Ellie and Malcolm are in one of the tour cars

1427
01:17:50,680 --> 01:17:53,839
Speaker 2: going along the tracks and they're looking out the window,

1428
01:17:53,920 --> 01:17:57,559
Speaker 2: and Spielberg chooses a profile shot, so we see all

1429
01:17:57,600 --> 01:18:01,040
Speaker 2: three of them from the side in the same frame,

1430
01:18:01,160 --> 01:18:02,519
Speaker 2: and we can see a little bit of each of

1431
01:18:02,560 --> 01:18:05,280
Speaker 2: their faces. And this is where that, you know, I

1432
01:18:05,280 --> 01:18:07,639
Speaker 2: think it's one of the clever bits of dialogue where

1433
01:18:07,680 --> 01:18:12,799
Speaker 2: Malcolm begins with God creates dinosaurs and then proceeds right right. Well,

1434
01:18:13,000 --> 01:18:16,559
Speaker 2: we get all their faces in profile as I said,

1435
01:18:17,040 --> 01:18:20,519
Speaker 2: it starts in focus on Malcolm, and then there's a

1436
01:18:20,600 --> 01:18:23,800
Speaker 2: rack focus to Ellie when she delivers the punchline women

1437
01:18:23,840 --> 01:18:26,960
Speaker 2: inherit the world. We can see Grant because of the

1438
01:18:27,000 --> 01:18:29,120
Speaker 2: framing choice. We can see Grant, who hasn't said a

1439
01:18:29,120 --> 01:18:32,160
Speaker 2: word throughout all of this, smiling in the background. There's

1440
01:18:32,320 --> 01:18:35,240
Speaker 2: character work there because this is a dynamic among the

1441
01:18:35,240 --> 01:18:37,680
Speaker 2: three of them that's been back and forth. So the

1442
01:18:37,720 --> 01:18:40,240
Speaker 2: shot enables all of that to happen without a single edit.

1443
01:18:40,280 --> 01:18:42,639
Speaker 2: And then we get the camera pushing in on Ellie

1444
01:18:43,120 --> 01:18:46,559
Speaker 2: and swinging around so it can fully face her as

1445
01:18:46,600 --> 01:18:50,160
Speaker 2: she observes something out the window. This is just again

1446
01:18:50,439 --> 01:18:53,160
Speaker 2: it's inconsequential, but it could have been filmed in so

1447
01:18:53,320 --> 01:18:56,920
Speaker 2: many other ways where you didn't get the suspense, you

1448
01:18:56,960 --> 01:19:00,280
Speaker 2: didn't get the characterization, you didn't get the dynamic among

1449
01:19:00,320 --> 01:19:03,640
Speaker 2: the characters. This is what Spielberg does, and this is

1450
01:19:03,720 --> 01:19:06,640
Speaker 2: another thing. By being able to just focus on the

1451
01:19:06,680 --> 01:19:09,240
Speaker 2: text in front of me, at least I could say,

1452
01:19:09,360 --> 01:19:11,679
Speaker 2: you know what, never noticed that before? But how many

1453
01:19:11,680 --> 01:19:14,400
Speaker 2: filmmakers would shoot it that way and how many would

1454
01:19:14,400 --> 01:19:16,280
Speaker 2: be as effective in what they want to convey. I

1455
01:19:16,280 --> 01:19:18,800
Speaker 2: think there's a lot of that in Jurassic Park, which

1456
01:19:18,840 --> 01:19:22,760
Speaker 2: I was happy to discover this umpteenth time watching it.

1457
01:19:23,000 --> 01:19:28,360
Speaker 3: Yeah, and for all of the revolutionary techniques that he

1458
01:19:28,520 --> 01:19:31,439
Speaker 3: is employing in terms of the effects, how about the

1459
01:19:31,640 --> 01:19:36,880
Speaker 3: classical approach with subtle things like just using props. You

1460
01:19:37,000 --> 01:19:42,960
Speaker 3: mentioned the scene between Hammond and Ellie when they are

1461
01:19:43,000 --> 01:19:45,479
Speaker 3: talking over ice cream, and I think this is I mean,

1462
01:19:45,479 --> 01:19:47,479
Speaker 3: it's obviously a key scene. I think it's a really

1463
01:19:47,520 --> 01:19:51,040
Speaker 3: important scene for reasons that I'll get into later. But

1464
01:19:51,400 --> 01:19:55,519
Speaker 3: how does that scene conclude? That entire scene has been

1465
01:19:55,560 --> 01:20:00,280
Speaker 3: them having this dialogue where he is eating that ice cream,

1466
01:20:00,680 --> 01:20:04,639
Speaker 3: and they've been in conflict with each other, and by

1467
01:20:04,680 --> 01:20:09,080
Speaker 3: the end she challenges him enough that he does seem

1468
01:20:09,120 --> 01:20:12,320
Speaker 3: to come around to her point of view, or at

1469
01:20:12,439 --> 01:20:16,080
Speaker 3: least seems to acquiesce to her point of view and

1470
01:20:16,200 --> 01:20:18,840
Speaker 3: understand they come to a meeting of the minds by

1471
01:20:18,880 --> 01:20:21,240
Speaker 3: the end of that conversation. And so how does it end?

1472
01:20:21,600 --> 01:20:24,320
Speaker 3: It ends with her taking a bite of the ice cream.

1473
01:20:24,760 --> 01:20:26,960
Speaker 3: The entire conversation, she hasn't touched the ice cream.

1474
01:20:27,000 --> 01:20:27,320
Speaker 2: Josh.

1475
01:20:27,520 --> 01:20:29,360
Speaker 3: She takes a bite of the ice cream at the end,

1476
01:20:30,200 --> 01:20:32,400
Speaker 3: she comments on how good it is. He says a

1477
01:20:32,400 --> 01:20:34,800
Speaker 3: line about how he's spared no expense in the scene ends,

1478
01:20:35,000 --> 01:20:37,680
Speaker 3: like those little touches are there for a reason. They

1479
01:20:37,720 --> 01:20:42,920
Speaker 3: add those little character touches, but they're very subtly, but

1480
01:20:43,000 --> 01:20:46,240
Speaker 3: it's there. They're bonding over the ice cream because they

1481
01:20:46,240 --> 01:20:49,360
Speaker 3: have come to an understanding by the end of that scene.

1482
01:20:49,520 --> 01:20:51,920
Speaker 2: Yeah, and this to your point, like, there are many

1483
01:20:52,000 --> 01:20:55,200
Speaker 2: moments like that which don't rely on CGI or animatronics

1484
01:20:55,280 --> 01:20:58,360
Speaker 2: or anything like that and are incredibly effective.

1485
01:20:58,680 --> 01:21:01,320
Speaker 3: Now, let's talk about another performance or another element of

1486
01:21:01,320 --> 01:21:05,360
Speaker 3: this film that absolutely elevates this movie. Even though unfortunately

1487
01:21:05,439 --> 01:21:07,520
Speaker 3: I'm also going to bring it around to a criticism

1488
01:21:07,600 --> 01:21:11,920
Speaker 3: of this movie. I'm sorry. Jeff Goldbloom is in Malcolm.

1489
01:21:11,960 --> 01:21:16,800
Speaker 3: I forgot how much damn fun he is having. He

1490
01:21:16,960 --> 01:21:20,920
Speaker 3: is going for it in one of his earliest scenes.

1491
01:21:20,960 --> 01:21:23,439
Speaker 3: It may have even been his first scene. I can't

1492
01:21:23,479 --> 01:21:25,479
Speaker 3: remember if it's when they get to the island or

1493
01:21:25,479 --> 01:21:26,760
Speaker 3: they're still on the helicopter.

1494
01:21:27,200 --> 01:21:28,880
Speaker 2: He punctuates a moment.

1495
01:21:29,479 --> 01:21:33,479
Speaker 3: He's delivered some line, and he punctuates the moment by

1496
01:21:33,920 --> 01:21:36,440
Speaker 3: almost doing a dinosaur impression.

1497
01:21:37,000 --> 01:21:44,839
Speaker 2: He kind of snarls, so you too up dinosaurs, Well.

1498
01:21:45,600 --> 01:21:54,160
Speaker 3: Try it, he snarls, deliciously, and he's smiling the entire time.

1499
01:21:54,439 --> 01:21:56,960
Speaker 3: I think his character, Well, actually, I don't see how

1500
01:21:56,960 --> 01:21:58,559
Speaker 3: you would argue with this, because you can just look

1501
01:21:58,560 --> 01:22:03,120
Speaker 3: at the screenplay and it's in terms of the smartest

1502
01:22:03,160 --> 01:22:06,600
Speaker 3: dialogue that lays out all the big questions of the

1503
01:22:06,600 --> 01:22:10,080
Speaker 3: screenplay as a cautionary tale, all the man versus nature

1504
01:22:10,560 --> 01:22:14,840
Speaker 3: Hubris Man playing god conflicts. It's really only there because

1505
01:22:14,880 --> 01:22:18,120
Speaker 3: his character lays it out every time he opens his mouth.

1506
01:22:18,320 --> 01:22:20,759
Speaker 2: Yes, every time he opens.

1507
01:22:20,600 --> 01:22:23,400
Speaker 3: His mouth, and I'm gonna get to the other thing

1508
01:22:23,439 --> 01:22:25,640
Speaker 3: that's usually coming out. If it's not this, he is

1509
01:22:25,720 --> 01:22:32,679
Speaker 3: saying something very intellectually interesting and you want to hear more.

