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Speaker 1: Hello, and welcome back to movie Mike's Movie Podcast. I

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Speaker 1: am your host Movie Mike. I'm trying to sound so excited,

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Speaker 1: except I'm a little scared. Hollywood could be ending. Somebody

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Speaker 1: just made a two hundred million dollar movie in one day.

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Speaker 1: We got to talk about how AI is going to

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Speaker 1: change this industry. Oh Man, getting crazy out there, y'all.

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Speaker 1: In the movie review, we'll be talking about how to

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Speaker 1: make a killing Starr and Glenn Powell. Is he still

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Speaker 1: on track to be the next great American movie star

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Speaker 1: or is he going to be somebody else that Hollywood

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Speaker 1: is just kind of forcing down our throats. In the

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Speaker 1: trailer park, we'll be talking about Maggie Jillen Hall's The Bride,

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Speaker 1: starring Jesse Buckley and Christian Bale. This movie looks awesome.

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Speaker 1: I am finally convinced. So thank you for being here,

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Speaker 1: Thank you for being subscribed. If you don't mind, go

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Speaker 1: check out my YouTube page YouTube dot com slash Mike

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Speaker 1: Cadistro watch individual movie reviews there. And now let's talk

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Speaker 1: movies podcast Network. The Movie Podcast is Hollywood ending as

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Speaker 1: we know it? This video went up last week and

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Speaker 1: it is all I can think about. Saw a bunch

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Speaker 1: of people from the industry, real legit people, not just

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Speaker 1: people on X over here talking nonsense, real actors, directors,

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Speaker 1: and writers, reacting to this AI video that these two

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Speaker 1: guys made, The Door Brothers. They are these two German

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Speaker 1: guys who have this company, and they claim that they

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Speaker 1: made a two hundred million dollar movie in just one day.

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Speaker 1: They put out about a three and fifteen minute what

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Speaker 1: they call a movie. It's really just a trailer. It's

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Speaker 1: really not anything. And that is the issue I'm having

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Speaker 1: with AI. But they put this out, and everybody is

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Speaker 1: saying that Hollywood is cooked because this looks like it's

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Speaker 1: going to eliminate so many jobs. I'm frustrated and struggling

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Speaker 1: with this, and I want to talk about what even

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Speaker 1: qualifies a movie. But before I do, if you haven't

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Speaker 1: seen this viral post, I just want to give you

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Speaker 1: a little bit of context of what it is that

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Speaker 1: they created with AI, just prompts. They did this entire

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Speaker 1: thing with prompts, no crew, no director, no actual physical sets,

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Speaker 1: no actors. They generated the actress in this movie by themselves,

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Speaker 1: like it was all prompts, So this real person doesn't exist.

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Speaker 1: There were some other videos that we'll talk about using

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Speaker 1: real Hollywood actors that we know. I think that's why

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Speaker 1: all these things bubbling led me to want to do

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Speaker 1: this episode. But if you haven't seen it, I do

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Speaker 1: want to give you at least a little bit of

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Speaker 1: context of what it sounds like as far as the acting.

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Speaker 1: But here is a little bit of the two hundred

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Speaker 1: million dollar movie made in just one day. Because essentially,

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Speaker 1: what you have is a woman at her job in

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Speaker 1: this high rise in what appears to be New York City.

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Speaker 1: All of a sudden, this storm is just ripping through

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Speaker 1: the country. It flashes to her watching the news talking

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Speaker 1: about this storm, and then a helicopter falls out of

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Speaker 1: the sky. She leaves her building, runs outside, gets into

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Speaker 1: a cyber truck, which also kind of tells you the

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Speaker 1: kind of person who created the prompt for this. It's

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Speaker 1: tech ros. I've never seen a cyber truck in a movie,

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Speaker 1: but she gets into a cyber truck and out of

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Speaker 1: nowhere is already acting like a superhero, which doesn't make

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Speaker 1: sense to me, as you can already tell my criticism

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Speaker 1: of AI is coming out. But then she gets into

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Speaker 1: a cyber truck. Out of know where you learn she

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Speaker 1: has a daughter. She's trying to get home to her daughter,

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Speaker 1: and then she gets hit by this military vehicle and

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Speaker 1: then goes into this weird like dream sequence. She ends

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Speaker 1: up in an interrogation room with the head of the FBI,

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Speaker 1: who's like, well, you'll hear it in this clim and

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Speaker 1: then the head of the FBI calls the president for

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Speaker 1: some reason. But here's just a little bit of this

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Speaker 1: quote unquote two hundred million dollar movie made in just

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Speaker 1: one day. I love you, I'm on my way. I

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Speaker 1: need you to hide, get underground. Good morning, sleeping beauty.

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Speaker 1: Why don't you get the president on the phone? We

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Speaker 1: have her. I'll be right there. Let's address the acting first.

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Speaker 1: There is no acting in that AI doesn't know how

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Speaker 1: to act yet. I think the problem I have with

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Speaker 1: AI and what I've seen it generate up to now

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Speaker 1: when it tries to replicate a movie or create a movie,

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Speaker 1: there's no pacing to AI. If you watch this quote

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Speaker 1: unquote movie, I guess I gotta call it a movie.

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Speaker 1: If you watch this movie, it feels off where the

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Speaker 1: humans aren't acting like humans, they're not speaking like humans.

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Speaker 1: You hear it there A little bit more with the

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Speaker 1: head of the FBI and the president. It sounds a

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Speaker 1: little bit more natural, but the interaction between the mom

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Speaker 1: and the dog feels very fabricated to me. So the

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Speaker 1: acting is just not there. I think where all the

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Speaker 1: hype is being created and people saying that it's going

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Speaker 1: to replace people in Hollywood, it's going to change the

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Speaker 1: way we watch movies is because of how it looks.

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Speaker 1: This does not look good to me. I think the

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Speaker 1: people saying that this looks good are lying to themselves

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Speaker 1: and they don't really understand what it is to make

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Speaker 1: a movie that is visually appealing because this looks so

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Speaker 1: off to me. The movements are awkward. I think the

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Speaker 1: only thing that is impressing people is that they were

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Speaker 1: able to make all these explosions which would be expensive,

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Speaker 1: and able to do it for You can make this

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Speaker 1: movie for free with ay. That's the whole point. They

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Speaker 1: were able to do this in one day, which they

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Speaker 1: claim to be a two hundred million dollar movie. That

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Speaker 1: is not a two hundred million dollar movie. That is

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Speaker 1: Walmart maybe four dollars bin at best. This is not

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Speaker 1: a two hundred million dollar movie. So a little bit

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Speaker 1: of that is also them playing into that clickbait trying

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Speaker 1: to get people in a fit of rage, like they

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Speaker 1: have me right now, because in no way, in no

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Speaker 1: world is this a two hundred million dollar movie. Iron

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Speaker 1: Man three is a two hundred million dollar movie. This

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Speaker 1: is not. This feels like something that would come out,

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Speaker 1: and I wouldn't even question going to see it in

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Speaker 1: theaters because it looks so bad. But by comparison, iron

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Speaker 1: Man three cost two hundred million dollars. So I think

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Speaker 1: we are just getting ahead of ourselves in saying that

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Speaker 1: this looks like a two hundred million dollar movie. It

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Speaker 1: does not. That is not what they created here. They

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Speaker 1: created a screen saver. They created something that is probably

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Speaker 1: enticing to people who are invested in AI, but to

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Speaker 1: you and me and people who have become even just

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Speaker 1: more critical about bad visual effects in movies, in no

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Speaker 1: way would we be satisfied to watch this in our

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Speaker 1: living room, much less pay money to go see something

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Speaker 1: of this quality. But it leads to the question, what

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Speaker 1: is a movie? What is art? I did ask the

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Speaker 1: question on social media. I asked, if you watch a

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Speaker 1: movie that look like this but it is entirely AI generated,

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Speaker 1: does it still count as a movie? Sixty five percent

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Speaker 1: of you guys said no, it needs story and human performance.

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Speaker 1: Twenty eight percent of you guys said unsure depends on

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Speaker 1: the project, and seven percent of you guys said yes,

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Speaker 1: visuals are what matter. I think that is a bit

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Speaker 1: of a relief to me as somebody who loves the

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Speaker 1: artistry that goes into making a movie, because I think

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Speaker 1: what the Internet is trying to say is that all

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Speaker 1: you need is visuals, because if this looks as good

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Speaker 1: as something that would have cost two hundred million dollars,

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Speaker 1: then we have this thing figured out. But making a

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Speaker 1: movie is not that. What about animation? Is that still

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Speaker 1: making a movie? If you create it entirely on a computer.

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Speaker 1: If you go back and watch the first Toy Story movie,

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Speaker 1: which was the first movie to ever be computer generated,

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Speaker 1: what people at that time have said, that's not a movie.

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Speaker 1: You made that all on a computer. You didn't hand

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Speaker 1: draw everything. Whoa So to me, it is not the

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Speaker 1: actual technology being used that I have a problem with,

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Speaker 1: because I know the minute you start rejecting technology, you're dead.

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Speaker 1: If we were constantly in fear of rejecting technology, we

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Speaker 1: would not grow. You think about all throughout history, the

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Speaker 1: people who didn't want to give up their horse and

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Speaker 1: buggy to this automobile that's never going to catch on.