1510
01:22:32,680 --> 01:22:35,720
Speaker 3: He has the smartest dialogue in the film. And when

1511
01:22:35,760 --> 01:22:39,839
Speaker 3: he's delivering it, like the snarl, he's making fun choices

1512
01:22:39,920 --> 01:22:43,160
Speaker 3: like the time when he pounds on the table twice

1513
01:22:43,240 --> 01:22:47,080
Speaker 3: to again punctuate little moments and what is he doing

1514
01:22:47,160 --> 01:22:50,760
Speaker 3: when he's not being super intelligent being the smartest guy

1515
01:22:50,800 --> 01:22:54,320
Speaker 3: in the room. Every other moment is him taking every

1516
01:22:54,320 --> 01:22:55,960
Speaker 3: opportunity to hit on.

1517
01:22:55,920 --> 01:22:59,960
Speaker 2: Laura Darn's character. Of course, adore it right, like honest.

1518
01:23:00,479 --> 01:23:02,919
Speaker 3: Sign me up for the version of Jurassic Park Josh

1519
01:23:03,000 --> 01:23:07,759
Speaker 3: where Ian Malcolm seduces Ellie into being the next future

1520
01:23:07,960 --> 01:23:10,559
Speaker 3: ex Missus Malcolm. I'd be on board with that version

1521
01:23:10,600 --> 01:23:12,680
Speaker 3: of this film and all of this, all of this

1522
01:23:12,720 --> 01:23:16,840
Speaker 3: is why, though it's absolutely unforgivable that they somehow made

1523
01:23:16,880 --> 01:23:21,320
Speaker 3: a choice to sideline Ian Malcolm for almost the entire

1524
01:23:21,400 --> 01:23:23,760
Speaker 3: second half of the movie. The only choice is Jeff

1525
01:23:23,800 --> 01:23:26,439
Speaker 3: Goldbloom gets to make for the second half of this

1526
01:23:26,479 --> 01:23:29,479
Speaker 3: film are variations on how am I going to sit

1527
01:23:29,600 --> 01:23:31,480
Speaker 3: up and groan slightly differently?

1528
01:23:31,680 --> 01:23:32,320
Speaker 2: Oh, what do you know?

1529
01:23:32,320 --> 01:23:35,400
Speaker 3: It's Jeff Goldbloom still just laying there on a table,

1530
01:23:35,720 --> 01:23:39,520
Speaker 3: sitting up occasionally. It's crazy, it's criminal.

1531
01:23:39,840 --> 01:23:42,240
Speaker 2: So, first of all, I have to say his performance

1532
01:23:43,000 --> 01:23:47,679
Speaker 2: prompted me to Google images search for the Burt Reynolds

1533
01:23:47,680 --> 01:23:52,519
Speaker 2: Playgirl spread, because I swear on this watch Goldbloom is

1534
01:23:52,560 --> 01:23:56,640
Speaker 2: purposefully positioning himself or someone is someone directed him to

1535
01:23:56,880 --> 01:24:00,800
Speaker 2: in the exact pose of that renels Y're right, You're right.

1536
01:24:01,560 --> 01:24:04,120
Speaker 2: It's amazing. And it's when he has the shirt open,

1537
01:24:04,400 --> 01:24:06,760
Speaker 2: it's like, that's that's just brilliant and in line with

1538
01:24:06,800 --> 01:24:09,519
Speaker 2: all the other choices he's making as a performer. Right,

1539
01:24:09,920 --> 01:24:13,679
Speaker 2: interesting what you say about unforgivable to lose him because

1540
01:24:14,160 --> 01:24:16,280
Speaker 2: do I want more of that performance? Of course I do.

1541
01:24:16,439 --> 01:24:19,280
Speaker 2: I generally agree with you, but Megan two point zero

1542
01:24:19,360 --> 01:24:23,200
Speaker 2: strangely suggested something to me. Jermaine Clement shows up early

1543
01:24:23,280 --> 01:24:26,679
Speaker 2: in that film as very amusing, as like a tech

1544
01:24:27,160 --> 01:24:31,880
Speaker 2: you know, ceo rich guy, and it's it's a completely

1545
01:24:32,280 --> 01:24:35,400
Speaker 2: joke performance that works for me. I loved it, And

1546
01:24:35,439 --> 01:24:38,519
Speaker 2: then after two scenes, I think he's gone. He's gone

1547
01:24:38,520 --> 01:24:41,200
Speaker 2: from the rest of the movie, and for a while

1548
01:24:41,240 --> 01:24:43,640
Speaker 2: I was like, Oh, he's not gonna be back. But

1549
01:24:43,680 --> 01:24:45,360
Speaker 2: then after the film it was like, would I really

1550
01:24:45,360 --> 01:24:48,800
Speaker 2: have wanted more of Jermaine Clement in the movie? Like

1551
01:24:48,840 --> 01:24:52,280
Speaker 2: what does the movie really need that? And so Goldblum

1552
01:24:52,360 --> 01:24:54,479
Speaker 2: is far funnier here in Jurassica Park, but it's a

1553
01:24:54,520 --> 01:24:57,479
Speaker 2: similar dynamic where I do wonder if they'd given us

1554
01:24:57,520 --> 01:25:00,760
Speaker 2: too much of that, if he'd keep delivering the same thing,

1555
01:25:01,240 --> 01:25:03,280
Speaker 2: it would have worn thin. I also know it does

1556
01:25:03,640 --> 01:25:06,719
Speaker 2: wear thin because he is in I think like five

1557
01:25:06,800 --> 01:25:10,599
Speaker 2: at least of the next Jurassic movies, and yeah, he

1558
01:25:10,640 --> 01:25:12,600
Speaker 2: doesn't need to be So maybe this is all he

1559
01:25:12,720 --> 01:25:15,200
Speaker 2: needs to be in Jurassic Park. I don't know.

1560
01:25:15,280 --> 01:25:19,120
Speaker 3: Maybe one other element I want to touch on and

1561
01:25:19,160 --> 01:25:24,080
Speaker 3: it goes back to the practical effects that are on

1562
01:25:24,160 --> 01:25:27,040
Speaker 3: display here my favorite dinosaur. Did you go through a

1563
01:25:27,040 --> 01:25:31,880
Speaker 3: dinosaur phase, Josh, I imagine almost every kid does, or

1564
01:25:31,920 --> 01:25:33,040
Speaker 3: a good majority of us.

1565
01:25:33,080 --> 01:25:37,799
Speaker 2: I think it's weird because I was obsessed with animal

1566
01:25:37,920 --> 01:25:42,559
Speaker 2: nature documentaries and watching them on TV. But I don't

1567
01:25:42,600 --> 01:25:46,120
Speaker 2: remember dinosaurs being you know, one thing about Jurassic Park

1568
01:25:46,240 --> 01:25:50,479
Speaker 2: is I feel that's when it became more popular for

1569
01:25:50,640 --> 01:25:54,000
Speaker 2: kids to study, and both things kind of happened side

1570
01:25:54,040 --> 01:25:56,360
Speaker 2: by side, So I feel like I was almost you know,

1571
01:25:56,400 --> 01:25:58,400
Speaker 2: it wasn't as big obviously, if you were into it,

1572
01:25:58,400 --> 01:25:59,760
Speaker 2: it was out there and maybe you just had a

1573
01:25:59,760 --> 01:26:01,760
Speaker 2: certain for it a little bit more so, I was

1574
01:26:01,800 --> 01:26:04,360
Speaker 2: like a nature animal kid, But I don't remember having

1575
01:26:04,400 --> 01:26:06,719
Speaker 2: a dinosaur phase, which, yeah, strikes me as a little strange.

1576
01:26:06,760 --> 01:26:09,439
Speaker 3: Now, okay, yeah, I mean those were the books that

1577
01:26:09,479 --> 01:26:12,040
Speaker 3: I was drawn to when back in the day you

1578
01:26:12,080 --> 01:26:14,320
Speaker 3: had nothing to do except go to the library right

1579
01:26:14,439 --> 01:26:16,080
Speaker 3: in the summer, you'd write your bike down to the

1580
01:26:16,080 --> 01:26:18,519
Speaker 3: library and you get books, and I got dinosaur books,

1581
01:26:18,680 --> 01:26:22,880
Speaker 3: and Triceratops was always my favorite dinosaur, which is maybe

1582
01:26:22,880 --> 01:26:24,960
Speaker 3: why I love the scene so much, and that's a

1583
01:26:25,040 --> 01:26:27,960
Speaker 3: Stan Winston puppet. And to be able to have brilliant

1584
01:26:28,040 --> 01:26:31,120
Speaker 3: this great cgi used, but also then have something practical

1585
01:26:31,200 --> 01:26:33,599
Speaker 3: like that a puppet where you can have Laura Dern

1586
01:26:33,640 --> 01:26:35,840
Speaker 3: actually a lay on the thing and have it have

1587
01:26:35,960 --> 01:26:37,640
Speaker 3: it breathe and have it feel.

1588
01:26:37,560 --> 01:26:41,160
Speaker 2: That he feels the breath in yeah, when Grant does

1589
01:26:41,200 --> 01:26:44,080
Speaker 2: and rises with the belly. Those are like those are

1590
01:26:44,120 --> 01:26:47,000
Speaker 2: like the Wonder touches, right, which you know. I want

1591
01:26:47,040 --> 01:26:49,400
Speaker 2: to talk a little bit more about Wonder at one point,

1592
01:26:49,479 --> 01:26:52,400
Speaker 2: and I do think Jurassic Park probably has more of

1593
01:26:52,400 --> 01:26:55,679
Speaker 2: it than I gave it credit for previously. But yeah, okay,

1594
01:26:55,920 --> 01:26:56,800
Speaker 2: finish what you were saying.

1595
01:26:56,960 --> 01:27:01,479
Speaker 3: Well, I want to pivot actually to those Spielbergian aspects.

1596
01:27:01,479 --> 01:27:04,320
Speaker 3: So do you want to stay on Wonder Before we

1597
01:27:04,360 --> 01:27:05,000
Speaker 3: get into.

1598
01:27:04,800 --> 01:27:07,800
Speaker 2: That, I want to quickly note, and this is for

1599
01:27:07,960 --> 01:27:10,559
Speaker 2: you know, film spotting family members. It made me think

1600
01:27:10,600 --> 01:27:13,519
Speaker 2: of one reason I was so bad at trivia spotting

1601
01:27:13,520 --> 01:27:15,720
Speaker 2: with a dinosaur speed. Maybe it's because I didn't have

1602
01:27:16,200 --> 01:27:19,400
Speaker 2: those books that you were reading. I did enjoy after

1603
01:27:19,439 --> 01:27:22,479
Speaker 2: that debacle of my answer, which I don't even remember

1604
01:27:22,560 --> 01:27:25,040
Speaker 2: what it was, about how fast a t rex can run,

1605
01:27:25,120 --> 01:27:28,080
Speaker 2: I did enjoy two references to Dino speed in this movie.

1606
01:27:28,360 --> 01:27:30,920
Speaker 2: I'd forgotten we clocked the t Rex at thirty two

1607
01:27:30,960 --> 01:27:33,360
Speaker 2: miles per hour. I remembered that that was the question

1608
01:27:33,520 --> 01:27:35,519
Speaker 2: you remember, Yes, yes, that was it. It was the

1609
01:27:35,880 --> 01:27:39,040
Speaker 2: Botch question. I didn't remember. There was the other reference

1610
01:27:39,040 --> 01:27:42,400
Speaker 2: at some point about raptors going fifty to sixty miles, right,

1611
01:27:42,680 --> 01:27:46,679
Speaker 2: So I was closer, you know, just double that, I think, No,

1612
01:27:46,720 --> 01:27:51,599
Speaker 2: I was. I was close. Quadrup that Josh Quadrup, didn't

1613
01:27:51,600 --> 01:27:55,559
Speaker 2: I say two hundred than two hundred and twelve. Yeah, yeah,

1614
01:27:55,560 --> 01:27:57,439
Speaker 2: I was a little off. I mean, I'm pretty I

1615
01:27:57,439 --> 01:28:00,880
Speaker 2: should have spent more time with those Dino books. No,

1616
01:28:01,080 --> 01:28:05,760
Speaker 2: as a kid. As a kid, the Spielberg thing that

1617
01:28:05,800 --> 01:28:09,000
Speaker 2: always got me. It's in et. It's gotten everyone is

1618
01:28:09,040 --> 01:28:11,880
Speaker 2: the wonder thing, right, And it comes in moments big

1619
01:28:11,920 --> 01:28:14,720
Speaker 2: and small. It's in that moment with the Triceratops we

1620
01:28:14,880 --> 01:28:20,880
Speaker 2: just discussed. It is in the way we experience the

1621
01:28:20,920 --> 01:28:23,160
Speaker 2: reveal of the dinosaurs for the first time in that

1622
01:28:23,200 --> 01:28:27,400
Speaker 2: field through Grant. And it's not just in the CGI,

1623
01:28:28,240 --> 01:28:34,240
Speaker 2: it's more in Grant's face in the performance, and and

1624
01:28:34,280 --> 01:28:36,400
Speaker 2: you know that they're looking at nothing. So that's what

1625
01:28:36,520 --> 01:28:40,439
Speaker 2: makes it even more incredible. It's little touches, like the

1626
01:28:40,520 --> 01:28:43,440
Speaker 2: expression yes, but the way he fumbles with his glasses.

1627
01:28:44,160 --> 01:28:46,640
Speaker 2: This is a guy who we've known to not be

1628
01:28:47,400 --> 01:28:50,880
Speaker 2: really a you know, a fussbudget professor type, Like he's

1629
01:28:51,040 --> 01:28:54,519
Speaker 2: very precise, he's very serious. So to see him suddenly

1630
01:28:54,640 --> 01:28:58,439
Speaker 2: like kind of be flummixed tells you how how in

1631
01:28:58,520 --> 01:29:01,000
Speaker 2: awe he is. And then the us to have you know,

1632
01:29:01,040 --> 01:29:03,320
Speaker 2: Ellie looking the other way and him have to gently

1633
01:29:03,400 --> 01:29:06,439
Speaker 2: turn her head so you can see what I'm seeing.

1634
01:29:06,560 --> 01:29:09,160
Speaker 2: Those those are choices again to your earlier point, no

1635
01:29:09,240 --> 01:29:13,000
Speaker 2: effects are needed there, but it's incredibly effective. And then

1636
01:29:13,040 --> 01:29:15,120
Speaker 2: even here's one where there are a lot of effects,

1637
01:29:15,120 --> 01:29:18,160
Speaker 2: but the same sequence. I think it concludes with this

1638
01:29:18,200 --> 01:29:23,080
Speaker 2: beautifully composed long shot of them on the bluff looking

1639
01:29:23,160 --> 01:29:27,280
Speaker 2: at this you know, Safari type display of dinosaurs down

1640
01:29:27,320 --> 01:29:30,519
Speaker 2: by a lake in the background. It's just beautiful, and

1641
01:29:30,520 --> 01:29:33,120
Speaker 2: that's where we feel like we're sitting next to them

1642
01:29:33,240 --> 01:29:36,759
Speaker 2: taking all of this in. So, yeah, I think wonder

1643
01:29:36,920 --> 01:29:39,439
Speaker 2: is something that is a through line in Spielberg's work.

1644
01:29:39,520 --> 01:29:42,320
Speaker 2: It's interesting, and this shows goes to the point of

1645
01:29:42,360 --> 01:29:45,400
Speaker 2: my underrating of Jurassic Park. Is a couple of years

1646
01:29:45,400 --> 01:29:48,160
Speaker 2: ago for the Thinkershian Movie Club, we had a meeting

1647
01:29:48,200 --> 01:29:52,120
Speaker 2: about Transcendent Spielberg, and so I made a video examining

1648
01:29:52,160 --> 01:29:54,519
Speaker 2: the motif of people just looking up, you know, close

1649
01:29:54,600 --> 01:29:56,400
Speaker 2: encounters et you.

1650
01:29:56,320 --> 01:29:59,160
Speaker 3: Can picture them all, as says, right, Ye, the opposite

1651
01:29:59,200 --> 01:30:00,559
Speaker 3: of the Kubrick shot in a way.

1652
01:30:00,640 --> 01:30:03,479
Speaker 2: Yeah, pretty touch it exactly, and I omit a Jurassic Park.

1653
01:30:03,560 --> 01:30:07,000
Speaker 2: I just I didn't include one from there, and I

1654
01:30:07,120 --> 01:30:10,639
Speaker 2: could have and should have, as this recent rewatch shows,

1655
01:30:10,680 --> 01:30:13,519
Speaker 2: because we get a few beautiful examples of that.

1656
01:30:13,960 --> 01:30:16,720
Speaker 3: So maybe a different kind of wonder here, right, this

1657
01:30:16,800 --> 01:30:20,559
Speaker 3: is more wondrous in terms of the technical proficiency and

1658
01:30:20,640 --> 01:30:23,680
Speaker 3: the craft. You touched on it already. But I'm going

1659
01:30:23,720 --> 01:30:27,080
Speaker 3: to ask a question, though it is maybe a bit

1660
01:30:27,080 --> 01:30:30,439
Speaker 3: of a sacrilegious question, about what is an incredible sequence.

1661
01:30:30,479 --> 01:30:34,800
Speaker 3: Don't get me wrong, the t Rex sequence is incredible filmmaking,

1662
01:30:35,080 --> 01:30:39,720
Speaker 3: even if I think Lex's light getting stuck on is

1663
01:30:39,760 --> 01:30:43,120
Speaker 3: really clunky. I'm gonna say that first. The sequence itself

1664
01:30:43,240 --> 01:30:48,080
Speaker 3: is great. But my sacriligious question is this, Josh, everyone

1665
01:30:48,240 --> 01:30:54,000
Speaker 3: points to how incredible it is the thinking behind the

1666
01:30:54,040 --> 01:30:58,640
Speaker 3: touch Spielberg's decision to show that the t Rex is

1667
01:30:58,680 --> 01:31:02,519
Speaker 3: approaching with the ripple of the water in the cup.