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Speaker 1: I am not trying to be a part of those

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Speaker 1: people who are closed minded in adapting new technologies, but

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Speaker 1: I think when it comes to AI, it is not

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Speaker 1: there yet. I do think it could be a tool,

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Speaker 1: but I think it is crazy to think wild to

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Speaker 1: think that AI could do all the things that go

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Speaker 1: into making a movie. When I talk to actors and

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Speaker 1: directors in particular on this podcast, a lot of making

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Speaker 1: a movie from a director's standpoint is managing people, this

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Speaker 1: human element of connecting with people, connecting with actors, being

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Speaker 1: able to get a performance out of somebody that you

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Speaker 1: need to make the story work, not put it into

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Speaker 1: a prompt and just hope you kind of get what

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Speaker 1: you need. There is so much more detail that goes

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Speaker 1: into storytelling that I do not think AI can replicate

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Speaker 1: that process. I do think it could be a tool.

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Speaker 1: I think it has already been a tool if you

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Speaker 1: think about CGI. If you look back on filmmakers who

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Speaker 1: were initially resistant and skeptical of CGI when it was

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Speaker 1: first introduced back in the nineteen seventies. In nineteen eighties,

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Speaker 1: they were against it because they thought it had limitations

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Speaker 1: at the time. They thought it was too expensive and

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Speaker 1: they preferred traditional ten Bull practical effects, which I am

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Speaker 1: still a fan of. But now CGI has become so

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Speaker 1: normalized we do not even question it if you use

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Speaker 1: CGI to make an actor fly. But back in the

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Speaker 1: seventies and eighties they were, so I don't want to

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Speaker 1: completely reject AI. I don't want it taking away jobs

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Speaker 1: from people, because if you think about who this would

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Speaker 1: greatly affect, is going to affect those people working on

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Speaker 1: the sets and catering on the crew, doing all those

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Speaker 1: jobs that you think if you don't have these big sets,

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Speaker 1: those are gonna go away. That is what I am against.

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Speaker 1: But I do think at this point we are kind

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Speaker 1: of in the situation where the toothpaste is out of

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Speaker 1: the tube, the technology is here is being pushed on

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Speaker 1: us from all these companies. When you even have Disney

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Speaker 1: out here signing these aideals to license out their characters,

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Speaker 1: and right now they are just saying, oh, it's for

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Speaker 1: you guys, so you can make your own animations at

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Speaker 1: home with your favorite care characters. But that to me

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Speaker 1: is a big threat to all those people creating those characters.

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Speaker 1: Of it not even being a part of your baby

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Speaker 1: anymore once it gets sold off to a corporation. I

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Speaker 1: don't like those aspects of it, but I do think

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Speaker 1: it can be a tool. But at this point of

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Speaker 1: what I'm seeing, it looks so awful. And that is

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Speaker 1: what I care about the most when it comes to movies.

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Speaker 1: I don't want to live in a world where it

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Speaker 1: feels like content that is just being spit out because

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Speaker 1: it's good enough. And that is what I worry about,

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Speaker 1: because in the industry right now, a lot of studios

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Speaker 1: are struggling, and when you put out a movie that

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Speaker 1: costs you a lot of money and you lose on that,

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Speaker 1: that is what studios are trying to avoid. So to me,

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Speaker 1: I see AI as a way of them to think, oh, well,

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Speaker 1: we have this tool now, instead of spending two hundred

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Speaker 1: million dollars on something that may or may not work,

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Speaker 1: just get somebody to put together a movie with all

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Speaker 1: these problems in AI, and then it's a low risk,

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Speaker 1: high reward because you didn't have to spend all that

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Speaker 1: money to make the movie. But then you start thinking about, man,

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Speaker 1: do we want to go to a theater where we

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Speaker 1: end up having to pick between watching a human made

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Speaker 1: movie the traditional way and watching an AI generated movie.

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Speaker 1: All I have to tell you is I am not

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Speaker 1: paying full price for an AI movie. So maybe those

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Speaker 1: movies come as a reduced cost to the customer, or

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Speaker 1: maybe those movies just never make it on to the

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Speaker 1: big screen, because I have to imagine there are going

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Speaker 1: to be a lot of people rejecting a fully AI

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Speaker 1: produced movie in theaters. And then you start thinking about

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Speaker 1: who is going to promote an AI movie? If you

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Speaker 1: have an AI generated actor, are you going to send

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Speaker 1: them out on a press tour or are you just

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Speaker 1: going to generate a bunch of promo clips of them

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Speaker 1: doing interviews? It gets so weird just thinking about how

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Speaker 1: this starts to affect everything. Can you sell a movie

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Speaker 1: without any story behind it? If you take that all

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Speaker 1: the way because you have an AI cast, is anybody

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Speaker 1: going to care? How are you going to market an

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Speaker 1: AI movie? All these questions have been flunning me in

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Speaker 1: the last week. And the other video that really started

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Speaker 1: to rock the industry was the one of Brad Pitt

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Speaker 1: and Tom Cruise having a full out fight on top

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Speaker 1: of a roof and people again, and that one we're

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Speaker 1: saying this looks so realistic, We are cooked. That was

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Speaker 1: the video that really got people in the industry talking.

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Speaker 1: And then you have all these questions that come up

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Speaker 1: with with SAG and after and the Motion Picture Association

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Speaker 1: who they want to shut this down. The actors want

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Speaker 1: to shut this down because you can't have people out

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Speaker 1: here making movies and making content with your image and

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Speaker 1: likeness without their conc The idea of making performances without

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Speaker 1: the performers is crazy, that you could just generate them

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Speaker 1: instead of hiring them, because again it goes back to man.

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Speaker 1: It would cost us forty million dollars to hire Brad

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Speaker 1: Pitt right now, and it would cost us another forty

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Speaker 1: million dollars to have him fight Tom Cruise. I'm not

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Speaker 1: even sure these two people would get along. Let's get

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Speaker 1: a quote from their teams. All right, let's forty million,

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Speaker 1: forty million, you know what, let's just ai generate them.

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Speaker 1: What's the quote on that. Maybe we'd just pay a

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Speaker 1: licensing thing to use their image and likeness. If studios

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Speaker 1: can just generate stars and action scenes like that, just boom,

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Speaker 1: what happens to the mid budget movies? Because if we

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Speaker 1: are so focused on these two hundred million dollar movies

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Speaker 1: Brad Pitt versus Tom Cruise. What happens to that fifty

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Speaker 1: million dollar movie, that one hundred million dollar movie that

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Speaker 1: can't just be generated the same way of film, where

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Speaker 1: there's a lot of new ones months and where the

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Speaker 1: cinematography is a little bit more subtle, and some things

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Speaker 1: on set happened by accident, and it's all those little

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Speaker 1: things that you encounter when you are dealing with physical

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Speaker 1: people in actual sets, where it's alive and it's breathing.

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Speaker 1: What happens to those movies, the lower budget movies, the

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Speaker 1: movies that create hype in this world, that are the

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Speaker 1: biggest success stories, where they spend maybe ten twenty million

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Speaker 1: dollars to make it like a Good Boy last year,

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Speaker 1: the horror movie from the perspective of the dog. What

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Speaker 1: happens to those movies where you take every novel aspect

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Speaker 1: out of the filmmaking process just because you have this technology.

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Speaker 1: I don't want to live in that world where you

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Speaker 1: can't have these small independent movies that really hit you

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Speaker 1: in the fields when you need it. And what I

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Speaker 1: do think is interesting about that, about being able to

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Speaker 1: use actors' image and their likeness. The one good thing

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Speaker 1: I can say is what if some of these movies

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Speaker 1: that we can't watch anymore because they have a canceled

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Speaker 1: actor in them. I won't say specifically, who could be

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Speaker 1: movies could be a TV show. Even when you think

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Speaker 1: about the movies and TV shows that were no longer

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Speaker 1: allowed to fully enjoy because the people in them have

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Speaker 1: now done awful things. What if you want to swap

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Speaker 1: out one of those canceled actors and you use AI

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Speaker 1: to do so. Is that bad? If we get back

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Speaker 1: some of these movies we haven't been able to fully

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Speaker 1: enjoy because we see some of these people in them

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Speaker 1: and we're like, oh, man, I probably shouldn't support their

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Speaker 1: work anymore. But the studios are able to go in

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Speaker 1: and say, let's swap out the actor, put in a

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Speaker 1: new actor, take their image and likeness and place them

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Speaker 1: over them, change all the dialogue to now be the

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Speaker 1: new actor's voice, and then boom, you have a new

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Speaker 1: cut of that movie. Or even what we've seen recently

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Speaker 1: in Star Wars movies being able to bring back people

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Speaker 1: from the dead. Where does it end? I feel like

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Speaker 1: if I would have made this episode a year ago,

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Speaker 1: I wouldn't have had all this material to work with,

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Speaker 1: but the fact that so much is happening now it's

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Speaker 1: kind of the wild West with all this stuff. You

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Speaker 1: see big companies like Netflix sending out real cease and

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Speaker 1: desist letters to the companies responsible for this content. You

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Speaker 1: see writers like the writer of Deadpool and Wolverine out

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Speaker 1: here saying like, yeah, we're cooked. You have actors like

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Speaker 1: Zachary Levi who is saying we need to be afraid

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Speaker 1: of this, and he has a company that he is

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Speaker 1: created that is focused on human made projects and not

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Speaker 1: using anything with AI. You have another filmmaker, Zach Morrison,

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Speaker 1: who said you have no character here, no emotional spine,

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Speaker 1: no story logic. In response to some of these AI

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Speaker 1: generated movies, he says, what AI still can't do is

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Speaker 1: narrative intent, subteme like I was talking about earlier, performance choices,

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Speaker 1: and taste. He compares it to a tech demo, a

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Speaker 1: cinematic mood reel, and a really expensive trailer with no

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Speaker 1: movie attached. I think that's a great point Zach Morrison

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Speaker 1: makes here. This kind of feels like a demo. I

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Speaker 1: think that is the furthest this technology is going to

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Speaker 1: go where it can be used within the industry. To say, Okay,

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Speaker 1: this is the idea I have. I want to have

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Speaker 1: this building go down, this spaceship come out of this corner,

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Speaker 1: and then you have our hero emerge from the flames.