1668
01:31:02,800 --> 01:31:04,760
Speaker 3: I went back and watched this three times just to

1669
01:31:04,760 --> 01:31:08,479
Speaker 3: make sure I wasn't crazy and that maybe I wasn't

1670
01:31:08,520 --> 01:31:11,599
Speaker 3: being too nitpicky. If you or others think I'm still

1671
01:31:11,600 --> 01:31:16,960
Speaker 3: being nitpicky, that's fine, okay. My question is why do

1672
01:31:17,120 --> 01:31:21,040
Speaker 3: we have to hear the thump of the t rex

1673
01:31:21,080 --> 01:31:25,000
Speaker 3: coming so loudly in the sound mix when the whole

1674
01:31:25,080 --> 01:31:27,960
Speaker 3: point of the shot and the design is that the

1675
01:31:27,960 --> 01:31:31,639
Speaker 3: water ripples in the cup are indicating that something big

1676
01:31:31,680 --> 01:31:40,799
Speaker 3: is coming. It's so clearly there. It does get louder,

1677
01:31:41,040 --> 01:31:43,920
Speaker 3: but it's so clearly there. Why aren't we just why

1678
01:31:44,000 --> 01:31:47,200
Speaker 3: isn't the boy? Why isn't the kid in this case?

1679
01:31:47,360 --> 01:31:50,640
Speaker 3: Why isn't he and us through him his point of

1680
01:31:50,720 --> 01:31:54,120
Speaker 3: view seeing the ripple and then we start to hear

1681
01:31:54,120 --> 01:31:56,680
Speaker 3: I can't believe I'm questioning Spielberg as a filmmaker. I

1682
01:31:56,720 --> 01:31:59,439
Speaker 3: was surprised, is all I'm saying, because in my memory

1683
01:31:59,840 --> 01:32:02,880
Speaker 3: I thought it was all about the visual of the

1684
01:32:02,920 --> 01:32:04,679
Speaker 3: real want, and it wasn't we hear the sound too?

1685
01:32:04,760 --> 01:32:06,920
Speaker 2: It's what we remember, It's what people talk about. I mean,

1686
01:32:06,960 --> 01:32:09,160
Speaker 2: I have an answer, I don't know if it'll satisfy you.

1687
01:32:09,680 --> 01:32:14,160
Speaker 2: It's exactly something I noticed on this rewatch, and it

1688
01:32:14,240 --> 01:32:18,400
Speaker 2: is what I do think makes Spielberg as a suspense

1689
01:32:18,439 --> 01:32:23,280
Speaker 2: filmmaker distinct, and especially in light of the other Jurassic

1690
01:32:23,320 --> 01:32:28,160
Speaker 2: movies that would come after this one, it is patience.

1691
01:32:28,920 --> 01:32:34,040
Speaker 2: He has patience as a suspense filmmaker that few others have.

1692
01:32:34,240 --> 01:32:38,240
Speaker 2: And so if you break down this t Rex approach,

1693
01:32:38,760 --> 01:32:41,560
Speaker 2: because I think it's all about until the attack, once

1694
01:32:41,600 --> 01:32:43,880
Speaker 2: it attacks, I still find it thrilling. Sure you can

1695
01:32:44,000 --> 01:32:46,120
Speaker 2: question why does this happen? Would they really do this?

1696
01:32:46,200 --> 01:32:48,799
Speaker 2: There's that sort of stuff, But it's all the approach

1697
01:32:48,920 --> 01:32:52,599
Speaker 2: pre attack where Spielberg's genius is on display, and it's

1698
01:32:52,600 --> 01:32:57,320
Speaker 2: because the patiency has to milk every moment. To me,

1699
01:32:58,040 --> 01:33:03,040
Speaker 2: the audio is part of that. I would suggest the

1700
01:33:03,080 --> 01:33:07,639
Speaker 2: thud we hear is chosen because movies are a visual medium,

1701
01:33:08,160 --> 01:33:10,400
Speaker 2: and so if you want to get every outside of

1702
01:33:10,400 --> 01:33:15,479
Speaker 2: this sequence, you start with only sound. And so there

1703
01:33:15,520 --> 01:33:19,280
Speaker 2: are think of all the steps Spielberg takes before we

1704
01:33:19,400 --> 01:33:23,120
Speaker 2: get the money shot, the full reveal of the t Rex.

1705
01:33:23,320 --> 01:33:25,880
Speaker 2: First is the thud on the soundtrack, and you know,

1706
01:33:26,120 --> 01:33:28,720
Speaker 2: wouldn't that give them all the alert to put them

1707
01:33:28,720 --> 01:33:30,160
Speaker 2: on high alert right away. I don't know if you

1708
01:33:30,160 --> 01:33:33,120
Speaker 2: need an excuse. There was a thunderstorm. Maybe it could

1709
01:33:33,160 --> 01:33:36,120
Speaker 2: be mistaken for thunder. Okay, we know it's not the

1710
01:33:36,240 --> 01:33:38,800
Speaker 2: first thing you get thud on the soundtrack. Then is

1711
01:33:38,840 --> 01:33:41,080
Speaker 2: the shot of the water shaking.

1712
01:33:41,360 --> 01:33:44,599
Speaker 3: So there's thinking about them in unison seeing the ripple.

1713
01:33:44,880 --> 01:33:46,920
Speaker 3: We hear the sound, Josh, Now maybe we do hear

1714
01:33:46,960 --> 01:33:48,000
Speaker 3: a sound before.

1715
01:33:47,680 --> 01:33:51,000
Speaker 2: We hear exactly the thud. We hear a thud before

1716
01:33:51,040 --> 01:33:53,599
Speaker 2: we see the glass. What do we get after the glass?

1717
01:33:54,120 --> 01:33:57,840
Speaker 2: We get the rear view mirror shaking, And this is

1718
01:33:57,960 --> 01:34:01,479
Speaker 2: just building. It's more we're we're like, at this point,

1719
01:34:01,520 --> 01:34:03,920
Speaker 2: by the point of the glass, we want to see

1720
01:34:03,920 --> 01:34:08,439
Speaker 2: this dinosaur. I get it. We get the mirror. Then

1721
01:34:08,479 --> 01:34:10,960
Speaker 2: what do we get. We get a shot through the

1722
01:34:11,080 --> 01:34:14,519
Speaker 2: night goggles that the goat is gone. I mean, this

1723
01:34:14,640 --> 01:34:18,839
Speaker 2: is excruciating at this point. Then we get the goat's

1724
01:34:18,920 --> 01:34:22,080
Speaker 2: leg falling on the roof of a kinder. Then we

1725
01:34:22,160 --> 01:34:25,320
Speaker 2: get a shot of the claw on the electric fence.

1726
01:34:26,200 --> 01:34:28,160
Speaker 2: Then it comes then the money shot of the goat

1727
01:34:28,240 --> 01:34:30,360
Speaker 2: going down the dino's throat. So if you count the

1728
01:34:30,400 --> 01:34:34,960
Speaker 2: first element as that thud, it's one, two, three, four, five, six,

1729
01:34:35,720 --> 01:34:40,680
Speaker 2: suspenseful elements before the full monster is shown. To me,

1730
01:34:41,520 --> 01:34:44,800
Speaker 2: that is ingenius. It sets field apart from other action

1731
01:34:44,920 --> 01:34:48,120
Speaker 2: filmmakers who would cut that. If they cut that in half,

1732
01:34:48,160 --> 01:34:51,439
Speaker 2: they're still doing something special, into my mind, compared to

1733
01:34:51,520 --> 01:34:54,120
Speaker 2: most like monster creature features we might get.

1734
01:34:54,320 --> 01:34:57,480
Speaker 3: Yeah, and I don't disagree with any part of that breakdown.

1735
01:34:57,840 --> 01:35:01,960
Speaker 3: I think I'm just suggesting. But if you just moved

1736
01:35:02,479 --> 01:35:05,640
Speaker 3: number two in that order to number one, yeah, I

1737
01:35:05,680 --> 01:35:07,320
Speaker 3: just think you could still show that patience.

1738
01:35:07,439 --> 01:35:09,400
Speaker 2: Yeah, it would be patient. But it goes back to

1739
01:35:09,479 --> 01:35:12,120
Speaker 2: the idea of, like again, movies being visual, so you

1740
01:35:12,160 --> 01:35:14,360
Speaker 2: start with sound. Starting with sound is always going to

1741
01:35:14,400 --> 01:35:16,439
Speaker 2: be a little more mysterious to me in a movie.

1742
01:35:16,720 --> 01:35:20,080
Speaker 2: There's something cloaked if you're just hearing it. So I

1743
01:35:20,160 --> 01:35:22,479
Speaker 2: have to think maybe that's why that was chosen. But

1744
01:35:23,040 --> 01:35:25,479
Speaker 2: it only extends from there to the action, you know,

1745
01:35:25,600 --> 01:35:28,360
Speaker 2: the action blowout from that point when yes, of course

1746
01:35:28,479 --> 01:35:30,120
Speaker 2: it gets bigger and faster and louder.

1747
01:35:30,320 --> 01:35:33,040
Speaker 3: Well, maybe a little bit disappointing too is the fact

1748
01:35:33,080 --> 01:35:37,960
Speaker 3: that he returns. He returns to the trick with doctor

1749
01:35:38,000 --> 01:35:39,719
Speaker 3: Malcolm later in the mud Puddle.

1750
01:35:39,760 --> 01:35:42,160
Speaker 2: It's also the jello being held up at one point two.

1751
01:35:42,720 --> 01:35:44,439
Speaker 2: I knew there was I knew there were three. I

1752
01:35:44,479 --> 01:35:45,960
Speaker 2: kind of like that. I kind of like that, it

1753
01:35:45,960 --> 01:35:46,719
Speaker 2: becomes a motif.

1754
01:35:46,960 --> 01:35:50,040
Speaker 3: I was like, okay, okay, yeah, motif or just kind

1755
01:35:50,080 --> 01:35:52,439
Speaker 3: of overdoing it a little bit. I definitely like the

1756
01:35:52,600 --> 01:35:56,840
Speaker 3: ripple in the water effect. So the second thing in

1757
01:35:56,960 --> 01:36:00,000
Speaker 3: terms of what makes the steelburging that I definitely would

1758
01:36:00,160 --> 01:36:03,719
Speaker 3: not have ever glommed onto when I saw this movie

1759
01:36:03,760 --> 01:36:07,400
Speaker 3: originally is that father figure element that now we so

1760
01:36:07,600 --> 01:36:12,120
Speaker 3: closely associate with Spielberg. Now, I'll say this part first.

1761
01:36:12,720 --> 01:36:14,840
Speaker 3: This for me is another weakness of the film in

1762
01:36:14,880 --> 01:36:18,200
Speaker 3: that this part that I'm not totally convinced that Hammond

1763
01:36:19,040 --> 01:36:23,800
Speaker 3: exudes enough terror concerning the fact that his grandchildren are

1764
01:36:23,840 --> 01:36:27,280
Speaker 3: out there. He's lost contact with them and they're almost

1765
01:36:27,320 --> 01:36:30,160
Speaker 3: certain to get devoured by a t rex. I know

1766
01:36:30,240 --> 01:36:33,240
Speaker 3: in that conversation he says to Ellie, who better to

1767
01:36:34,040 --> 01:36:37,040
Speaker 3: get the children through Jurassic Park than a dinosaur expert.

1768
01:36:37,080 --> 01:36:39,439
Speaker 3: I know he's in a state of denial. I agree

1769
01:36:39,439 --> 01:36:41,880
Speaker 3: with you. You read on that scene. It's guilt, it's there.

1770
01:36:42,400 --> 01:36:46,439
Speaker 3: But he is still shockingly calm throughout this entire sequence,

1771
01:36:46,439 --> 01:36:50,760
Speaker 3: considering what he has just put his grandchildren through. The

1772
01:36:50,920 --> 01:36:55,120
Speaker 3: entire emotional arc of the movie is really put on Grant.

1773
01:36:55,320 --> 01:36:59,160
Speaker 3: It's Sam Neil and how he evolves. Evolution is the

1774
01:36:59,200 --> 01:37:03,120
Speaker 3: word he he himself puts on what he sees he

1775
01:37:03,240 --> 01:37:07,200
Speaker 3: and Ellie doing, but particularly him from this guy who

1776
01:37:07,400 --> 01:37:10,639
Speaker 3: beginning or in the beginning of the film can't stand

1777
01:37:10,680 --> 01:37:14,639
Speaker 3: even the mention of the word kids. To then warm

1778
01:37:15,120 --> 01:37:19,800
Speaker 3: compassionate father figure who is constantly hugging and protecting these

1779
01:37:19,880 --> 01:37:23,800
Speaker 3: children as if they were his own. It's about him

1780
01:37:23,800 --> 01:37:27,920
Speaker 3: coming to terms with being this father figure. And what

1781
01:37:27,960 --> 01:37:31,599
Speaker 3: does he not ever do? What does he not do that?

1782
01:37:31,640 --> 01:37:36,280
Speaker 3: The lawyer who's the only parent figure, right, the only

1783
01:37:36,320 --> 01:37:39,160
Speaker 3: adult in the car with them, what does he do?

1784
01:37:39,680 --> 01:37:42,799
Speaker 2: He abandons them? Right? What is her phrase?

1785
01:37:43,120 --> 01:37:45,920
Speaker 3: Think about everything we know about Spielberg from his films

1786
01:37:45,960 --> 01:37:49,960
Speaker 3: and also from the Fablemans, what does Lex repeat multiple times,

1787
01:37:49,960 --> 01:37:52,679
Speaker 3: two different times, and she says it multiple times? He

1788
01:37:52,760 --> 01:37:57,120
Speaker 3: left us, He left us? And what does Grant say?

1789
01:37:57,680 --> 01:38:00,519
Speaker 3: He did? But that's not what I'm going to do.

1790
01:38:00,640 --> 01:38:03,320
Speaker 3: He steps up to the plate and acts as a

1791
01:38:03,360 --> 01:38:08,160
Speaker 3: father figure and doesn't abandon them, And that then leads

1792
01:38:08,200 --> 01:38:11,200
Speaker 3: to that third part, and that part that is the

1793
01:38:11,240 --> 01:38:15,280
Speaker 3: most interesting to me maybe is the Spielberg choice.

1794
01:38:15,600 --> 01:38:17,200
Speaker 2: Well, let me ask you a question about that. Are

1795
01:38:17,240 --> 01:38:19,920
Speaker 2: you are you saying this is something you newly admired

1796
01:38:20,080 --> 01:38:22,280
Speaker 2: or you found it to be thin? Because to me

1797
01:38:22,560 --> 01:38:24,519
Speaker 2: this has always been no. I find it if they

1798
01:38:24,600 --> 01:38:27,479
Speaker 2: find it mechanical, plot lines, it's.

1799
01:38:27,320 --> 01:38:29,720
Speaker 3: It's it's a little bit of both. I find that

1800
01:38:30,200 --> 01:38:33,840
Speaker 3: the emotional weight of it isn't really there. I find

1801
01:38:33,840 --> 01:38:37,280
Speaker 3: it mostly to feel false. I find it interesting to

1802
01:38:37,400 --> 01:38:40,200
Speaker 3: talk about in terms of Spielberg as an overture. Sure

1803
01:38:40,200 --> 01:38:42,599
Speaker 3: there's that, but I do ultimately find it a little

1804
01:38:42,600 --> 01:38:46,040
Speaker 3: bit weak. I find this one stronger or more compelling.

1805
01:38:46,600 --> 01:38:49,120
Speaker 3: This part makes me want to go back to Jurassic

1806
01:38:49,160 --> 01:38:52,920
Speaker 3: Park or talk about it more. The Spielberg choice, this

1807
01:38:53,120 --> 01:38:56,759
Speaker 3: notion of art or whatever, you're obsessed with your work

1808
01:38:57,439 --> 01:39:01,240
Speaker 3: versus family. And I alluded to this right when talking

1809
01:39:01,240 --> 01:39:05,240
Speaker 3: about Hammond and Spielberg in terms of the parallel or

1810
01:39:05,400 --> 01:39:09,160
Speaker 3: Spielberg's stand ins. Hammond and I noticed this, Josh, It's

1811
01:39:09,160 --> 01:39:12,160
Speaker 3: something I just I thought about. When he starts to

1812
01:39:12,200 --> 01:39:15,280
Speaker 3: take them on the first tour, right, and he's showing

1813
01:39:15,320 --> 01:39:18,840
Speaker 3: off everything. He's the showman, He's like a director on

1814
01:39:18,880 --> 01:39:22,000
Speaker 3: a set putting on a show. Everyone has to get

1815
01:39:22,000 --> 01:39:25,639
Speaker 3: in their places. He's responsible for all the departments. They

1816
01:39:25,640 --> 01:39:28,800
Speaker 3: all have to follow his vision. He wants to be

1817
01:39:28,840 --> 01:39:33,280
Speaker 3: responsible for every decision, every act of creation. And what

1818
01:39:33,320 --> 01:39:39,360
Speaker 3: does he want. He wants perfection, he wants ultimate control.

1819
01:39:39,680 --> 01:39:42,120
Speaker 3: And the problem is, of course, he lives in a world.

1820
01:39:42,600 --> 01:39:45,519
Speaker 3: He lives in a human world where that type of control,

1821
01:39:45,600 --> 01:39:49,960
Speaker 3: that type of perfection is not allowed. And that takes

1822
01:39:50,040 --> 01:39:52,840
Speaker 3: us to that or it's not possible. And that scene again,

1823
01:39:52,880 --> 01:39:56,719
Speaker 3: that ice cream scene. He is all about thinking, well,

1824
01:39:56,800 --> 01:39:59,040
Speaker 3: all I have to do is do better the next time,

1825
01:39:59,240 --> 01:40:02,719
Speaker 3: I can right control it better. And what does she say,

1826
01:40:02,960 --> 01:40:06,680
Speaker 3: You never had control. That's the illusion. It was all

1827
01:40:06,760 --> 01:40:09,040
Speaker 3: an illusion. Well, what else is an illusion?

1828
01:40:09,280 --> 01:40:09,599
Speaker 2: Josh?

1829
01:40:09,680 --> 01:40:14,320
Speaker 3: Filmmaking film is an illusion, it's fantasy, it's not real.

1830
01:40:14,360 --> 01:40:18,519
Speaker 3: And when she says to him that the only thing

1831
01:40:18,560 --> 01:40:20,840
Speaker 3: that matters now are the people we love. It's not

1832
01:40:20,880 --> 01:40:24,639
Speaker 3: the illusion, it's not the art, it's not the flickering

1833
01:40:24,720 --> 01:40:27,160
Speaker 3: light on the screen. It's the people we love. That's

1834
01:40:27,200 --> 01:40:29,280
Speaker 3: all that really matters. And I think you could maybe

1835
01:40:29,320 --> 01:40:32,280
Speaker 3: even again just humor me here. Okay, I'm not even

1836
01:40:32,320 --> 01:40:35,360
Speaker 3: saying necessarily that Spielberg's thinking about this stuff, but it's

1837
01:40:35,400 --> 01:40:38,040
Speaker 3: fun to think about. Take the analogy a little bit further.