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Speaker 1: Let's generate this to see how it would look, but

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Speaker 1: then let's make the real version of that. Great movies

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Speaker 1: are not built from prompts, They're built from decisions. But

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Speaker 1: everything I've seen just looks so soulless and looks way

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Speaker 1: too sharp and overproduced. And there was even a scene

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Speaker 1: that was made just for me that somebody did with

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Speaker 1: Spider Man in a really hyper realistic looking suit swinging

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Speaker 1: through a snowy New York City, and it had some

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Speaker 1: really slick looking angles. But if you watch all the

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Speaker 1: movements on that, it just doesn't feel right. It looks

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Speaker 1: like something that would probably impress a ten year old,

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Speaker 1: maybe a twelve year old, which is also where I

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Speaker 1: start to think about this technology of If I think

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Speaker 1: of young me, who was wanting to be a director

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Speaker 1: when it was ten twelve years old, would get out

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Speaker 1: the old home video camera with the VHS tape and

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Speaker 1: make movies in the backyard. I think if that version

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Speaker 1: of me had this technology, I would find it really

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Speaker 1: exciting because now the things I want to make are

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Speaker 1: a little bit more in my reach. And I think

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Speaker 1: how the industry is going to go is based upon

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Speaker 1: how the young people use this technology, because I got

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Speaker 1: to say, if I was ten years old and I

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Speaker 1: had access to AI, I would not be saying the

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Speaker 1: things I have been saying here because to me, this

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Speaker 1: would just be new, This would just be the way.

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Speaker 1: So I think in my lifetime I won't fully see

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Speaker 1: an ANI generated movie. I really don't. But I think about, well,

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Speaker 1: now I think about how old the young people are

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Speaker 1: now these days, there's a ten year old out there

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Speaker 1: who doesn't have access to a camera, maybe has a smartphone, maybe,

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Speaker 1: but he has a laptop and he has the ability

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Speaker 1: to use this software to generate his wildest dreams. It's

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Speaker 1: not going to be good if I think back on

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Speaker 1: the things I made when I was that young, aspiring

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Speaker 1: to create art probably wasn't good. But that is who

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Speaker 1: is going to get really good at this technology really quickly.

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Speaker 1: I do think generating prompts is going to be what

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Speaker 1: young people know better and learn better and are able

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Speaker 1: to use in their everyday life more than we ever will,

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Speaker 1: because to them that is the new thing. I mean

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Speaker 1: even when I was going to school, and I mean

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Speaker 1: I don't want to date myself only, but it wasn't

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Speaker 1: the norm to have a laptop all the way throughout

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Speaker 1: my school. I am from the generation that I remember

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Speaker 1: a time before in and how I adapted to all

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Speaker 1: the new technology as it came and advanced. But it

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Speaker 1: was through my developmental life from young kid to teenager

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Speaker 1: to college that I got to experience all of that technology.

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Speaker 1: But if you're a young kid now, you come out

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Speaker 1: and you're already holding an iPad watching Bluey on that thing.

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Speaker 1: So I think it is the next generation of filmmaker

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Speaker 1: that is going to decide where the industry goes. You're

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Speaker 1: going to have these really old school people who don't

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Speaker 1: want to see things changed. And I don't want to

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Speaker 1: see them change, just for the fact that I don't

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Speaker 1: want people's jobs to just go away because a corporation

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Speaker 1: just wants to make more money and make movies for less,

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Speaker 1: take all the art out of it, give us sou

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Speaker 1: less content, and think they could still make money off

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Speaker 1: of us. That is where I draw the line. That's

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Speaker 1: what I don't want to see. I don't want to

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Speaker 1: see art being devalue like this, and I think that

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Speaker 1: is what this is a threat of. I feel nothing

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Speaker 1: from any of this slot that I've I've been seeing

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Speaker 1: on social media and it's all just people trying to

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Speaker 1: sell me this hype of the future is here now.

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Speaker 1: It's not here now, So let's get over that. It

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Speaker 1: is not here now. It's not I don't want to

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Speaker 1: say it's not even close, but if I had to

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Speaker 1: put it on a scale, ugh, I would say just

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Speaker 1: a step above not being close. It is maybe impressive

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Speaker 1: to some people who want to invest in this or

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Speaker 1: are trying to get people to invest in this, but

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Speaker 1: I think to the consumer, to the person who this

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Speaker 1: would be sold to and said, hey, go watch this movie.

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Speaker 1: It is not there yet. We are so critical. Oh

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Speaker 1: my gosh. If you put out the best movie that

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Speaker 1: has the best cinematography, you will still find the haters.

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Speaker 1: If you put out an Oscar Award level performance, people

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Speaker 1: will still find the bad in that. And you have

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Speaker 1: to tell me and make me believe that we are

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Speaker 1: going to accept AI performances. You're out of your mind.

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Speaker 1: So we'll start to wrap this thing up here. But

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Speaker 1: is it the end of Hollywood or is it just

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Speaker 1: the start of something new. I am hopeful towards the future.

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Speaker 1: I don't think this is the end. People have been

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Speaker 1: saying this for so long. The rumor of Hollywood's demise

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Speaker 1: has just been greatly exaggerated, where people just keep saying

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Speaker 1: that movies are going away. I've been hearing this for

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Speaker 1: the last twenty years, but now people are saying this

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Speaker 1: is the final nail in the coffin. I don't think

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Speaker 1: Hollywood is ever going away. I don't think movies are

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Speaker 1: going away. I don't think movie theaters are going away.

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Speaker 1: Hopefully the people who keep saying that are going away

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Speaker 1: and will stop saying that. But that's like saying concerts

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Speaker 1: are gonna go away because they're getting so expensive. That's

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Speaker 1: like saying because we have this technology that we just

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Speaker 1: don't need art anymore, we just don't need human connection.

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Speaker 1: If we get to a point that we don't need that,

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Speaker 1: I don't know what the purpose of living is going

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Speaker 1: to be at that point when we're not interacting with people,

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Speaker 1: we're not experiencing anything real, and we're just fabricating things

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Speaker 1: because it's quicker and faster. I still think we will

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Speaker 1: always crave that human connection because as humans we need that.

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Speaker 1: So I don't think it is the end of Hollywood.

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Speaker 1: It could be the start of something new. Maybe this

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Speaker 1: is something entirely different on a different lane. We'll see

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Speaker 1: some threats here in the next few years. But I

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Speaker 1: don't think this is fully going to take over as

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Speaker 1: much as people are hyping it up to be, because

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Speaker 1: production was never the magic. It was never because oh,

435
00:24:36,760 --> 00:24:38,560
Speaker 1: we have all this technology that we're able to make

436
00:24:38,560 --> 00:24:41,199
Speaker 1: all these great things. That's not where the magic is.

437
00:24:41,600 --> 00:24:44,800
Speaker 1: It's in that taste, It's in that storytelling, it's in

438
00:24:44,840 --> 00:24:49,080
Speaker 1: that audience connection. The real tangible things of making a

439
00:24:49,200 --> 00:24:53,399
Speaker 1: film is what we buy into, is what are the

440
00:24:53,520 --> 00:24:58,359
Speaker 1: essential building blocks of movies that are pillars of our life.

441
00:24:58,520 --> 00:25:02,919
Speaker 1: AI just lowers the bar to get in there, but

442
00:25:03,040 --> 00:25:07,320
Speaker 1: it doesn't replicate that. It doesn't lower the bar for greatness,

443
00:25:07,560 --> 00:25:09,840
Speaker 1: and that is what I'm trying to say. So what

444
00:25:09,920 --> 00:25:11,840
Speaker 1: it could change that ten year old I was talking

445
00:25:11,840 --> 00:25:15,360
Speaker 1: about who wants to make a movie but doesn't have

446
00:25:15,880 --> 00:25:20,080
Speaker 1: the access to making big blockbuster type visuals. It gives

447
00:25:20,080 --> 00:25:23,840
Speaker 1: that kid the power, maybe even some independent filmmakers who

448
00:25:23,880 --> 00:25:26,840
Speaker 1: would not have the ability to have a chase scene

449
00:25:26,840 --> 00:25:30,320
Speaker 1: with explosions. It gives them that ability to put that

450
00:25:30,400 --> 00:25:33,920
Speaker 1: into their film. But it's going to make studios prioritize

451
00:25:34,000 --> 00:25:36,919
Speaker 1: IP even more, which could be good, which could be

452
00:25:36,960 --> 00:25:39,640
Speaker 1: a bad thing, depending on how you feel about that. Ah,

453
00:25:39,680 --> 00:25:41,879
Speaker 1: I think that could be. I want to say it's

454
00:25:41,920 --> 00:25:44,439
Speaker 1: a good thing, but ultimately it's going to be a

455
00:25:44,480 --> 00:25:46,399
Speaker 1: bad thing because that means we're going to be so

456
00:25:46,600 --> 00:25:51,679
Speaker 1: fearful of creating new IP and giving untested things a chance.

457
00:25:52,080 --> 00:25:55,560
Speaker 1: And then if everybody's just creating AI content, then we're

458
00:25:55,600 --> 00:25:57,359
Speaker 1: just going to have the same actors we've been having

459
00:25:57,359 --> 00:26:00,840
Speaker 1: and now generating them, generating the same storeries. And then

460
00:26:00,920 --> 00:26:03,919
Speaker 1: does AI know how to create new stories or is

461
00:26:03,960 --> 00:26:06,320
Speaker 1: it just going to act off of the stories that

462
00:26:06,400 --> 00:26:09,760
Speaker 1: have already been created before it? And then you just

463
00:26:09,800 --> 00:26:13,040
Speaker 1: have the same IP being regurgitated even more now than

464
00:26:13,080 --> 00:26:15,720
Speaker 1: it already is. Where that is our biggest complaint of

465
00:26:15,800 --> 00:26:18,800
Speaker 1: us saying, oh, everything's a remake, everything's a reboot. If

466
00:26:18,840 --> 00:26:21,600
Speaker 1: AI takes over, hate to break it to you, but

467
00:26:21,640 --> 00:26:24,320
Speaker 1: we're not getting anything new. We're just getting the same

468
00:26:24,359 --> 00:26:27,240
Speaker 1: thing over and over that it has been made for

469
00:26:27,320 --> 00:26:30,880
Speaker 1: the last twenty to thirty years. Because when I want

470
00:26:30,920 --> 00:26:33,960
Speaker 1: somebody making a movie. I don't want somebody who's really

471
00:26:33,960 --> 00:26:36,760
Speaker 1: great with technology. I want somebody who knows how to

472
00:26:36,760 --> 00:26:41,119
Speaker 1: craft a story that is going to make me sad, happy, excited,

473
00:26:41,480 --> 00:26:45,520
Speaker 1: all the emotions I get out of the movie going experience.

474
00:26:45,880 --> 00:26:48,639
Speaker 1: So my final thoughts here, if everyone can make a movie,

475
00:26:48,880 --> 00:26:50,240
Speaker 1: who is still going to know how to make a

476
00:26:50,240 --> 00:26:54,080
Speaker 1: great one? What will the future of directing and acting be?

477
00:26:54,400 --> 00:26:57,160
Speaker 1: And then if it gets so good that the audience

478
00:26:57,240 --> 00:26:59,959
Speaker 1: can't tell the difference, does it even matter? Right now?

479
00:27:00,080 --> 00:27:02,720
Speaker 1: Now I am the audience. I can tell the difference,

480
00:27:03,280 --> 00:27:05,960
Speaker 1: and it matters. Let me know what you think. Is

481
00:27:06,000 --> 00:27:09,560
Speaker 1: AI about to break Hollywood? Would you watch an AI

482
00:27:09,640 --> 00:27:13,040
Speaker 1: generated movie? Do you care more about visuals or do

483
00:27:13,080 --> 00:27:15,920
Speaker 1: you want storytelling? Do you want that human element? Let

484
00:27:15,960 --> 00:27:18,600
Speaker 1: me know. Hit me up on social media at Mike

485
00:27:18,680 --> 00:27:21,439
Speaker 1: destro on Everything, or you can always send me an

486
00:27:21,440 --> 00:27:25,760
Speaker 1: email Moviemike d at gmail dot com. I'll come back

487
00:27:25,800 --> 00:27:29,119
Speaker 1: and give my spoiler free review of The Human Maid,

488
00:27:29,800 --> 00:27:39,040
Speaker 1: how to Make a Killing starring Glenn Powell. Let's get

489
00:27:39,040 --> 00:27:41,320
Speaker 1: into it now. A spoiler free movie review of How

490
00:27:41,320 --> 00:27:44,760
Speaker 1: to Make a Killing starring Glenn Powell, Margaret Qualley, directed

491
00:27:44,800 --> 00:27:47,400
Speaker 1: by John Pattenford, who before this did a movie I

492
00:27:47,440 --> 00:27:50,720
Speaker 1: really loved called Emily The Criminals starring Aubrey Plaza, which

493
00:27:50,760 --> 00:27:54,320
Speaker 1: is all about how you can be rooting for somebody

494
00:27:54,320 --> 00:27:56,879
Speaker 1: who is not a good person, which is a genre

495
00:27:56,960 --> 00:27:59,919
Speaker 1: I just seem to love lately. I like rooting the

496
00:28:00,080 --> 00:28:01,919
Speaker 1: bad person in movie so much that I start to

497
00:28:02,000 --> 00:28:05,159
Speaker 1: question my moral compass. But that is the question that

498
00:28:05,240 --> 00:28:09,160
Speaker 1: this movie raises. What would you do if seven relatives

499
00:28:09,400 --> 00:28:12,840
Speaker 1: stood in the way of your twenty eight billion, yes billion,

500
00:28:12,880 --> 00:28:17,600
Speaker 1: with a B dollar inheritance. That is what Glenn Powell's character,

501
00:28:17,640 --> 00:28:21,120
Speaker 1: Beckett is going through. He was born from a teenage

502
00:28:21,119 --> 00:28:25,600
Speaker 1: mom eighteen years old who came from this really wealthy family.

503
00:28:26,280 --> 00:28:28,800
Speaker 1: But as soon as she got pregnant, they said, you're

504
00:28:28,880 --> 00:28:31,480
Speaker 1: kicked out. We don't care about this kid, you are

505
00:28:31,560 --> 00:28:35,720
Speaker 1: cut off. So he was born outside of that wealth,

506
00:28:36,119 --> 00:28:39,160
Speaker 1: but still there was this will set in place in

507
00:28:39,280 --> 00:28:42,960
Speaker 1: order to protect the family money that he was still

508
00:28:43,000 --> 00:28:46,200
Speaker 1: in line. He believed at some point he would be

509
00:28:46,240 --> 00:28:50,720
Speaker 1: given this twenty eight billion dollars. His mom passes away

510
00:28:50,920 --> 00:28:54,640
Speaker 1: and now he is left just waiting for that inheritance,

511
00:28:55,120 --> 00:28:58,400
Speaker 1: but he has these seven relatives standing in his way.

512
00:28:58,880 --> 00:29:02,240
Speaker 1: And he has been done in life for so long.

513
00:29:02,800 --> 00:29:06,080
Speaker 1: He is working at a job that just doesn't feel

514
00:29:06,560 --> 00:29:08,840
Speaker 1: the job he is supposed to be working. He is

515
00:29:08,880 --> 00:29:11,920
Speaker 1: living still where he grew up. He has people looking

516
00:29:12,000 --> 00:29:14,560
Speaker 1: down on him. As a kid, he formed a friendship

517
00:29:14,600 --> 00:29:16,560
Speaker 1: with a girl named Julia, who was later played by

518
00:29:16,560 --> 00:29:21,040
Speaker 1: Margaret Qualley, and their entire I guess you could call

519
00:29:21,120 --> 00:29:25,880
Speaker 1: it friendship. Whatever relationship is that they have, is a

520
00:29:25,960 --> 00:29:29,280
Speaker 1: driving force throughout this entire movie. But I have to

521
00:29:29,360 --> 00:29:31,800
Speaker 1: say this is one of the best dark comedies I

522
00:29:31,800 --> 00:29:34,320
Speaker 1: have seen in a long time. And I guess from

523
00:29:34,360 --> 00:29:37,000
Speaker 1: the trailer and the description of this movie, I didn't

524
00:29:37,080 --> 00:29:39,640
Speaker 1: know how funny it was actually going to be. The

525
00:29:39,720 --> 00:29:42,520
Speaker 1: thing I love about Glenn Powell is he is so

526
00:29:42,800 --> 00:29:45,720
Speaker 1: dedicated to every single role. If you look at the

527
00:29:45,760 --> 00:29:48,240
Speaker 1: last four movies he did, including this one, How to

528
00:29:48,280 --> 00:29:52,719
Speaker 1: Make a Killing, Running Man, hit Man, he also did Twisters.

529
00:29:52,840 --> 00:29:55,560
Speaker 1: Before that, he did Anyone But You, and in between

530
00:29:55,600 --> 00:29:57,600
Speaker 1: there he did Chad Powers, which he is working on

531
00:29:57,640 --> 00:30:01,320
Speaker 1: another season right now. Every single time I've seen Glenn

532
00:30:01,360 --> 00:30:04,960
Speaker 1: Powell commit to a character, I feel like I'm getting

533
00:30:04,960 --> 00:30:06,960
Speaker 1: one hundred percent of him, and that is what I

534
00:30:07,000 --> 00:30:09,560
Speaker 1: love about him. Not just his love for Texas, because

535
00:30:09,560 --> 00:30:12,240
Speaker 1: it's somebody who is a Texan and we just want

536
00:30:12,280 --> 00:30:15,680
Speaker 1: somebody at the top to also represent our state. I

537
00:30:15,720 --> 00:30:18,320
Speaker 1: love that about him, But I think he is just

538
00:30:18,400 --> 00:30:22,080
Speaker 1: a great actor who is also taking a lot of risks,

539
00:30:22,480 --> 00:30:26,320
Speaker 1: doing smaller A twenty four movies, doing the big action movies,

540
00:30:26,640 --> 00:30:29,400
Speaker 1: doing the fun shows where he doesn't take himself too seriously.