1838
01:40:38,400 --> 01:40:41,439
Speaker 3: Even by nineteen ninety three, maybe there was part of

1839
01:40:41,439 --> 01:40:44,840
Speaker 3: Spielberg that still saw himself as kind of the punk kid,

1840
01:40:45,479 --> 01:40:50,640
Speaker 3: upending the Hollywood order, making obsolete all the legendary directors

1841
01:40:51,000 --> 01:40:54,000
Speaker 3: that he revered. Go back to what Ian Malcolm says

1842
01:40:54,040 --> 01:40:58,160
Speaker 3: to Hammond when he is criticizing him for the decisions

1843
01:40:58,200 --> 01:41:00,200
Speaker 3: that he's made and what he's trying to do. As

1844
01:41:00,320 --> 01:41:03,840
Speaker 3: you stood on the shoulders of geniuses to accomplish something

1845
01:41:03,880 --> 01:41:05,880
Speaker 3: as fast as you could, and before you knew what

1846
01:41:05,960 --> 01:41:09,559
Speaker 3: you had, you patented it and packaged it and slapped

1847
01:41:09,600 --> 01:41:12,880
Speaker 3: it on a plastic lunch box. And now you're selling it.

1848
01:41:12,880 --> 01:41:15,479
Speaker 3: You're gonna sell it, and then that line, but your

1849
01:41:15,520 --> 01:41:17,720
Speaker 3: scientists were so preoccupied with whether or not they could

1850
01:41:17,760 --> 01:41:20,920
Speaker 3: they didn't stop to think if they should. He's responsible

1851
01:41:20,920 --> 01:41:24,720
Speaker 3: for the blockbuster movie. He and his friends like George Lucas,

1852
01:41:24,800 --> 01:41:28,480
Speaker 3: all of that merchandise Star Wars. It's about the figurines,

1853
01:41:28,520 --> 01:41:31,600
Speaker 3: whether they intended to do or not, and all the merchandise,

1854
01:41:31,640 --> 01:41:35,479
Speaker 3: it's all over the logos. Everything's Jurassic Park, right, all

1855
01:41:35,520 --> 01:41:38,519
Speaker 3: the merch that Hammond has everywhere, as we see the

1856
01:41:38,600 --> 01:41:41,639
Speaker 3: camera pans across all the merch that's now not going

1857
01:41:41,680 --> 01:41:43,880
Speaker 3: to be sold before it gets to him sitting at

1858
01:41:43,920 --> 01:41:48,280
Speaker 3: that table so forlornly eating that ice cream. And here's

1859
01:41:48,280 --> 01:41:51,719
Speaker 3: at least a case where the parallel is very clear. Again,

1860
01:41:51,760 --> 01:41:54,760
Speaker 3: whether it was in his mind or not, there is

1861
01:41:54,800 --> 01:41:56,840
Speaker 3: a line I came across Josh when I was looking

1862
01:41:56,880 --> 01:41:59,880
Speaker 3: something up where they had a dinosaur supervisor named philt

1863
01:42:00,160 --> 01:42:04,599
Speaker 3: It working on the film, who is a longtime Hollywood guy,

1864
01:42:04,760 --> 01:42:09,800
Speaker 3: like a legendary guy, and yeah, yeah, yeah, and none

1865
01:42:09,840 --> 01:42:11,559
Speaker 3: of his none of his stuff, or at least none

1866
01:42:11,600 --> 01:42:14,639
Speaker 3: of these models his his go motion models were used

1867
01:42:14,640 --> 01:42:18,200
Speaker 3: in the film, and and he saw some of the

1868
01:42:18,240 --> 01:42:21,200
Speaker 3: early work that was being done, the CGI stuff. Spielberg

1869
01:42:21,240 --> 01:42:23,960
Speaker 3: showed it to him, and guess what he said, I

1870
01:42:24,000 --> 01:42:27,599
Speaker 3: think I'm extinct. And Spielberg said, that's a great line.

1871
01:42:27,640 --> 01:42:29,200
Speaker 3: I'm going to put that in the movie. And of

1872
01:42:29,200 --> 01:42:31,200
Speaker 3: course he put that in the movie, doctor Grant saying

1873
01:42:31,240 --> 01:42:32,800
Speaker 3: I think I'm extinct.

1874
01:42:32,840 --> 01:42:34,720
Speaker 2: So you know, there's that part of it.

1875
01:42:34,760 --> 01:42:37,280
Speaker 3: And even what you were saying about like hating inspections,

1876
01:42:37,600 --> 01:42:41,080
Speaker 3: hating the lawyers. Well, what filmmaker wants the suits to

1877
01:42:41,120 --> 01:42:44,160
Speaker 3: come around from the studio right looking at what they're

1878
01:42:44,200 --> 01:42:47,240
Speaker 3: doing and and and questioning the choices they're making and

1879
01:42:47,720 --> 01:42:50,479
Speaker 3: all all of that seems still like something that I

1880
01:42:50,479 --> 01:42:53,280
Speaker 3: could very much see as part of that his his

1881
01:42:53,360 --> 01:42:57,800
Speaker 3: psyche as he's making this film and seeing the similarities

1882
01:42:57,800 --> 01:43:00,880
Speaker 3: between him and a Ham and like figure. And I

1883
01:43:00,920 --> 01:43:03,360
Speaker 3: do think Josh, to go back to your question about

1884
01:43:03,439 --> 01:43:05,599
Speaker 3: whether or not some of this works, to go back

1885
01:43:05,640 --> 01:43:09,400
Speaker 3: to Grant when he makes his choice and he what

1886
01:43:09,479 --> 01:43:10,559
Speaker 3: Spielberg has him.

1887
01:43:10,400 --> 01:43:12,519
Speaker 2: Do right is drop the claw.

1888
01:43:13,160 --> 01:43:16,080
Speaker 3: He drops the claw, which is which is his his

1889
01:43:16,240 --> 01:43:20,400
Speaker 3: decision ultimately to show that he has accepted domesticity and

1890
01:43:20,479 --> 01:43:25,040
Speaker 3: he has decided to put aside his dreams of only

1891
01:43:25,200 --> 01:43:28,160
Speaker 3: being on digs right and being the best scientist in

1892
01:43:28,200 --> 01:43:29,680
Speaker 3: the world or whatever it is, and he's now going

1893
01:43:29,720 --> 01:43:32,920
Speaker 3: to embrace being husband and father. I didn't buy it

1894
01:43:33,479 --> 01:43:34,360
Speaker 3: in this film, did you?

1895
01:43:34,720 --> 01:43:37,200
Speaker 2: No? No, no no. And that's you know, that's one

1896
01:43:37,280 --> 01:43:40,559
Speaker 2: critique I've long had that I think does still stand. Yeah,

1897
01:43:40,560 --> 01:43:43,000
Speaker 2: it's interesting what you're saying about Spielberg. And you know,

1898
01:43:43,040 --> 01:43:45,439
Speaker 2: when I've when I've written about Jurassic Park. Before I

1899
01:43:45,520 --> 01:43:50,639
Speaker 2: talk about how these cars are on predetermined tracks, they're

1900
01:43:50,680 --> 01:43:53,040
Speaker 2: in the park. There's no drivers, right, That speaks to

1901
01:43:53,040 --> 01:43:56,840
Speaker 2: your point about control and how the movie does have

1902
01:43:56,880 --> 01:44:01,479
Speaker 2: a driver. It's Spielberg, and yet at the same time,

1903
01:44:02,400 --> 01:44:06,400
Speaker 2: the predetermined path, to me speaks to why Jurassic Park

1904
01:44:06,520 --> 01:44:08,960
Speaker 2: is a little bit lesser of a film in his filmography,

1905
01:44:09,000 --> 01:44:12,960
Speaker 2: because it does feel just that predetermined in the themes,

1906
01:44:13,000 --> 01:44:16,040
Speaker 2: in some of the choices, in some of the characterizations,

1907
01:44:16,040 --> 01:44:17,960
Speaker 2: And that brings me back to the you know, the

1908
01:44:18,000 --> 01:44:20,200
Speaker 2: feeling of it being a little more mechanical than I

1909
01:44:20,200 --> 01:44:22,559
Speaker 2: would like from a Spielberg movie. I still do feel

1910
01:44:22,560 --> 01:44:24,760
Speaker 2: that way about it, even if I come to if

1911
01:44:24,760 --> 01:44:27,080
Speaker 2: I've come to appreciate it a little bit more. Also

1912
01:44:27,200 --> 01:44:29,880
Speaker 2: interesting what you're saying about the merchandizing, because that jumped

1913
01:44:29,880 --> 01:44:33,439
Speaker 2: out at me too, and I was thinking, was this

1914
01:44:33,560 --> 01:44:39,800
Speaker 2: the first Spielberg movie that was merchandizable while it was

1915
01:44:39,840 --> 01:44:42,680
Speaker 2: being made? Right, So in advanced they knew, you know,

1916
01:44:42,880 --> 01:44:47,840
Speaker 2: exactly because Et definitely became merchandised with the lunchboxes and

1917
01:44:47,880 --> 01:44:49,760
Speaker 2: all that sort of stuff, But that was after the fact.