541
00:30:29,440 --> 00:30:32,719
Speaker 1: He also really likes dressing up in different costumes. If

542
00:30:32,720 --> 00:30:34,640
Speaker 1: you look at almost all of his roles, he is

543
00:30:34,680 --> 00:30:37,600
Speaker 1: always dressing up trying to be somebody different. But I

544
00:30:37,640 --> 00:30:40,680
Speaker 1: find that he is so committed to every single project

545
00:30:41,040 --> 00:30:43,600
Speaker 1: that it makes me always feel like I'm getting my

546
00:30:43,680 --> 00:30:46,560
Speaker 1: money's worth When I go to see a Glenn Powell movie.

547
00:30:46,600 --> 00:30:49,400
Speaker 1: I've never seen him phoning it in, and I know

548
00:30:49,440 --> 00:30:52,640
Speaker 1: he is right there on the cusp of being at

549
00:30:52,640 --> 00:30:56,280
Speaker 1: that a level tier, the type of person that you

550
00:30:56,280 --> 00:30:58,640
Speaker 1: would go see every single movie that they make. I

551
00:30:58,720 --> 00:31:02,000
Speaker 1: just fear that he doesn't quite have or he really

552
00:31:02,000 --> 00:31:06,400
Speaker 1: doesn't have that signature role yet. And still when people

553
00:31:06,440 --> 00:31:08,320
Speaker 1: talk about him, they say it's the guy from Top Gun,

554
00:31:08,320 --> 00:31:10,760
Speaker 1: but he has come so far from there, and I

555
00:31:10,800 --> 00:31:13,320
Speaker 1: feel like he's just one roll away. But I felt

556
00:31:13,320 --> 00:31:17,000
Speaker 1: that since Twisters, Running Man didn't really put him on

557
00:31:17,040 --> 00:31:19,760
Speaker 1: that level, and I don't think it was his fault.

558
00:31:19,800 --> 00:31:22,160
Speaker 1: I think that movie just didn't really resonate with audiences.

559
00:31:22,480 --> 00:31:25,840
Speaker 1: Maybe it wasn't the time to remake that movie, but

560
00:31:25,920 --> 00:31:29,040
Speaker 1: I just fear that people are starting to feel like

561
00:31:29,120 --> 00:31:32,080
Speaker 1: Glenn Powell is being shoved down their throats, and I

562
00:31:32,080 --> 00:31:34,600
Speaker 1: don't like that for him, because if you actually look

563
00:31:34,600 --> 00:31:37,480
Speaker 1: at his work, I am a big believer that he

564
00:31:37,600 --> 00:31:40,480
Speaker 1: is not just somebody who is doing a massive amount

565
00:31:40,520 --> 00:31:43,880
Speaker 1: of projects in order to saturate the market in order

566
00:31:43,920 --> 00:31:47,080
Speaker 1: to be at the forefront all the time. I still

567
00:31:47,120 --> 00:31:51,000
Speaker 1: think he is putting out quality movies and TV shows

568
00:31:51,440 --> 00:31:54,640
Speaker 1: that I am still all aboard the Glenn Powell train.

569
00:31:54,960 --> 00:31:56,920
Speaker 1: But then you look at Margaret Quality, who has also

570
00:31:57,000 --> 00:32:01,000
Speaker 1: delivered some really great performances since the substance drive Away

571
00:32:01,120 --> 00:32:06,400
Speaker 1: Dolls Honey Don't, which I think people didn't fully understand

572
00:32:06,640 --> 00:32:09,600
Speaker 1: how great that movie was. I really enjoyed it. It

573
00:32:09,720 --> 00:32:11,840
Speaker 1: was what I felt a good throwback to, like an

574
00:32:11,880 --> 00:32:17,000
Speaker 1: eighties crime, just fun movie that maybe came across a

575
00:32:17,080 --> 00:32:21,200
Speaker 1: little bit cheeseball to some, but I really enjoyed Honey Don't.

576
00:32:21,480 --> 00:32:23,720
Speaker 1: I also think she was great even though she wasn't

577
00:32:23,720 --> 00:32:26,720
Speaker 1: in it that much kinds of kindness, but still by

578
00:32:26,760 --> 00:32:30,720
Speaker 1: far the substance has been her best role. And I

579
00:32:30,720 --> 00:32:33,080
Speaker 1: feel like her and Glenn Powell together just kind of

580
00:32:33,120 --> 00:32:34,880
Speaker 1: makes sense because if you look at both of their

581
00:32:34,960 --> 00:32:39,000
Speaker 1: last films, they're kind of right there. Of they're really famous,

582
00:32:39,480 --> 00:32:42,440
Speaker 1: but still don't have that one role that sets them

583
00:32:42,440 --> 00:32:44,840
Speaker 1: apart and puts them on that a level tier. But

584
00:32:44,880 --> 00:32:48,160
Speaker 1: then you put them together. It's such a great casting decision,

585
00:32:48,800 --> 00:32:53,000
Speaker 1: and it really is because of them that this movie works. Now,

586
00:32:53,600 --> 00:32:56,160
Speaker 1: I really wish there was a little bit more of

587
00:32:56,320 --> 00:32:59,600
Speaker 1: plot to chew on, because it really wasn't until that

588
00:32:59,680 --> 00:33:03,200
Speaker 1: third that I felt, Okay, this is something really special.

589
00:33:04,080 --> 00:33:06,160
Speaker 1: It felt kind of like it was going through the

590
00:33:06,240 --> 00:33:09,880
Speaker 1: motions in the first and second act. I also think

591
00:33:10,680 --> 00:33:13,560
Speaker 1: the action in the first act felt a little bit abrupt,

592
00:33:14,200 --> 00:33:17,000
Speaker 1: where I was kind of hoping on some more development

593
00:33:17,080 --> 00:33:20,040
Speaker 1: in his character to go from somebody who has been

594
00:33:20,120 --> 00:33:23,000
Speaker 1: kicked down by the world to somebody who is now

595
00:33:23,080 --> 00:33:27,720
Speaker 1: considering killing seven people in order to get billions of dollars.

596
00:33:28,280 --> 00:33:30,160
Speaker 1: And I get that they wanted to move the story

597
00:33:30,200 --> 00:33:32,960
Speaker 1: a little bit quickly if this movie would have been

598
00:33:33,080 --> 00:33:34,760
Speaker 1: any more of a slow burn, which it wasn't, But

599
00:33:34,800 --> 00:33:37,080
Speaker 1: if it would have been a slow burn, I think

600
00:33:37,080 --> 00:33:39,600
Speaker 1: that would have turned a lot of people off early on.

601
00:33:40,240 --> 00:33:43,000
Speaker 1: But I feel it almost jumped the gun a little

602
00:33:43,000 --> 00:33:45,640
Speaker 1: bit to get to the action because being under an

603
00:33:45,640 --> 00:33:47,600
Speaker 1: hour and fifty minutes, I think it's closer to like

604
00:33:47,640 --> 00:33:50,960
Speaker 1: an hour forty five, it really had a lot of

605
00:33:51,000 --> 00:33:53,600
Speaker 1: story to fit in, and the way it kind of

606
00:33:53,680 --> 00:33:58,120
Speaker 1: jumps around between times, I just felt like I didn't

607
00:33:58,120 --> 00:34:00,560
Speaker 1: really get a good grasp on his case character and

608
00:34:00,600 --> 00:34:03,120
Speaker 1: what would possess him to do something like this. So

609
00:34:03,200 --> 00:34:05,680
Speaker 1: I think not getting to know him so much in

610
00:34:05,760 --> 00:34:08,239
Speaker 1: the first act made me question some of the things

611
00:34:08,280 --> 00:34:10,680
Speaker 1: he was doing in the second act, some of the

612
00:34:10,760 --> 00:34:13,640
Speaker 1: relationships he was starting to form. And then I almost

613
00:34:13,719 --> 00:34:17,560
Speaker 1: felt like Margaret Qualley's character, even though I loved her,

614
00:34:17,640 --> 00:34:22,160
Speaker 1: she is a really great manipulative person who you never

615
00:34:22,200 --> 00:34:25,600
Speaker 1: really like in this movie. The relationship is very toxic,

616
00:34:26,520 --> 00:34:30,120
Speaker 1: and she almost felt like a caricature at times where

617
00:34:30,120 --> 00:34:32,640
Speaker 1: she didn't really feel like a real human. And I

618
00:34:32,680 --> 00:34:35,520
Speaker 1: think that is where this movie kind of walked the

619
00:34:35,640 --> 00:34:40,200
Speaker 1: line of being realistic but also kind of being just

620
00:34:40,320 --> 00:34:44,440
Speaker 1: a fun comedy at times, and while it's not lol

621
00:34:44,520 --> 00:34:47,279
Speaker 1: laugh out loud moments, I think dark comedies are the

622
00:34:47,280 --> 00:34:49,880
Speaker 1: best right now because you don't really go into that

623
00:34:49,960 --> 00:34:53,640
Speaker 1: expectation given the plot of this movie, of expecting laughs.

624
00:34:54,000 --> 00:34:56,680
Speaker 1: But I think I heard laughter more throughout this movie

625
00:34:57,160 --> 00:35:00,359
Speaker 1: than actual comedies I've gone to see in theaters, so

626
00:35:00,400 --> 00:35:03,160
Speaker 1: that was kind of like a pleasant surprise. But because

627
00:35:03,160 --> 00:35:05,160
Speaker 1: of that, at times, it is kind of hard to

628
00:35:05,200 --> 00:35:09,000
Speaker 1: pinpoint Margaret Qualley's character, and I think that was the

629
00:35:09,040 --> 00:35:12,239
Speaker 1: only thing that kind of lacked in building up some

630
00:35:12,440 --> 00:35:15,959
Speaker 1: tension and building up some momentum going into the third act.

631
00:35:16,200 --> 00:35:18,640
Speaker 1: But once it got there, it felt like an entirely

632
00:35:18,680 --> 00:35:21,279
Speaker 1: different movie. And that is where I went from just

633
00:35:22,120 --> 00:35:26,560
Speaker 1: enjoying and liking and finding this movie entertaining to really

634
00:35:26,600 --> 00:35:29,880
Speaker 1: feeling like I just watched something special, so much so

635
00:35:30,080 --> 00:35:34,360
Speaker 1: that very rarely does this happen. That a movie ends

636
00:35:35,400 --> 00:35:38,120
Speaker 1: and I want to keep going. And I think it's

637
00:35:38,160 --> 00:35:40,840
Speaker 1: also because it did have a shorter run time, but

638
00:35:40,960 --> 00:35:44,160
Speaker 1: it really left me wanting more. I want to know

639
00:35:44,200 --> 00:35:47,360
Speaker 1: where the story goes next, and most times in a

640
00:35:47,440 --> 00:35:49,319
Speaker 1: movie like this, I'm like, Okay, that was good, that

641
00:35:49,400 --> 00:35:52,520
Speaker 1: was fun. I got from it what I needed, But

642
00:35:52,560 --> 00:35:54,920
Speaker 1: I think it's because there wasn't that much on the

643
00:35:55,000 --> 00:35:58,959
Speaker 1: line up until the very end that all that action

644
00:35:59,120 --> 00:36:01,480
Speaker 1: started to feel a little bit rush to me and

645
00:36:01,560 --> 00:36:04,080
Speaker 1: I wanted to see more of it. So I do

646
00:36:04,160 --> 00:36:06,920
Speaker 1: want to know where this story goes next, and that

647
00:36:07,000 --> 00:36:09,839
Speaker 1: has me really excited, even though I don't think this

648
00:36:09,880 --> 00:36:12,320
Speaker 1: is a movie that lends itself to being a sequel.

649
00:36:12,520 --> 00:36:14,040
Speaker 1: But if you look at some of the most recent

650
00:36:14,160 --> 00:36:16,360
Speaker 1: A twenty four movies that have been successful, like A

651
00:36:16,440 --> 00:36:20,279
Speaker 1: Marty Supreme, I think it is just a step below that.

652
00:36:20,800 --> 00:36:23,600
Speaker 1: But if you compare it to the best Glenn Powell movies,

653
00:36:24,040 --> 00:36:25,640
Speaker 1: I do think it is up there at the top.

654
00:36:26,040 --> 00:36:28,640
Speaker 1: For me, nothing is going to top his role in Twisters.

655
00:36:29,080 --> 00:36:31,239
Speaker 1: But I have a little bit of bias because the

656
00:36:31,320 --> 00:36:34,600
Speaker 1: original Twister is one of my favorite movies of all time.

657
00:36:35,200 --> 00:36:38,480
Speaker 1: I definitely think it is much better than Running Man,

658
00:36:39,080 --> 00:36:42,160
Speaker 1: which is wild because that movie costs so much more money.

659
00:36:42,760 --> 00:36:44,799
Speaker 1: But I think the story here was just a little

660
00:36:44,800 --> 00:36:47,160
Speaker 1: bit more novel. There was a lot more nuance in

661
00:36:47,160 --> 00:36:50,279
Speaker 1: his performance and the story overall. I just still think

662
00:36:50,360 --> 00:36:53,040
Speaker 1: that Glenn Powell in a rom com Anyone but You

663
00:36:53,880 --> 00:36:57,520
Speaker 1: is right below yeah, I would still put that one

664
00:36:57,600 --> 00:36:59,560
Speaker 1: right below Twisters, but I think it is right up

665
00:36:59,600 --> 00:37:02,439
Speaker 1: there on the level of Hitman. But I do think

666
00:37:02,560 --> 00:37:05,640
Speaker 1: Richard link Later is a better director than John patten Ford.

667
00:37:05,840 --> 00:37:08,680
Speaker 1: But all things aside, my biggest problem with the movie

668
00:37:08,800 --> 00:37:11,759
Speaker 1: is that it just left me wanting more for how

669
00:37:11,800 --> 00:37:13,840
Speaker 1: to make a killing. I give it four out of

670
00:37:13,960 --> 00:37:19,799
Speaker 1: five Black hit Man Gloves. It's side to head down

671
00:37:19,840 --> 00:37:24,160
Speaker 1: to movie Mike Traylor Parr. I know this trailer has

672
00:37:24,160 --> 00:37:26,840
Speaker 1: been out for a while, but The Bride looks awesome.

673
00:37:27,840 --> 00:37:29,919
Speaker 1: I saw it again when I went to go see

674
00:37:29,920 --> 00:37:32,960
Speaker 1: Withuering Heights, and I got to see it on the

675
00:37:33,000 --> 00:37:38,279
Speaker 1: big screen, and I got a lot better indication of

676
00:37:38,280 --> 00:37:40,680
Speaker 1: how good this movie is going to be, more so

677
00:37:40,760 --> 00:37:44,080
Speaker 1: than just seeing it online. I think this movie is

678
00:37:44,120 --> 00:37:47,239
Speaker 1: going to be fantastic. And Frankenstein is so hot right now.

679
00:37:47,480 --> 00:37:50,319
Speaker 1: Germal de Torro put out his version on Netflix at

680
00:37:50,320 --> 00:37:52,400
Speaker 1: the end of last year, And of course, the character

681
00:37:52,400 --> 00:37:54,960
Speaker 1: of Frankenstein has been around forever since I've been alive,

682
00:37:55,280 --> 00:37:58,920
Speaker 1: but Germo de Toro put his spin on that character,

683
00:37:59,480 --> 00:38:02,279
Speaker 1: crafted his vision to give us something that was a

684
00:38:02,280 --> 00:38:05,560
Speaker 1: breath of fresh air. But now with The Bride, not

685
00:38:05,680 --> 00:38:08,799
Speaker 1: the Bride of Frankenstein. Just the Bride, all caps, acclamation point,

686
00:38:09,080 --> 00:38:12,120
Speaker 1: love the stylistic choice, just the title of the movie.

687
00:38:12,440 --> 00:38:16,480
Speaker 1: It is an entirely different take on the story of

688
00:38:16,560 --> 00:38:21,160
Speaker 1: Frankenstein and his bride, more so focusing on her character,

689
00:38:21,640 --> 00:38:25,000
Speaker 1: not so much the Frankenstein monster, just being lonely and

690
00:38:25,040 --> 00:38:28,720
Speaker 1: needing a companion. This is going to be her story.

691
00:38:29,239 --> 00:38:31,800
Speaker 1: And it was seeing this trailer on the big screen,

692
00:38:32,360 --> 00:38:35,880
Speaker 1: seeing Jesse Buckley up there as the bride looking fantastic,

693
00:38:36,040 --> 00:38:39,480
Speaker 1: the makeup, the wardrobe. I am so in on this.

694
00:38:39,640 --> 00:38:42,359
Speaker 1: Directed by Maggie Jillen Hall, yes the sister of Jake

695
00:38:42,440 --> 00:38:45,719
Speaker 1: Gillen Hall, but also a great actor in her own right.

696
00:38:46,080 --> 00:38:49,640
Speaker 1: And now this is her second big studio movie. She

697
00:38:49,680 --> 00:38:51,600
Speaker 1: did a movie in twenty twenty one called The Lost

698
00:38:51,680 --> 00:38:55,960
Speaker 1: Daughter that also starred Jesse Buckley, Olivia Coleman, and Dakota Johnson,

699
00:38:56,239 --> 00:38:58,759
Speaker 1: which was pretty good on Netflix. Pretty much just a

700
00:38:58,840 --> 00:39:02,719
Speaker 1: straight ahead drama. Paul Mescal's also in that movie. So

701
00:39:03,280 --> 00:39:06,520
Speaker 1: this is an entirely different look for her already on

702
00:39:06,560 --> 00:39:09,360
Speaker 1: her big second movie. So a lot to talk about.

703
00:39:09,400 --> 00:39:12,319
Speaker 1: I'll tell you the three things I'm the most excited by.

704
00:39:12,480 --> 00:39:14,600
Speaker 1: But before I do. Here is just a little bit

705
00:39:14,640 --> 00:39:18,320
Speaker 1: of the Bride trailer coming out in theaters on March sixth.

706
00:39:18,760 --> 00:39:25,799
Speaker 1: What happened you? That's an accident, an accident. We dug

707
00:39:25,880 --> 00:39:29,440
Speaker 1: you up, we brought you back to life. What did

708
00:39:29,520 --> 00:39:32,720
Speaker 1: you want with a dead girl? I'm the same, born

709
00:39:32,800 --> 00:39:42,000
Speaker 1: from the dead. I am. I'm yeah, so am I ride?