1918
01:44:50,080 --> 01:44:52,920
Speaker 2: Even Raiders, which at this point would have been what

1919
01:44:53,080 --> 01:44:57,520
Speaker 2: thirteen years old and three sequels. Yes, Indiana Jones got merchandized,

1920
01:44:57,560 --> 01:45:01,559
Speaker 2: but probably that didn't happen til Temple maybe or shortly

1921
01:45:01,640 --> 01:45:04,519
Speaker 2: after Raiders came out. They weren't thinking about it, as

1922
01:45:04,520 --> 01:45:07,680
Speaker 2: you said, while they were making it. And here it

1923
01:45:07,800 --> 01:45:14,080
Speaker 2: is clear that they're selling Jurassic Park while they're selling

1924
01:45:14,200 --> 01:45:16,840
Speaker 2: Jurassic Park. And that's why I think level of self

1925
01:45:16,840 --> 01:45:19,960
Speaker 2: awareness at play that I don't think his other films

1926
01:45:20,040 --> 01:45:21,719
Speaker 2: had at up until this point.

1927
01:45:22,080 --> 01:45:25,920
Speaker 3: Self awareness, or you could say perhaps hypocrisy too. That's

1928
01:45:25,920 --> 01:45:29,759
Speaker 3: perhaps why the satire that's what is any satire isn't

1929
01:45:29,800 --> 01:45:33,880
Speaker 3: potent at all, because they're they're aware, they are self

1930
01:45:33,920 --> 01:45:37,080
Speaker 3: aware that they're selling. And that's why even like I

1931
01:45:37,120 --> 01:45:42,240
Speaker 3: don't think the opening scene, the opening sequence is that good, frankly.

1932
01:45:42,280 --> 01:45:43,800
Speaker 3: And one of the reasons I don't think it's that

1933
01:45:43,920 --> 01:45:49,439
Speaker 3: good is because it feels so sterile and artificial. It

1934
01:45:49,479 --> 01:45:52,519
Speaker 3: feels like it's done on a set. It doesn't have

1935
01:45:52,600 --> 01:45:56,000
Speaker 3: any of that kind of classic Spielberg authenticity to it,

1936
01:45:56,040 --> 01:46:00,639
Speaker 3: and everybody in it is wearing the exact same uniform

1937
01:46:00,840 --> 01:46:03,920
Speaker 3: with the exact same helmet, and it feels like they

1938
01:46:03,960 --> 01:46:05,719
Speaker 3: took figurines like.

1939
01:46:05,680 --> 01:46:06,640
Speaker 2: Out of the plastic.

1940
01:46:06,680 --> 01:46:10,599
Speaker 3: Yeah, and the vessels out of the plastic and put

1941
01:46:10,640 --> 01:46:13,680
Speaker 3: them on a set and the models and brought them

1942
01:46:13,680 --> 01:46:15,760
Speaker 3: to life. That's how that scene feels to me. It

1943
01:46:15,800 --> 01:46:17,760
Speaker 3: feels so yeah, it feels so fake.

1944
01:46:18,040 --> 01:46:20,920
Speaker 2: It's tricky. I agree. It's not as strong as it

1945
01:46:20,960 --> 01:46:23,479
Speaker 2: should be to open up with the movie, though it

1946
01:46:23,520 --> 01:46:26,320
Speaker 2: does make two good decisions. We don't see much of

1947
01:46:26,360 --> 01:46:30,400
Speaker 2: the monster right, and also the touch, the touch of

1948
01:46:30,439 --> 01:46:33,160
Speaker 2: having the one guy who gets it being dragged up

1949
01:46:33,200 --> 01:46:35,880
Speaker 2: and down. I mean, I don't know if I agree

1950
01:46:35,880 --> 01:46:38,120
Speaker 2: with you that Jurassic Park is scarier than Jaws, but

1951
01:46:38,400 --> 01:46:41,880
Speaker 2: that is scary to have this guy, like, why is

1952
01:46:41,920 --> 01:46:43,680
Speaker 2: he being dragged up and down? Why does that need

1953
01:46:43,680 --> 01:46:46,440
Speaker 2: to happen. It's just one of those like you inject

1954
01:46:46,560 --> 01:46:50,800
Speaker 2: like inexplicable elements into a horror scene like that, and

1955
01:46:50,840 --> 01:46:53,800
Speaker 2: they become infinitely scarier because your mind is just like,

1956
01:46:54,160 --> 01:46:56,040
Speaker 2: I don't know what's going on here now, I want

1957
01:46:56,080 --> 01:46:58,559
Speaker 2: no part of it. I did like that touch, but yeah,

1958
01:46:58,600 --> 01:47:01,240
Speaker 2: could have been a stronger opening for a Spielberg monster

1959
01:47:01,320 --> 01:47:01,920
Speaker 2: movie for sure.

1960
01:47:02,000 --> 01:47:04,679
Speaker 3: I mean, we can save it for another time. But Josh,

1961
01:47:04,760 --> 01:47:07,960
Speaker 3: that t Rex sequence is like eight to ten minutes long,

1962
01:47:08,000 --> 01:47:10,920
Speaker 3: and once that t Rex starts tearing apart the truck

1963
01:47:10,960 --> 01:47:13,439
Speaker 3: with the kids inside. Yeah, what competes with that in

1964
01:47:13,560 --> 01:47:15,639
Speaker 3: Jaws for prolonged terror?

1965
01:47:16,840 --> 01:47:19,720
Speaker 2: Prolonged is a good question. But and you know what,

1966
01:47:19,800 --> 01:47:21,600
Speaker 2: it's not fair because this goes back to when I

1967
01:47:21,600 --> 01:47:25,519
Speaker 2: saw Jows to your earlier point. It's like the bone

1968
01:47:25,600 --> 01:47:28,960
Speaker 2: chills from Jaws, seen it as a kid, are so

1969
01:47:29,200 --> 01:47:32,160
Speaker 2: deeply embedded at this point. Sure, it's just there's not

1970
01:47:32,200 --> 01:47:34,800
Speaker 2: going to be anything that's Jaws, Like that's gonna hit

1971
01:47:34,840 --> 01:47:37,240
Speaker 2: me that way. Okay, but I agree, it's like it

1972
01:47:37,360 --> 01:47:41,759
Speaker 2: is a brilliantly sustained sequence. The patience that he takes

1973
01:47:41,840 --> 01:47:44,800
Speaker 2: to set it up pays off with the delivery.

1974
01:47:44,880 --> 01:47:48,479
Speaker 3: I think it doesn't matter because the scariest thing in

1975
01:47:48,920 --> 01:47:52,679
Speaker 3: Jurassic Park is the lawyer wearing a suit with shorts.

1976
01:47:53,200 --> 01:47:55,559
Speaker 2: Yeah, bad look. Can agree on that? Bad bad luck?

1977
01:47:56,040 --> 01:47:58,720
Speaker 2: He deserves to get eaten just because of that? For that?

1978
01:47:58,800 --> 01:48:00,680
Speaker 2: Can we agree? Why not?

1979
01:48:01,479 --> 01:48:06,160
Speaker 3: Jurassic Park is currently available on Peacock and vod. We

1980
01:48:06,240 --> 01:48:09,800
Speaker 3: know you've seen it, so if you agree or disagree,

1981
01:48:09,840 --> 01:48:12,680
Speaker 3: and I feel like at least I'm going to get

1982
01:48:12,720 --> 01:48:13,400
Speaker 3: some emails.

1983
01:48:13,479 --> 01:48:13,960
Speaker 2: I love it.

1984
01:48:14,200 --> 01:48:17,160
Speaker 3: I want to hear why you love Jurassic Park. Oh

1985
01:48:17,200 --> 01:48:20,280
Speaker 3: you're gonna hear these you telling us hear it feedback

1986
01:48:20,520 --> 01:48:24,040
Speaker 3: at film spotting dot net. Josh, that's our show.

1987
01:48:24,400 --> 01:48:26,320
Speaker 2: You can find Adam if you want to share your

1988
01:48:26,400 --> 01:48:30,919
Speaker 2: Jurassic Park thoughts on Instagram, Facebook, and letterboxed as film Spotting,

1989
01:48:31,240 --> 01:48:33,719
Speaker 2: I'm at all those places as well Blue Sky two.

1990
01:48:34,160 --> 01:48:38,800
Speaker 2: As Larsen on film. We are independently produced and listeners supported.

1991
01:48:38,840 --> 01:48:41,040
Speaker 2: You can support the show by joining the film Spotting

1992
01:48:41,120 --> 01:48:44,640
Speaker 2: Family at film spottingfamily dot com. You'll be able to

1993
01:48:44,680 --> 01:48:48,280
Speaker 2: listen early and ad free. You'll also get a weekly newsletter,

1994
01:48:48,439 --> 01:48:52,200
Speaker 2: monthly bonus episodes, and access to the entire show archive.

1995
01:48:52,680 --> 01:48:55,080
Speaker 2: For show t shirts and other merch go to film

1996
01:48:55,160 --> 01:48:57,200
Speaker 2: spotting dot net slash shop.

1997
01:48:57,600 --> 01:49:01,960
Speaker 3: We actually have a July fourth sale going on right

1998
01:49:02,000 --> 01:49:07,520
Speaker 3: now at the film Spotting Shop. Hats, t shirts, stickers, magnets,

1999
01:49:07,720 --> 01:49:09,040
Speaker 3: you name it, it's all.