710
00:39:43,080 --> 00:39:50,520
Speaker 1: Oh Frankenstein, No, just the Bride. I love how she

711
00:39:50,640 --> 00:39:53,120
Speaker 1: made it a point there to not say or want

712
00:39:53,200 --> 00:39:55,040
Speaker 1: to be called the Bride of Frankenstein. She's like, no,

713
00:39:55,120 --> 00:39:58,040
Speaker 1: I don't need you. I am just the Bride. So

714
00:39:58,160 --> 00:40:00,160
Speaker 1: this is gonna be a lot different than The Bride

715
00:40:00,200 --> 00:40:02,279
Speaker 1: of Frankenstein. It is going to be more of a

716
00:40:02,360 --> 00:40:06,000
Speaker 1: Bonnie and Clyde like story. At the very beginning, we

717
00:40:06,080 --> 00:40:09,799
Speaker 1: see her being thrown by somebody down the stairs. Now

718
00:40:09,840 --> 00:40:12,640
Speaker 1: what she targeted? Maybe maybe it's Christian Bale who ends

719
00:40:12,680 --> 00:40:14,680
Speaker 1: up being not only the one who kills her, but

720
00:40:14,719 --> 00:40:18,000
Speaker 1: also the one who digs her up after she dies

721
00:40:18,040 --> 00:40:20,560
Speaker 1: and is buried and then brings her back to life.

722
00:40:20,560 --> 00:40:23,320
Speaker 1: But we will probably learn more about that in the movie.

723
00:40:23,360 --> 00:40:25,560
Speaker 1: I have to imagine that is a pivotal point in

724
00:40:25,600 --> 00:40:29,560
Speaker 1: the plot. That image alone, that single frame of seeing

725
00:40:29,640 --> 00:40:33,480
Speaker 1: Jesse Buckley at the bottom of those stairs, her body contorted.

726
00:40:33,560 --> 00:40:36,279
Speaker 1: That is such a great image. But you have two

727
00:40:36,360 --> 00:40:40,799
Speaker 1: fantastic actors with Christian Bale and Jesse Buckley both in

728
00:40:40,840 --> 00:40:44,280
Speaker 1: the lead roles. Now, three things I love about this movie.

729
00:40:44,520 --> 00:40:49,800
Speaker 1: Number one, Maggie Jillenhall fought so hard to cast Jesse

730
00:40:49,920 --> 00:40:53,880
Speaker 1: Buckley as the lead in this because the studio didn't

731
00:40:53,920 --> 00:40:56,600
Speaker 1: want her. According to a story I read on Entertainment Weekly,

732
00:40:57,080 --> 00:40:59,920
Speaker 1: they did not want to hire her because she did

733
00:41:00,040 --> 00:41:03,920
Speaker 1: didn't have and still doesn't have a large social media presence.

734
00:41:03,960 --> 00:41:07,040
Speaker 1: I actually looked before doing this trailer park. She does

735
00:41:07,080 --> 00:41:10,000
Speaker 1: not have an account of her own. When you google

736
00:41:10,239 --> 00:41:13,080
Speaker 1: Jesse Buckley Instagram, the first thing that comes up is

737
00:41:13,120 --> 00:41:16,239
Speaker 1: a fan account as a decent amount of followers, but

738
00:41:16,320 --> 00:41:19,480
Speaker 1: it's not run by her or her team. And if

739
00:41:19,480 --> 00:41:23,280
Speaker 1: you look around on different social media sites, she doesn't

740
00:41:23,280 --> 00:41:26,560
Speaker 1: have a presence. She doesn't even have accounts that are

741
00:41:26,640 --> 00:41:29,200
Speaker 1: just hell for her or maybe just posting about the

742
00:41:29,239 --> 00:41:32,240
Speaker 1: movies she is going to be in. So for that reason,

743
00:41:32,680 --> 00:41:36,400
Speaker 1: and we've heard more and more from actors and directors

744
00:41:36,400 --> 00:41:41,160
Speaker 1: that studios want actors with a good amount of social

745
00:41:41,200 --> 00:41:44,040
Speaker 1: media followers because They want to put people in their

746
00:41:44,080 --> 00:41:47,040
Speaker 1: movies that they can bank on being able to promote

747
00:41:47,360 --> 00:41:51,120
Speaker 1: to their fans. But Maggie Jillenhall fought for her because

748
00:41:51,120 --> 00:41:53,360
Speaker 1: they worked together on The Lost Daughter and she knew

749
00:41:53,680 --> 00:41:58,160
Speaker 1: she had what it takes, the range, the humor and

750
00:41:58,280 --> 00:42:02,000
Speaker 1: abilities to take on this horror role. That she was

751
00:42:02,080 --> 00:42:04,759
Speaker 1: perfect and she had to have her. So that's what

752
00:42:04,840 --> 00:42:06,840
Speaker 1: she did. She fought for her to get cast in

753
00:42:06,880 --> 00:42:10,520
Speaker 1: this movie. And I think the studio is probably feeling

754
00:42:10,600 --> 00:42:14,799
Speaker 1: a lot better now that Jesse Buckley has some nominations

755
00:42:14,840 --> 00:42:17,680
Speaker 1: to her name. With Hamnett being such a big hit

756
00:42:17,760 --> 00:42:21,160
Speaker 1: among the critics. I don't know how much Jen Pop

757
00:42:21,239 --> 00:42:24,760
Speaker 1: has a grasp on Jesse Buckley's name and being able

758
00:42:24,840 --> 00:42:27,759
Speaker 1: to attach it to her face, but this trailer has

759
00:42:27,800 --> 00:42:30,920
Speaker 1: made a really good impact because you do have Christian

760
00:42:30,960 --> 00:42:34,759
Speaker 1: Bale alongside her, whose name alone will bring credibility to

761
00:42:34,840 --> 00:42:37,560
Speaker 1: any movie. But I love the fact that Maggie Gillenhall

762
00:42:37,680 --> 00:42:41,080
Speaker 1: was so passionate about casting her that she fought for her.

763
00:42:41,400 --> 00:42:43,879
Speaker 1: That proves to me she really wanted to see her

764
00:42:44,000 --> 00:42:47,160
Speaker 1: vision come to life. Every actor gets their moment, and

765
00:42:47,239 --> 00:42:49,920
Speaker 1: I think if The Bride is a success, it is

766
00:42:50,000 --> 00:42:53,320
Speaker 1: going to be Jesse Buckley's moment at thirty six years old.

767
00:42:53,400 --> 00:42:56,719
Speaker 1: I also I know how the world works. I know,

768
00:42:56,800 --> 00:42:59,239
Speaker 1: at the end of the day, it is a business.

769
00:42:59,280 --> 00:43:04,480
Speaker 1: But I hate that social media followers plays into who

770
00:43:04,640 --> 00:43:08,080
Speaker 1: does and doesn't get a role. I think we have

771
00:43:08,239 --> 00:43:12,160
Speaker 1: probably seen some movies fail because the wrong person was

772
00:43:12,280 --> 00:43:16,040
Speaker 1: cast just because they have a million. Two million followers

773
00:43:16,120 --> 00:43:18,560
Speaker 1: or who knows how many followers is enough for a

774
00:43:18,640 --> 00:43:22,919
Speaker 1: studio to be comfortable with allowing a director to give

775
00:43:22,960 --> 00:43:26,080
Speaker 1: that person a role. So I also think it's kind

776
00:43:26,120 --> 00:43:28,279
Speaker 1: of cool for actors to be a little bit elusive.

777
00:43:28,880 --> 00:43:31,680
Speaker 1: You don't want to see them doing tiktoks all the

778
00:43:31,719 --> 00:43:35,840
Speaker 1: time and breaking down little things from their life. You

779
00:43:35,920 --> 00:43:38,800
Speaker 1: want to be able to feel a little bit mysterious,

780
00:43:38,880 --> 00:43:41,360
Speaker 1: or at least I do, about the people in these movies.

781
00:43:41,800 --> 00:43:44,680
Speaker 1: My second favorite thing about this movie is it feels

782
00:43:44,719 --> 00:43:47,560
Speaker 1: like a little bit of a family affair because Maggie

783
00:43:47,600 --> 00:43:51,400
Speaker 1: Jillenhall not only gets to direct her brother Jake Jillenhall,

784
00:43:51,760 --> 00:43:55,160
Speaker 1: which will be her first time directing him. They have

785
00:43:55,320 --> 00:43:58,400
Speaker 1: been in a few movies together, A Dangerous Woman in

786
00:43:58,480 --> 00:44:02,840
Speaker 1: nineteen ninety three and Homegrown in nineteen ninety eight, there

787
00:44:02,920 --> 00:44:06,040
Speaker 1: were two movies directed by their father, Steve and Jillen Hall.

788
00:44:06,520 --> 00:44:09,080
Speaker 1: They were also both in Donnie Darko back in two

789
00:44:09,120 --> 00:44:12,839
Speaker 1: thousand and one. But not only that, Maggie Jillen Hall

790
00:44:12,880 --> 00:44:16,680
Speaker 1: will also be directing her husband, Peter Scarsguard, So you

791
00:44:16,800 --> 00:44:21,160
Speaker 1: got brother husband, a lot of nepotism playing into this movie.

792
00:44:21,520 --> 00:44:24,440
Speaker 1: But when you have a director who feels so comfortable

793
00:44:24,440 --> 00:44:27,799
Speaker 1: with her actors on an entirely different level when you

794
00:44:27,800 --> 00:44:31,520
Speaker 1: are working with your sibling and your spouse, you feel

795
00:44:31,560 --> 00:44:34,000
Speaker 1: this level of comfort that you could probably ask them

796
00:44:34,000 --> 00:44:38,080
Speaker 1: to do whatever you want because there is already this understanding,

797
00:44:38,120 --> 00:44:40,960
Speaker 1: this trust, which that is a major thing, that relationship

798
00:44:41,000 --> 00:44:43,919
Speaker 1: between director and actor. How much you trust each other.

799
00:44:44,400 --> 00:44:46,520
Speaker 1: You don't even have to question that here because you

800
00:44:46,640 --> 00:44:49,879
Speaker 1: know your brother, you know your husband. You can push

801
00:44:50,000 --> 00:44:52,040
Speaker 1: them as much as you want to get that great

802
00:44:52,080 --> 00:44:54,799
Speaker 1: performance out of them. And then, of course Maggie Gillen

803
00:44:54,840 --> 00:44:57,600
Speaker 1: Hall and Christian Bale also work together on The Dark Knight,

804
00:44:57,760 --> 00:45:00,040
Speaker 1: so again it's a lot of people who are do

805
00:45:00,120 --> 00:45:03,520
Speaker 1: you feel comfortable with each other? My third favorite thing

806
00:45:03,560 --> 00:45:07,080
Speaker 1: about this trailer and about this movie is seeing the

807
00:45:07,080 --> 00:45:11,920
Speaker 1: transition of Jesse Buckley's character going from being scared to

808
00:45:12,080 --> 00:45:16,279
Speaker 1: being powerful and seeing her be so dominant already just

809
00:45:16,360 --> 00:45:19,000
Speaker 1: at the end of this trailer, I can only imagine

810
00:45:19,000 --> 00:45:22,800
Speaker 1: how that shift is going to feel throughout the movie.

811
00:45:23,200 --> 00:45:26,080
Speaker 1: And what I started to feel by the end of

812
00:45:26,080 --> 00:45:29,160
Speaker 1: this trailer is man, I think this is what Joker

813
00:45:29,239 --> 00:45:31,799
Speaker 1: too full he I do what was supposed to be

814
00:45:32,400 --> 00:45:35,759
Speaker 1: where you have a mad man. In this case, it

815
00:45:35,840 --> 00:45:38,759
Speaker 1: is Frankenstein. In the case of the Joker, it is

816
00:45:38,800 --> 00:45:42,319
Speaker 1: of course the Joker who just wants that companion who

817
00:45:42,400 --> 00:45:47,120
Speaker 1: is equally as mad and into crime and wanting to

818
00:45:47,160 --> 00:45:52,040
Speaker 1: cause chaos and destruction and anarchy. They fall in love

819
00:45:52,320 --> 00:45:56,920
Speaker 1: and then are this beautiful mess where their relationship is toxic,

820
00:45:56,960 --> 00:45:59,960
Speaker 1: they are doing terrible things. You also have a bit

821
00:46:00,080 --> 00:46:02,920
Speaker 1: of a musical element to this story, where there is

822
00:46:03,000 --> 00:46:06,920
Speaker 1: one scene where you see Frankenstein and the bride dancing

823
00:46:06,960 --> 00:46:10,520
Speaker 1: at this party. There's this music playing that kind of

824
00:46:10,520 --> 00:46:13,720
Speaker 1: looks like what Todd Phillips was going for in Joker.

825
00:46:13,760 --> 00:46:17,560
Speaker 1: iiO deciding to make that movie a musical, which made

826
00:46:17,600 --> 00:46:20,560
Speaker 1: no sense in the world of Gotham and in the

827
00:46:20,560 --> 00:46:24,800
Speaker 1: world of Joker. It completely ruined all of the aura

828
00:46:24,880 --> 00:46:28,399
Speaker 1: that was created in Joker one, So I'm hoping if

829
00:46:28,440 --> 00:46:31,759
Speaker 1: this movie is successful, it proves that a story like

830
00:46:31,800 --> 00:46:34,640
Speaker 1: this can work, and it should have worked with Joker

831
00:46:34,760 --> 00:46:37,520
Speaker 1: Foley Ado. It also just kind of reminds me of

832
00:46:37,560 --> 00:46:41,160
Speaker 1: the Bride of Chucky, where Chucky essentially did the same thing.

833
00:46:41,480 --> 00:46:43,239
Speaker 1: And I also just love that it is set in

834
00:46:43,320 --> 00:46:46,160
Speaker 1: nineteen thirties New York and you have people running around

835
00:46:46,560 --> 00:46:49,759
Speaker 1: using Tommy guns. But ultimately, I just think this is

836
00:46:49,800 --> 00:46:52,479
Speaker 1: a big creative swing for Maggie Gillenhall and I can't

837
00:46:52,520 --> 00:46:55,720
Speaker 1: wait to see it on the big screen. On March sixth,

838
00:46:56,120 --> 00:46:59,880
Speaker 1: and that was this week's edition of Movie Mike Trailer

839
00:47:02,640 --> 00:47:05,000
Speaker 1: Oh Boy, And that is going to do it for

840
00:47:05,200 --> 00:47:08,799
Speaker 1: another episode here of the podcast. But before I go,

841
00:47:08,880 --> 00:47:11,400
Speaker 1: I got to give my listener shout out of the week.

842
00:47:11,800 --> 00:47:15,239
Speaker 1: This week, I'm going over to my Instagram dms and

843
00:47:15,280 --> 00:47:19,160
Speaker 1: I'm shouting out Justin. Justin sent me a DM and said, hey, man,

844
00:47:19,640 --> 00:47:22,560
Speaker 1: huge fan. I'm mostly a sore loser, but I have

845
00:47:22,640 --> 00:47:25,160
Speaker 1: been listening to Movie Mike's for a year or so.

846
00:47:25,360 --> 00:47:28,360
Speaker 1: Now I am here with my fiance watching a kid's

847
00:47:28,360 --> 00:47:30,560
Speaker 1: movie called Goat, and all I can do while watching

848
00:47:30,640 --> 00:47:33,000
Speaker 1: it is critique it like movie Mike, It's a good

849
00:47:33,040 --> 00:47:35,320
Speaker 1: one though. I think love seeing your growth. Man, I

850
00:47:35,320 --> 00:47:37,840
Speaker 1: would love an autograph if I can win one somehow,

851
00:47:38,239 --> 00:47:41,560
Speaker 1: signed Justin. That has to be like the highest compliment

852
00:47:41,640 --> 00:47:44,080
Speaker 1: I could get. If you go watch a movie in theaters,

853
00:47:44,120 --> 00:47:46,920
Speaker 1: which over the weekend I went to go see Wuthering

854
00:47:46,960 --> 00:47:50,120
Speaker 1: Heights and Crime one on one. Just didn't have time

855
00:47:50,160 --> 00:47:51,840
Speaker 1: to go see Goat. But if you go to the

856
00:47:51,960 --> 00:47:55,200
Speaker 1: movies or watch a movie at home and you are

857
00:47:55,280 --> 00:47:58,120
Speaker 1: thinking in your head how I would review that movie,

858
00:47:58,640 --> 00:48:02,920
Speaker 1: that is the coolest compliment me. So Justin, thanks for that. DM.

859
00:48:02,960 --> 00:48:05,279
Speaker 1: Thank you for listening for over a year. That means

860
00:48:05,320 --> 00:48:08,080
Speaker 1: you are officially a part of the movie crew. You

861
00:48:08,120 --> 00:48:10,480
Speaker 1: don't have to listen to the podcast for a year

862
00:48:10,480 --> 00:48:11,600
Speaker 1: to be a part of that. You can listen to

863
00:48:11,640 --> 00:48:14,719
Speaker 1: one episode and you're in. But that says to me

864
00:48:15,120 --> 00:48:18,440
Speaker 1: you are riding with the podcast and I can easily

865
00:48:18,920 --> 00:48:21,200
Speaker 1: get you that autograph. I don't know why you would

866
00:48:21,200 --> 00:48:24,920
Speaker 1: want my autograph, but if that is something that you

867
00:48:25,000 --> 00:48:27,680
Speaker 1: think would be cool, I don't really think anything about

868
00:48:27,719 --> 00:48:30,279
Speaker 1: me is cool, but I can do that for you.

869
00:48:30,480 --> 00:48:33,040
Speaker 1: Thank you for listening, Thanks for going to the movies.

870
00:48:33,120 --> 00:48:35,400
Speaker 1: I say that as if I own a chain of

871
00:48:35,440 --> 00:48:38,759
Speaker 1: movie theaters, but that is always inspiring for me to

872
00:48:38,840 --> 00:48:42,040
Speaker 1: see that people still love going to the movies and

873
00:48:42,200 --> 00:48:45,680
Speaker 1: experiencing a movie with other people. And I'm still planning

874
00:48:45,760 --> 00:48:47,680
Speaker 1: to go see Goat in theater, so hopefully when we

875
00:48:47,719 --> 00:48:50,520
Speaker 1: do our monthly recap with Kelsey, we can get that

876
00:48:50,560 --> 00:48:53,400
Speaker 1: review in. So thank you for listening, thank you for

877
00:48:53,440 --> 00:48:56,520
Speaker 1: being subscribed, and until next time. Oh you can also

878
00:48:56,560 --> 00:48:59,560
Speaker 1: go check out full individual movie reviews YouTube dot com

879
00:48:59,680 --> 00:49:03,200
Speaker 1: slash Mike destro But until next time, go out and

880
00:49:03,280 --> 00:49:06,200
Speaker 1: watch good movies and I will talk to you later.

881
00:49:12,560 --> 00:49:12,600
Speaker 1: M