2000
01:49:08,960 --> 01:49:11,880
Speaker 2: There film spotting dot Net slash shop.

2001
01:49:12,520 --> 01:49:16,560
Speaker 3: In that film Spotting archive lots of Spielberg sacred cows,

2002
01:49:16,560 --> 01:49:20,839
Speaker 3: including Jaws episode seven eighty two, Close Encounters and Lincoln

2003
01:49:21,000 --> 01:49:24,840
Speaker 3: with Michael Phillips episode four twenty two Raiders of the

2004
01:49:24,840 --> 01:49:28,639
Speaker 3: Lost Arc an infamous episode in the show's history. I mean,

2005
01:49:28,920 --> 01:49:32,439
Speaker 3: now Jurassic Park me hating on dress car Parks may

2006
01:49:32,520 --> 01:49:36,280
Speaker 3: replace it because Michael famously doesn't like Raiders much. That's

2007
01:49:36,320 --> 01:49:41,120
Speaker 3: episode four thirteen, Top five Spielberg Scenes, Episode three seventy nine.

2008
01:49:41,160 --> 01:49:44,960
Speaker 3: And then there's other reviews going back to two thousand

2009
01:49:45,000 --> 01:49:47,120
Speaker 3: and fives or ranging from two thousand and five's War

2010
01:49:47,200 --> 01:49:50,559
Speaker 3: of the World's That's episode twenty to twenty twenty two's

2011
01:49:50,640 --> 01:49:55,400
Speaker 3: The Fableman's That's episode nine hundred. Gareth Edwards, who made

2012
01:49:55,840 --> 01:49:58,280
Speaker 3: Rebirth well the creator. We talked about that on nine

2013
01:49:58,320 --> 01:50:02,200
Speaker 3: thirty nine, Rogue one six fifteen, twenty fourteen's Godzilla four

2014
01:50:02,560 --> 01:50:07,639
Speaker 3: ninety one streaming or available vod now, Josh The Old

2015
01:50:07,680 --> 01:50:10,760
Speaker 3: Guard Too playing on Netflix. Actually really wanting to see this.

2016
01:50:10,840 --> 01:50:12,240
Speaker 3: We like this movie The Old Guard.

2017
01:50:12,520 --> 01:50:14,559
Speaker 2: We did. And this is the first time hearing of

2018
01:50:14,640 --> 01:50:16,599
Speaker 2: the sequel, Me Too, Me Too.

2019
01:50:17,200 --> 01:50:19,200
Speaker 3: It's the sequel to the twenty twenty film about a

2020
01:50:19,280 --> 01:50:22,760
Speaker 3: quartet of immortal warriors who protect humanity. Good news that

2021
01:50:22,840 --> 01:50:25,880
Speaker 3: Charlie's theren and really good news that Keiki Lane is back,

2022
01:50:26,000 --> 01:50:31,160
Speaker 3: among others. Director Gina Prince Bythewood not back in limited release,

2023
01:50:31,280 --> 01:50:35,120
Speaker 3: you can see forty Acres. This is a movie set

2024
01:50:35,160 --> 01:50:39,679
Speaker 3: in a famine decimated near future about rural black farmers

2025
01:50:39,760 --> 01:50:43,400
Speaker 3: struggling to safeguard their farm. So this seems pretty intense.

2026
01:50:43,479 --> 01:50:46,640
Speaker 3: Matt Neglia from the Next Best Picture says it's a

2027
01:50:46,680 --> 01:50:52,200
Speaker 3: gnarly post apocalyptic survival thriller and Danielle Deadweiler is no

2028
01:50:52,200 --> 01:50:53,799
Speaker 3: nonsense and tough as nails.

2029
01:50:53,840 --> 01:50:56,439
Speaker 2: Did you see that coming, Josh? That she can do anything?

2030
01:50:56,520 --> 01:50:59,080
Speaker 2: But I mean after her performance of the piano lesson,

2031
01:50:59,240 --> 01:51:02,519
Speaker 2: she's deaf, definitely, you know, a draw for whatever she's doing.

2032
01:51:02,600 --> 01:51:04,600
Speaker 2: And this this setup sounds pretty good too, so I

2033
01:51:04,640 --> 01:51:06,040
Speaker 2: might have to catch up with forty.

2034
01:51:05,800 --> 01:51:10,200
Speaker 3: Acres also being re released in theaters. This is Spinal Tap.

2035
01:51:10,439 --> 01:51:13,000
Speaker 3: This was part of our eight from eighty four review,

2036
01:51:13,439 --> 01:51:17,240
Speaker 3: along with Stop Making Sense and Purple Rain that was

2037
01:51:17,240 --> 01:51:22,240
Speaker 3: on episode seven seven Film Spotting. Yeah, great show, And

2038
01:51:22,479 --> 01:51:24,559
Speaker 3: I'm just going to say this real quick. This past weekend,

2039
01:51:25,040 --> 01:51:27,400
Speaker 3: the band that I've been in since seventh grade had

2040
01:51:27,479 --> 01:51:29,760
Speaker 3: to get together because we had a show Saturday night

2041
01:51:29,840 --> 01:51:32,880
Speaker 3: in our hometown. And just in case you thought maybe

2042
01:51:32,880 --> 01:51:37,320
Speaker 3: Spinal Tap somehow still wasn't relevant to bands, or wasn't

2043
01:51:37,320 --> 01:51:41,400
Speaker 3: a film that most people our age didn't still adore.

2044
01:51:42,200 --> 01:51:44,439
Speaker 3: We might have sat there Friday night at about one

2045
01:51:44,479 --> 01:51:48,439
Speaker 3: in the morning, having a few beers and just watched

2046
01:51:48,479 --> 01:51:50,880
Speaker 3: a super cut of all the best lines and left

2047
01:51:50,920 --> 01:51:51,920
Speaker 3: our butts off.

2048
01:51:52,000 --> 01:51:55,760
Speaker 2: Josh, So you do this after the show, not to show,

2049
01:51:56,040 --> 01:51:57,560
Speaker 2: to get ready for to get ready? That's what I

2050
01:51:57,600 --> 01:52:00,000
Speaker 2: was wondering. That makes more sense. Did it pay off?

2051
01:52:00,200 --> 01:52:00,960
Speaker 2: Did you guys kill?

2052
01:52:01,640 --> 01:52:04,839
Speaker 3: We did okay, but we also did have some spinal

2053
01:52:04,880 --> 01:52:06,439
Speaker 3: tap like moments on stage.

2054
01:52:06,600 --> 01:52:08,959
Speaker 2: It was fitting. Well, see, this is what happens.

2055
01:52:10,320 --> 01:52:12,679
Speaker 3: Well, it's really what happens when the performance is also

2056
01:52:12,720 --> 01:52:16,519
Speaker 3: your practice. Also out, you can see Video Heaven, a

2057
01:52:16,560 --> 01:52:19,439
Speaker 3: documentary about the era of the neighborhood video store from

2058
01:52:19,479 --> 01:52:23,639
Speaker 3: Alex ross Perry. It's playing at Chicago's Davis Theater on Sunday,

2059
01:52:23,720 --> 01:52:27,080
Speaker 3: July sixth, with a post screening discussion hosted by critic

2060
01:52:27,200 --> 01:52:31,160
Speaker 3: Ignati Visionovetski. In wide release. You can't see Jurassic World

2061
01:52:31,360 --> 01:52:34,000
Speaker 3: Rebirth next week. It's our top five films of twenty

2062
01:52:34,080 --> 01:52:37,160
Speaker 3: twenty five so far and our Pantheon Project review of

2063
01:52:37,240 --> 01:52:41,200
Speaker 3: The Apartment for its sixty fifth anniversary.

2064
01:52:40,640 --> 01:52:43,320
Speaker 2: Film Spotting is produced by Golden Joe Desso and Sam

2065
01:52:43,400 --> 01:52:46,640
Speaker 2: van Holgren. Without Sam and Golden Joe, this show wouldn't go.

2066
01:52:47,080 --> 01:52:50,639
Speaker 2: Our production assistant is Sophie Kempinar Special thanks to everyone

2067
01:52:50,720 --> 01:52:55,680
Speaker 2: at wbeazy Chicago. More information is available at wbez dot org.

2068
01:52:56,000 --> 01:52:58,879
Speaker 2: For film Spotting, I'm Josh Larson and I'm Adam M. Kempenar.

2069
01:52:59,080 --> 01:52:59,880
Speaker 2: Thanks for listening.

2070
01:53:00,080 --> 01:53:03,000
Speaker 3: This conversation can serve no purpose anymore.

2071
01:53:03,840 --> 01:53:04,360
Speaker 2: Good Bye.

2072
01:53:20,880 --> 01:53:23,880
Speaker 3: Film Spotting is listeners supported. Join the film Spotting Family

2073
01:53:23,920 --> 01:53:26,439
Speaker 3: at film spotting family dot com and get access to

2074
01:53:26,560 --> 01:53:30,080
Speaker 3: ad free episodes, monthly bonus shows, our weekly newsletter, and,

2075
01:53:30,200 --> 01:53:32,479
Speaker 3: for the first time, all in one place, the entire

2076
01:53:32,720 --> 01:53:35,200
Speaker 3: film Spotting archive going back to two thousand and five.

2077
01:53:35,479 --> 01:53:40,879
Speaker 3: That's a film Spotting Family dot com panimly